Posts Tagged ‘evan kafka’

You’re the best, Feature Shoot

August 17, 2010

Feature Shoot has been one of my go-to blogs for quite some time. Alison Zavos, the person behind it all, was a contributor to our Q&A last year and even featured Ryan Pfluger on her blog way back in August of 2008.

If you check out today’s post, you will see a sampling of Evan Kafka’s new animal portraits are featured! We’re proud to be included and we must say, Alison has superb taste in photography.

Check out the post here! Don’t forget to check out Evan’s full animal portfolio as well.

Evan Kafka, Next to Normal Round 2

July 20, 2010

Every once in a while the perfect client and the perfect project comes along…. and then if you’re really lucky, they come back for round two!

In February 2009, Evan Kafka originally shot the cast of the Broadway hit Next to Normal. Now that the cast is evolving a bit, we were asked to shoot them again. The images are used in their promotion and also on the doors of the Booth Theater on 45th St. If you haven’t had a chance to see the images installed in person, I highly recommend it… they’re very impressive and printed beautifully. Everyone was wonderful to work with and the shoot went off without a hitch! Thank you so much to Moira Finney and the great people over at Serino Coyne, as well as the new cast of Next to Normal!

When the new images went up on the doors yesterday, Evan ran over to check them out. See the installation shots below, as well as some samples of the final products. Congrats Evan!! These are gorgeous!

Jason Danieley

Jason Danieley and Evan Kafka

Kyle Dean Massey

Marin Mazzie

Jason Danieley

Meghann Fahy

For more information of Evan Kafka or for portfolio requests, contact

Jacqueline Bovaird

Photo Agent, Glasshouse Assignment

212.462.4538  jacqueline@glasshouseassignment.com


New work from our photographers!

June 30, 2010

For this month’s dose of blog/email blast, we thought we’d momentarily step back from the Q&A and take a minute to focus on some of the new work from our photographers. I’ve also asked each contributing photographer to tell us a little about each of the shoots. Check out our newest work below and see what they had to say!

TREVOR DIXON

The shoot was for Philadelphia Magazine’s annual “Best of the Shore” issue, which came out in June. This was actually shot last year, so that we could have people at the Jersey Shore. Starting at the northern end at Asbury Park, we had five days to slowly work our way down the coast, ending up in Cape May. Usually, my work is very predetermined and calculated so it was refreshing to shoot this documentary style and we were able to take risks. We had some scheduled stops along the way, but over all it was really nice to shoot in such an unstructured way. (see Trevor’s portfolio here)

EVAN KAFKA

These images were taken for Smart Money at my studio, Some Studio. For the shot with the money in the man’s mouth, we worked with Joe Duer, represented by Click, to illustrate a story called “”Real Insider Buying: The more a portfolio manager invests in a fund, the better – for you.” John Jordan from Ford Models was nice enough to have a dollar sign stamped on his forehead for a cover try we did for a story about the cost of a midlife crisis, which is the current issue.

Both concepts were thought up by Sue Ng, Art Director at Smart Money, who also provided the props. Katrina Borgstrom was our makeup artist on both as well. While I was of course hoping the dollar sign shot would make the cover, I can’t complain because I am really happy with how both of the images came out. (See Evan’s portfolio here)

LEVI BROWN

This shoot was for a New York Magazine article about the staggering popularity of Uniqlo. The hardest thing about this shoot was figuring out how to organize the colors in an ascending, non-linear fashion. I really enjoy this type of project because it incorporates two of my favorite things: building and organizing. (See Levi’s portfolio here)

RYAN PFLUGER

I’ve recently been revisiting and rescanning past work from my ongoing project, Men I’ve Met, in preparation for my group show I’m having at the Dorsky Gallery this July.  I have been photographing men in various states of undress for the past five years. Each photograph is a fragment of a relationship that may or may not exist. The intimacy between me and the subject blurs whether these are friends, lovers or strangers. It started with a photograph of myself. I’m not sure if these two will make the cut for the show in July, but they’re in the running. (See Ryan’s portfolio here)

SPENCER JONES

These were shot for Parenting, a client I shoot for regularly. The shot list for this type of shoot is usually pretty extensive, but their team and ours are very well organized, which helps to keep things stress-free. I usually plan to shoot models in the morning, usually babies and toddlers, and still life in the afternoon. For this spread, we were photographing model-making kits. Some kits had specific instructions, but the shot on the left was supposed to be more free form and creative for kids, with unlimited options. Since the client is based out of town, we had to take a risk and build something, hoping that it would mesh with their vision. Luckily, the shoot turned out great. You never know what skills will be called upon in this business, so each job is challenging and diverse. (See Spencer’s portfolio here)

RYAN SCHUDE

These were for an assignment on This is a Photo Blog called “My other passion.” The idea was just to make her hair look big and crazy. I had just put up this vintage, textured wallpaper and shopped for the dresses based on what would compliment it. Since we couldn’t decide which dress to use, we shot three different looks instead and mixed in different props. The final photos definitely came out better than I expected. Close up portraits like these are not what I normally do, but this project has inspired me to explore that type of photo more. (See Ryan’s portfolio here)

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For portfolio requests and questions about any of our Glasshouse Assignment photographers, contact our photo agent:

Jacqueline Bovaird

212 . 462 . 4538  jacqueline@glasshouseassignment.com

This week in the world of NY photo…

June 15, 2010

This week is jam-packed with photo goodness… will you be there?

LE BOOK, CONNECTIONS / PRODUCTIONS

Connections (Tuesday and Wednesday), Productions (Thursday and Friday), 12-9 pm, by invitation only.

The Puck Building, 295 Lafayette St (Corner of Houston)

If you haven’t heard of Le Book’s yearly trade show then you must be living in a deep dark hole. Connections will focus on making introductions between buyers and photographers/agents. Productions is new this year, and will be overflowing will all things having to do with getting your shoot done, and done well. Not sure what to expect since it is their first year with Productions, but I’m sure Le Book will do it right considering the intense level of promotions they’ve been putting out.

HEART FOR HAITI,

Wednesday 6-10 pm, open to the public

Aperture Gallery, 547 W 27th St., 4th Floor, New York, NY

HeArt for Haiti is definitely not to be missed. HeArt Art Productions has rallied the troops and put together an amazing benefit auction. All proceeds will go towards Doctors Without Borders’ relief efforts in Haiti. Not only is it  a good cause, but there is some pretty amazing art to be had as well. Two of our very own photographers, Evan Kafka and Ryan Pfluger, have donated prints (see below). You can bid online here until Thursday, but the viewing will be at Aperture on Wednesday from 6-10. After party is at Juliet Supperclub, if you’re still around.

Included in the show…

Evan Kafka


Evan Kafka

Ryan Pfluger

SPLASHLIGHT @ SKYLIGHT STUDIOS SUMMER KICKOFF

Thursday, 7-10, RSVP

Skylight West, 500 W 36th St, Rooftop, New York, NY

Skylight Studios West is throwing a summer rooftop party, which promises a good time, especially when you see their views.

See you there!

Q&A: Networking

April 22, 2010

Networking: The good, the bad, and the inevitably awkward.

The term “networking” makes me cringe a bit and I’m not sure why, especially since I go out and do just that most nights after work. I never put much energy into meeting new people until I became a photo agent. When I began, I realized very quickly that this industry sits on a fragile infrastructure of friendships and personal relationships. I started going to any and every event I could and slowly started to meet people. Once I made a few connections, it no longer felt like I was working and I looked forward to meeting up with this new group of friends. My advice is not see people as a business connection, because that becomes transparent quickly. Instead, think of networking as meeting people within your industry who inevitably share the same interests. These people have the same stresses you do each day and maybe they’ve found solutions you haven’t thought of. For me, knowing other reps has kept me sane on more than one occasion.

For this month’s Q&A, I thought I’d get people’s reactions to networking. We’re not talking about social networking here, but rather the good ol’ fashioned meet and greet. Almost everyone acknowledges the inevitable awkwardness, but also accepts the value of fostering a supportive community. Most of the people below I’ve met at events and, over time, have become good friends of mine.

The images from our Glasshouse Assignment photographers are all a sneak peek of projects to be released soon, to stay tuned for some very exciting updates! As always, thank you so much to everyone who contributed and is helping to move this Q&A series along.

- Jacqueline Bovaird, Glasshouse Assignment

EVAN KAFKA, PHOTOGRAPHER, GLASSHOUSE ASSIGNMENT

Many of the events in your town will be populated by the same people and it becomes sort of like a clique. That can be very helpful in getting work, if you’re lucky.  At the bigger events, it can be hard to meet people. I guess perseverance pays off eventually and you may make a meaningful connection. It also depends on your personality. I like parties and I think I am good with people, but I’m not the most extroverted. There are certain people who can really work a party. That is a gift that, if not too obnoxious, can go a long way.

ELISE DAHER, ART BUYER

I am terrible at networking. I’ve always been a bit shy (no one believes me when I say this, but for the record, I am shy!), and I have a really hard time approaching people that I don’t know. I do find that industry parties such as Adhesive, which encourage name-tag wearing (and alcohol consumption) make networking for people such as myself a lot easier.

Ultimately, I do find that face-to-face meet ‘n greets, whether it be meeting with a photographer and looking at portfolios together, or mixers like Adhesive/Resource parties, are invaluable. Putting a face to the name always helps me keep people at top of mind (or have them keep me top of mind) other than the few of you who, for whatever reason, my brain can’t seem to remember. You know who you are and I’m sorry!) And walking into a room where everyone greets you like you’re Norm in “Cheers” is a nice feeling.

JANESSA MARKGRAF, PHOTO AGENT, MARNIE ROSE AGENCY

Personally I love networking. As far as I’m concerned, adding another notch to your metaphorical belt of contacts is never a bad thing. It’s important, if not a key, to a successful career in such a fickle industry. Of course it goes without saying, it is far more beneficial to someone new to the industry and/or looking for work, as opposed to one who already has a successful established career.

In my case it was and continues to be beneficial. Having moved to New York just over two years ago as a photo assistant from Minneapolis with a mere two connections in NYC, if it hadn’t been for me attending industry events like they were going out of style, collecting business cards, following up with new contacts and maintaining those relationships I don’t think I would have accomplished nearly as much as I have in such a short period of time. Although, I do feel being an extrovert with a very charismatic personality is helpful and puts me at an advantage.

As an agent, it is now part of my job to network on behalf of the agency, both promoting the talent we represent and creating awareness of the agency itself. I find people in the industry are very good about sharing information and resources, so although you might not receive a job directly from your networking efforts, it doesn’t mean you shouldn’t bother doing it. You never know when you might exchange information with the right person at the right time. It’s all about timing and who you know right? Or at least that’s what I was always told.

RYAN SCHUDE, PHOTOGRAPHER, GLASSHOUSE ASSIGNMENT

Meeting people is how we interact as humans. It is inevitable and happens naturally most of the time. It becomes awkward and painful, when it is a forced situation like when someone introduces two people and says, “you’re both from Chicago, now talk about it!” Or when I am on the phone with my Dad and in front of my Mother he says, “You wanna talk to your mother?” Well, maybe I did but I now I really have to don’t I? It seems most jobs I get and most jobs other photographers I’ve talk to are from people they know personally.

Other ways to build this relationship is through a local photo community. If one is not available, create one. Here we meet with different groups of photographers a couple of times a month and always try and include other industry people who have interest in looking at photos. Slideluck Potshow has a good model I’ve tried to use on a smaller level as well. Throw a dinner party at home that is super casual where there are photos projected on a wall or bring it to a restaurant or bar. If nothing else you can get inspired by looking at new work with a few friends, but it also opens up the possibility of a less rigid environment than a formal “networking” meeting.

DANIELLA NILVA-CUNNINGHAM, PHOTO EDITOR

I believe networking is extremely important.  In this age of electronics, everything is becoming less personal. Gone are the days of face-to-face to meetings. Most of us are far too busy to meet with most of the people we need or want to network with.  There are only so many hours in the day.  More and more we are being asked to do the jobs of two or more people. It becomes harder and harder to get in front of your clients.  We hire people over the phone and more so via email.  Sometimes networking is fun and sometimes it’s extremely painful, however, I force myself to do it.  In the age of this economy we can no longer count on the fact that our jobs will be here tomorrow, let alone the clients we work with.  We need to do our best to keep up with the ever-changing face of media and technology by educating ourselves and networking with our peers

You need to constantly network to meet new clients, learn from others, collaborate and bottom line–survive.

To answer your question about community, first and foremost produce great work. Make the time to network. Get out from behind your blackberries, your iPhones and your computer and go out and meet people. Join organizations, Get involved with your community, get referrals, go to events, lectures, seminars, join a listserve on the topics that interest you. Educate yourself every day and stand out from the crowd, otherwise, you are just another phone call or email in the daily barrage of communications that we all receive every day – all of which is too much to handle as it is.

In summary, I can’t tell you much I have learned, how many great people I have met or the long lasting friendships I have gained out of networking, and the icing on the cake is the jobs I have gotten because of it.

AUDRIE LAWRENCE, PHOTO AGENT, REDUX

I love meeting new people. My interest in the world of photography and being among those in the industry led me to my current job as an agent. The socializing aspect is never really awkward or painful for me though, breaking out and meeting totally new people when I go to events is sometimes a challenge because it’s so easy to stay with in the circle of people I know.

I think networking is very important. It could mean face time with someone that you may want to show your work to that may not be responding to your emails or calls. It’s also a great way to find new, talented people who can become a resource.

In my short time as an agent I have had the pleasure of meeting wonderful people through networking events. Some of these people have become invaluable to my daily dealings and, more importantly, good friends. They are the first people I call when I need an underwater housing, a stylist in Detroit, or advice on a new client. Without these people I would be lost.

I love the sense of community and support that exists.  If you love photography, networking with people that have that interest is also fun.  Being around your peers, supporting artists new and established is a great way to keep the industry moving forward.  Networking events whether it be parties, exhibitions, or trade shows are all good sources of keeping you abreast of what’s happening in the world of photo and hopefully inspire.

MIHA MATEI,  PHOTOGRAPHER, GLASSHOUSE ASSIGNMENT

I’ve found that networking is an important part of having a freelance business, especially in the photography world. It’s often who you know that can help your career along. I personally love going out and meeting new people, even if it doesn’t lead to a job. It reminds me that there’s life on the other side of the camera!

I would have never gotten my first cookbook if I hadn’t made calls to restaurant owners to go in and meet with them. You can’t sit back and wait for work to come to you. You have to show passion for the business, otherwise it will not sustain you. It’s also nice for art directors/art buyers to meet who they are going to hire face to face so they can trust and have confidence that they are not just hiring talent, but also a competent and likable person.

As part of my networking, I recently joined Savor The Success, a networking group for women entrepreneurs who meet once a month to discuss how they can improve their businesses. Most of them need lifestyle and product photography for their business, which allows me a great opportunity to meet new clients in a different setting. It’s such a great opportunity to connect with them and, even if we don’t end up working together, it’s great to talk with other strong women and learn different business skills.

TONY GALE, PHOTOGRAPHER

I firmly believe that the more people you know the better, so of course networking is extremely important. We are in an industry that is fundamentally about the relationships you have with other people. You never know who you will meet, or who they might know that can help you or answer a question or even refer you for a job. It is equally important to be forthcoming with information and help as well.

It can be difficult and awkward to network, especially if it feels forced or disingenuous. When you go to an event, everyone is there to have some good conversation and maybe meet some new people, so almost everyone is in the same boat. If you can find someone you know, ask them to introduce you around and it snowballs. The more people you meet the more you will meet at the next event. By the same token if I meet someone new who could benefit from meeting someone else there I know, I will always try and introduce them. It works both ways.

I was initially very intimidated by going to industry events where I felt forced trying to network and meet people. But people are interesting; they all have something to say. Find what is interesting and find the connection with the other person. You can always go up to the person standing alone and talk to them; they are just as intimidated and nervous as you.

A simple shortcut to networking is to get involved with one of the creative trade organizations, (APA, ASMP, SPD, ADC, ASPP etc). They all need volunteers and you will meet a lot of people in a very short time, and maybe even do so good. I joined the ASMPNY steering committee shortly after moving to NYC, and have been on the APANY board for the last several years. The number of people who I have met as a result is staggering.

Facebook is also a tremendously powerful tool. Everyone you meet can be potentially added as a friend on Facebook, then you have one more connection. You will both be much more likely to remember each other the next time, and it builds like crazy.

RYAN PFLUGER, PHOTOGRAPHER, GLASSHOUSE ASSIGNMENT

For me networking has always been a love/hate relationship.  I love meeting new people, and I think putting a face to a photographers work is incredibly important. Especially for someone like me, the face-to-face interaction really helps people form a closer bond to my work.  Some of the best clients I work with are through cultivated relationships over time.  That being said, the initial process can be completely terrifying and stressful.  I never have liked the idea of having to try and sell myself to someone.  Everyone approaches networking differently, but for me it’s just like making new friends.  Sometimes you hit it off, and sometimes you don’t.  While it is very important, a lot of times you just have to realize your work speaks for itself.  If that’s not enough, maybe it’s not the right client for you.  In the end, loving what you do and expressing that to clients is really all you can do.  The rest just falls into place how it will.

TOM McWILLIAM, PHOTOGRAPHER

Networking. Without it we don’t exist as a civilization. Imagine what the Island of Manhattan would be like if we didn’t, begrudgingly, talk to each other about what we want to do. What an anthill it would be!

As a visual content provider in a world of continuous flux, networking can reach the decision maker who will give us a national ad campaign. Other worthwhile opportunities and alliances benefit from networking; a gallery show or public service campaign come to mind. In a world where our craft and our means of expression are always plugged in, turned on networking in technical and legal areas is a necessity.

You can of course spend a lot of time accomplishing nothing but feeding the insatiable social beast and its “friends” through networking, but sometimes even social networking moments can be a crystal ball. This type of networking recently saved me pain and embarrassment.  The interpersonal skills and professionalism of a person I was thinking about hiring/referring as a team member on an important campaign was recently put to a test at a networking event.  As a result of their behavior that day I don’t regret my decision to not invite them on a two-week trip to a far away place where English is the third language and there was only one flight per week to anywhere other than where I/they landed.

Keep a look out for next month’s question and email blast!!If you have any ideas, comments, or if you’d like to participate in our monthly email Q&A, please don’t hesitate to contact me, Jacqueline Bovaird. I am always looking for new voices to add to this evolving discussion.
212 . 462 . 4538   |  jacqueline@glasshouseassignment.com

Evan Kafka in Forbes

April 13, 2010

Check out Evan Kafka’s new image in the current issue of Forbes Magazine. I don’t know about you.. but that dog on the right is giving me the eyes.

See more of Evan’s work here!

For more information on Evan’s photography or for portfolio requests, please contact his rep (me):

Jacqueline Bovaird  •  212-462-4538

jacqueline@glasshouseassignment.com

Photographers, do you blog?

April 8, 2010

Mine do!

Since one of our photographers recently joined the blogging bandwagon, I thought I’d do an updated list of all their blogs here. It’s interesting how everyone has taken a somewhat different approach. Ryan Pfluger’s personal commentary let audience easily feel like they know him, while Miha and Evan keep things centered around their most recent work. Ryan Schude’s music suggestions are not to be missed, along with posts of his personal work, which take a different tone than his commercial portfolio. Check out their blogs with the links below, but also make sure to browse our site and see their commercial portfolios. Enjoy!

Ryan Pfluger

Ryan Schude

Evan Kafka

Miha Matei

Derrick Gomez

more on Evan Kafka…

February 23, 2010

Check out the recent article on Evan Kafka on the Profoto blog. The article goes into Evan’s background and how he developed the signature style. Check it out here!

See more of Evan’s portraits and corporate work on his portfolios here.

Kafka and BAM in the New York subway

January 8, 2010

Seen some  intense faces on the subway lately?

A little while ago we worked with the team over at SpotCo to shoot the promotional images for Season 2 of The Bridge Project, put on by Brooklyn Academy of Music (BAM). The show features performances of As You Like It and The Tempest, directed by the wonderful Sam Mendes (click here for a list of the actors). I heard such great things about last year’s Bridge Project, I am so glad they’ve continued it for another season.

Evan Kafka did an incredible job with the images and they look amazing. As a photographer, the dream is to be paid to shoot exactly the kind of photographer you want to be shooting and hired for your style (rather than being hired to shoot in another person’s style). Evan, SpotCo, and the team at BAM were perfectly in sync for this one. For that reason, this project was such a wonderful experience for everyone and I am blown away by the results.

Since the presentation in the subway system is really powerful, I thought we’d share some of the installation shots here! If you frequent Fort Greene in Brooklyn, take a second to check out Evan’s work on the subway station. It has also been spotted on the E train! If you happen to catch some of these faces staring you down on your morning commute, snap a photo and send them to me so I can post them on here! Send images to jacqueline@glasshouseassignment.com with the subject “Kafka on the subway.”

I’ve also included the color versions of the images below, just to add a little spice to your afternoon. See more of Evan’s work here!

And the color versions of a few (see more here)…

If you have any questions about Evan Kafka or any of our other Glasshouse Assignment photographers, feel free to give me a call or shoot me an email!

212-462-4538  •  jacqueline@glasshouseassignment.com

Happy Holidays!

December 22, 2009

Dearest readers,

I’ll be taking a mini work vacation for the holidays and won’t be blogging until after the 4th. Sit tight though, I’ll have much to post about in 2010! I leave you with some seriously adorable images from Glasshouse Assignment photographer Evan Kafka. So until my not-so-dramatic return, I wish you all a very happy and healthy holiday and a wonderful New Year!

- Jacqueline

Q&A: A Photographer’s Location

December 16, 2009

Q&A: How does a photographer’s location affect their career?

This is one of the questions I always get asked by photographers. Once upon a time, clients could afford to fly you, your assistants, and your ten thousands bags of equipment anywhere they wanted. Now, with the budgets collapsing and the competition from small towns growing, clients don’t have to go that extra mile for you.

There are definitely pros and cons to living in a big photography hub like New York or Los Angeles. With the convenience to photo studios, assistants, equipment, and locations also comes competition and higher costs. Competition in these places is really steep, but that can help to drive you and your work forward and also build a community of people who want (and need) to help each other. Having people around you who understand the hassles of your job can be essential at times.

If the city is your thing, then use it to make you a better photographer. Use the competition to throttle your work forward and take the time to build a community there. Meet your clients face to face and shake their hands. If you can’t stand tall buildings and the city life, then you’re going to have to work a little harder to get the jobs there. Your location will be an asset and a weakness, but if your marketing strategy is prepared for that then there shouldn’t be any barriers to you having a successful career. My advice would be to live in a place that makes you happy and fuels your work and, when in doubt, bid as a local!

For this month’s Q&A we’ve put this question out to some of our favorite industry creatives as well as to our own photographers. As always, thank you so much to all the contributors for making this discussion possible! From all of us here at Glasshouse Assignment, have a happy and healthy holiday season and we look forward to seeing you in 2010!

- Jacqueline Bovaird, Photo Rep, Glasshouse Assignment

RYAN SCHUDE, Photographer, Los Angeles, CA

I remember reading an article in PDN a few years back about photographers living in places like Boise that had no problem working full time because the client would simply fly them out for a shoot. This sounded amazing. These photographers could live their chill lifestyle, raise a family on their own terms and not live in obnoxious places like Los Angeles. Don’t get me wrong, after living here for a while I have grown to love LA but my decision to move here was definitely based around the assumption that it is easier to get work if you are close to where the work is happening. The story completely changes in regards to personal work. I can’t imagine any other city providing the resources available here as far as talent, location, props, equipment and a community of people so down to have fun making photos.

JASON LAU, Art Producer/Buyer, Team One USA

I think it depends on the circumstance. Typically we don’t limit our creatives to only local photographers. There have been plenty of instances where we were able to fly out the photographer and first assistant if we can fit it in the budget. I’ve dealt with reps that are willing to make the job happen if it comes down to travel cost. If we’re shooting something that is simple that doesn’t require too much expertise we would probably pick someone local since most of the time these types of shoots are quick. We always want to create great work so we don’t want to limit ourselves to locals only.

EVAN KAFKA, Photographer, New York, NY

I get a lot of my jobs because I am in NYC. There are a lot of shoots that happen in the city only because it’s more convenient for the agencies and magazines, particularly if clients want to be on set. There is a lot of concept and product stuff that could be done anywhere but it’s done here for convenience.

Since it is easy to fly out of New York, I used to get flown around a lot for editorial jobs. That seems to be happening less and less though as magazines cut back. If you can find a midsized market where you can shine, then maybe that is a better life. It’s crazy how many good photographers there are here and the competition is steep. I could live in the suburbs I guess, but I can’t imagine life without walking to work.

MANUELA OPREA, Photo Editor, Adweek Media

Location and the possibility of another [travel] cost is something that I have to consider when assigning a shoot, now more then ever. 
Most of the photographers I’ve worked with have offered to drive beyond the usual city limits without incurring a major travel expense. This is very helpful when trying to meet the budget. What I also find useful is getting travel updates from photographers. Then I don’t have to worry about the transportation cost for the shoot since they are already at that location.

MIHA MATEI, Photographer, New York, NY and Los Angeles, CA

(New York, NY and Los Angeles, CA ) If you want to be competitive in a big city market, I think it’s wise to bid as a local, especially if it’s a big job that you want to add to your portfolio. With everyone cutting corners these days, clients want to see that their budgets are wisely spent. Keep your bid competitive in all other aspects, but if you’re going up against a local whose portfolio is just as strong as yours, you might not win the job because of the added transportation cost. If you’re living in a small town, chances are that your operating costs and living expenses are lower than those in a big city, so at the end of the year, you’ll probably still have less overhead even with transportation costs added in.

NEIL BINKLEY, Publicity Director, Wonderful Machine

I think a photographer can make almost any location work for their career. There are benefits to living in New York, NY or Austin, TX, professionally and personally. I’ll let you decide what personally fits your lifestyle, and I’ll focus on the professional.

As for my background: I’ve enjoyed living in larger and smaller cities, having worked in creative fields in New York, Los Angeles, Portland, and now Philadelphia. And working for Wonderful Machine, I’ve seen that art buyers appreciate that we have photographers listed by location, in addition to specialty. Clients contact us to say how refreshing it is to find a solid photographer in smaller markets, because they’re often less familiar with talent in these cities.

The exception to this are photographers whose location is more integral to their specialty. For example, there are action/adventure photographers like Tyler Stableford, who works out of Aspen partially because of the scenic backdrops required for his specialty. In terms of location, I would say that a photographer has a better chance of getting work if they live in or within an hour or two of any city. Additionally, if you are willing to work as a local to the city, and not charge extravagant mileage to your clients, then you will have greater flexibility in how close you need to live to the city’s center.

As for where the clients are, there’s no doubt that the bulk of the magazine and publishing world is headquartered in New York, for example. Same with the major ad agencies that have a strong presence, if not headquarters, here. And it’s (almost unarguably) the epicenter of our industry, both in terms of prestigious work and influence. But here’s the thing: New York clients need photographers to shoot all over the world!

Working out of a smaller market can make you a big fish in a small pond and perhaps more visible to agencies in larger cities. Another consideration for you may be: if you’re financially and creatively happy living in a smaller city, do you really need to move to a larger city? At the end of the day, I recommend trying to live where you wish and seek work with appropriate clients in your own backyard, nationally, and internationally, too. So go show them your portfolio!

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Keep a look out for next month’s Q&A! I am always looking for new voices and new ideas so if you have comments, questions, or if you’d like to participate, please feel free to email me!

This Q&A exists as a monthly email blast and as a post on this blog. If you would like to receive our monthly email, please feel free to contact me and I would be happy to add you to our list!

Jacqueline Bovaird, Assignment Representative

212 – 462 – 4538  •  jacqueline@glasshouseassignment.com

Mediaweek and Evan Kafka win Ozzie Award!

December 11, 2009

Some of you may remember when Evan Kafka shot Robert Safian of Fast Company for Mediaweek. The article won an Ozzie Award! I know the Ozzie awards may be random for some of you, but for the rest of us this is an important acknowledgment. The Eddie and Ozzie awards recognize excellence in magazine design. Mediaweek won a silver in the category of Best Feature Design. Check out the full list of winners here. Congrats to everyone at Adweek / Mediaweek and to Evan Kafka!


Best Feature Design, B-to-B under 100,000 circulation

Silver Winner:
Mediaweek
“The Hot List”
Nielsen Business Media
March 23, 2009

Check out the tear sheets below and click here to see Evan Kafka’s corporate portfolio!

New from Evan Kafka!

December 3, 2009

As promised, here are some new images from Evan Kafka’s campaign for the Institute of Managing Accountants! As with the majority of Evan’s work, I am loving these! We will be sprinkling a few into his online and printed portfolio very soon. I always think it is interesting to see how designers incorporate the images into the final product, so I’ve included samples from the brochure below for your viewing pleasure!

Special thanks to Renee Marmer, who has been so wonderful to work with on this, and Darien Birks, who did an incredible job designing the final brochure!

Check out the new updated to Evan’s portfolio on our site and his!

Photographer: Evan Kafka

Client: IMA (Institute of Managing Accountants)

Agency: Addison

Stylist: Ellen Silverstein

Hair and Makeup: Nikki Wang

Selections from the final product brochure:

Photo of my day

December 2, 2009

Here is a photograph from a recent advertising campaign shot by our photographer Evan Kafka. Isn’t it gorgeous?! The shot was originally in color, but then Evan thought he’d try transferring it to black and white. Something about this man’s intense look and the way his face falls into his hand make this image completely magical for me. I’m enormously fortunate to represent photographers who inspire me and remind me what a powerful image can be… If you didn’t know before, now you all know why I love Evan so much! I realize photography is so subjective, but this is definitely the photo of my day.

So here is your teaser for a bigger, more complete post which will come around tomorrow. I’ll be posting more of our favorites from this campaign as well as the final layouts so you can see how the designer put it all together!

See Evan’s entire portfolio on our site here and on his site, and keep a look out for my post tomorrow!

Q&A: Portfolio Updates

October 28, 2009

How often should a photographer update their print portfolio? How about the website? Does putting new work on a blog count?

With all the internet avenues to show off new work, it is hard to know how often to update your portfolios. How regularly should a photographer update their printed portfolio? When should they add images to their website? If they manage a blog, how does publishing new work regularly interact with more formal updates?

For this month’s Q&A I’ve asked a select group of people for their thoughts. See their answers below, as well as my opinions on the subject.

While you’re in the mood, we thought we’d highlight the exciting new work from a few of our photographers here at Glasshouse Assignment. See their images and links below. We also have lots of new updates coming in the very future, which you’ll all be hearing about soon!

As always, thank you to all the contributors! Let’s keep the discussion rolling!

- Jacqueline Bovaird, Glasshouse Assignment

ILENE CHERNA BELLOVIN, FREELANCE PHOTO EDITOR, ASPP

Photographers should add new and recently published work whenever possible to a website and portfolio. A blog is a great way to share new and ongoing projects, but it’s not a substitute for well-edited, fresh websites and portfolios.

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NEW WORK FROM MIHA MATEI (portfolio)

Miha Matei, well known for her unique style of food and lifestyle photography, is evolving to include interiors and still life! Miha has kept consistent and true to her distinct style, but has just given us more to love! See her brand new website and new images here!

Miha Matei

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JACQUELINE BOVAIRD, PHOTO AGENT, GLASSHOUSE ASSIGNMENT

Nothing makes me more excited than when my photographers send me their newest work. If the images are good, my brain immediately begins churning out promotion ideas and new ways to get fresh images out to our audience. Dear photographers, want your agent to work more for you? Send them new photos! Each image is an opportunity to promote you to a fitting audience and to raise awareness. A photographer who constantly produces new work, whether it be for themselves or for clients, is incredibly valuable. When seeking to expand our roster, I look for people who are evolving and pushing themselves forward.

I am often asked by photographers, “How often should I update my portfolio?” With all the new online ways to show photography, this isn’t such a simple answer anymore. You certainly do not want to be contacting your clients every day or week about new work. Remember that their time is valuable and if you are constantly calling them about the latest and greatest shoot you’ve done, it won’t be long before they zone you out completely. A blog works to this end really well, in that it gives you an avenue for new work that people can subscribe to, rather than you reaching out to them. If they’re interested, they’ll read it.

Not sure what’s good enough to put in your portfolio? My suggestion is to let your work pass through its very own vetting process. After your shoot, post your favorites on a blog (or wherever it is you show your new work). If you receive great feedback and are still excited about the images in a week or so, consider updating your website with them. (Note: You should not have a website you can’t update easily yourself, specifically for this reason.)

After significant website updates, alert your clients to the new photography on your site and see what people say. If they love the work and you feel it fits into what you’ve done in the past, then it may be time to sit down and make prints for your portfolio. Let your website and your blog evolve more freely and illustrate the “work in progress.” In your printed portfolio, show a confident and settled edit of your work. Consider your print portfolio the “greatest hits” version of yourself.

The moral of this story is that new work can’t help you if no one sees it, and it is extremely hard to help yourself without creating anything new!

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NEW WORK FROM RYAN SCHUDE (portfolio)

As his rep, I’m always waiting with baited breath for a new image from Ryan. When they arrive, it feels like my birthday and the top of a roller coaster all at once. See his latest big production image below (we highly recommend viewing the larger version here). Psst… keep a look out. We have more updated from Ryan in the works!

Ryan Schude________________________

JOE PRITCHARD, SENIOR PHOTO AGENT, VAUGHAN HANNIGAN
A photographer should update their portfolio at a minimum of twice a year, if they are shooting personal and commercial work, that work should be shown in the best possible way. Also if they have a rep or are showing the book regularly then people want to see that new work.

As for website, update monthly if possible. Website and hosting is so inexpensive and it’s a great way to quickly share that work with a mass audience. The website has become the first form of communication with everyone these days and you need to keep that information current and relative.

Yes a blog helps, so do all the other social media networks that are out there. They are great ways to show samples or behind the scenes shots (if you have the permission), and other teasers about what you are working on.

STELLA KRAMER, PHOTOGRAPHY CONSULTANT (see her blogs here! Stellazine, ASMP’s Sharpen)

Well, it depends….if you’re working a lot and shooting a lot you should probably be updating your website every 3 months.  The same thing goes for your portfolio.  If you’re not shooting and don’t have a lot of new work, then maybe update every six months (although you should always be shooting).

That said, sometimes just changing the edit of your work can give it new life.  So often photographers feel their work is stale, and they don’t have much new work they want to be showing so they get stuck. Playing around with the order of your images can give your website and your portfolio a fresh, new look.  Many photographers get so busy that their work piles up and then they’re overwhelmed at the prospect of editing it to add to the website or portfolio. Part of running your business should be making time to choose the best of your work and add it to your website and portfolio. Remember to remove some of what’s been there for a while to make room.

The best photographer blogs have a clear intent, and I don’t think enough people have a strong idea behind their blog. I think blogs are a great place to show your most current work, pull images from the past to talk about, and give viewers a sense of who you are.  I believe they can even be a valuable adjunct for the traditional website in that they can be uploaded more frequently. But from my experience, most photo editors (at least) will want a website to show those higher up on the food chain why a particular photographer should be hired. But that’s an older way of thinking, and I know for myself that my blog is where you can get a current take on me and what I’m interested in. I think it’s the same for photographers.

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NEW WORK FROM EVAN KAFKA (portfolio)

There aren’t many photographers out there who can capture an emotion like Evan Kafka. We recently released the work he’s been doing with babies and kids, evolving his website to include two more portfolios for these categories. Check out the hilarious expressions and the wonderfully distinct style you’ve come to expect from Evan.

Evan Kafka________________________

AUDRIE LAWRENCE, PHOTO AGENT, REDUX PICTURES

I at this point don’t think there is a particular formula for updating, though I’m always a fan of seeing fresh work.

Most photographers get to see editors and go on meetings once or twice a year. If you’re seeing the same people, it’s always helpful to have the book look different enough so it doesn’t feel as though you’re just shopping the same book again. I think the website should have fresher stuff. If photographers are sending out promos on a semi regular basis it’s nice to have good reflections of that on site and have a site point to that automatically.

As for the blog, it feels as though every photographer has one but, only a few do it really well. Obviously Andrew Hetherington is a shining example of blog done right.  Yet if you look at it he only uses it to self promote everyone once in a while. He gives us a   whole lot of information, promotes works he likes by others and generally has people tuning in to what’s going on and slides in tear sheets and other stuff in a way that feels seamless.

 

Keep a look out for next month’s Q&A! I am always looking for new voices and new ideas so if you have comments, questions, or if you’d like to participate, please email me!

Jacqueline Bovaird, Assignment Representative

212 – 462 – 4538  •  jacqueline@glasshouseassignment.com


Evan Kafka in Chicago Mag!

October 21, 2009

Check out Evan Kafka’s portrait of Andrew Lippa in the November 2009 issue of Chicago Magazine! Nice job Evan!

Chicago Magazine, Evan Kafka

For portfolio requests or questions about Evan’s work, contact his rep, Jacqueline Bovaird.See his full portfolio here and here.

212 – 462 – 4538  •  jacqueline@glasshouseassignment.com

NEW Q&A: Is it time to stop assisting?

September 30, 2009

While the becoming a photographer doesn’t have the clear career progression some professions do, there is an ideal order to things: assist your idols and eventually leave the nest when you’re ready. However, with magazines becoming scarce and the number of assignments to be had dwindling, breaking out on your own is more difficult than ever. Additionally, when assistants don’t graduate to bigger things, they aren’t leaving their spots open for those just starting out. None of us can afford to take the risks we used to, which includes assistants who desperately need to break out on their own. There seems to be a clog in the industry pipeline.

Inspired by a good friend who has recently mustered up the courage to jump out on his own, I’ve asked some of my favorite photographers about their experiences just starting out. I am curious to hear how they knew they were ready, if they were right, and how they made it work. Thanks to everyone who contributed! Have your own story? I’d love to hear it! Post here or send it over to me at jacqueline@glasshouseassignment.com. Enjoy!

- Jacqueline Bovaird, Assignment Representative

Spencer Jones

SPENCER JONES, PHOTOGRAPHER

Making the jump from assistant to photographer was more of a transition than a leap. I made sure that I assisted long enough to learn the ins and outs of the business, and continued to assist others while I started shooting to ensure that enough money was coming in to survive. I worked as an assistant for many years, both as a full time employee and a freelancer. Both experiences were beneficial; as a full time assistant, I learned about the business aspects of photography. I did invoicing, produced shoots, scouted locations, ran castings, booked models, and shot jobs. My employers also let me use the studio and equipment during off hours to build my portfolio and hone my skills. Freelance assisting gave me the opportunity to work for many different photographers that I admired, and learn from them while being directly involved in the shoot. The chance to work directly for such legends as Annie Leibovitz, Bill King, and Robert Mapplethorpe was priceless.

As I was freelancing, I started to show my portfolio to potential clients. While most photographers were hitting the big advertising agencies, I concentrated on magazines, book publishers and small design firms. My first job was a location shoot for a store, photographing the interiors, exterior and employees for a brochure. Next came jobs from magazines. I borrowed a studio for some of the earlier jobs, until the work became consistent enough to support my own studio.

Soon after, work started to come in. Most were referrals from other photographers. Gevalia Coffee was one of the first jobs I shot in the new studio, followed by MetLife. After I found a rep, my business started to take off. I had the pleasure of shooting still life for most of the major magazines in America, while also doing brochures and ads for various companies.

The times have definitely changed since then, and many of the magazines have closed, or taken their still life work in house. The need for your own studio has changed as well. Everything is digital now, and as a result, everything moves more quickly. What remains the same is the passion and drive necessary to break into a field that is not easy. The current economic climate does not always allow one to give up assisting completely, until they are fully established as a photographer. My advice is to assist as many photographers as you can, and be willing to do anything and everything to gain exposure to the business. Shoot as much as possible. Show your work to as many art directors, photographers and other industry professionals as you can, and apply their feedback to your work. Find a niche and make your photographs the best in class. If you are talented and dedicated, the work will come.

Jake Stangel

JAKE STANGEL, PHOTOGRAPHER AND FOUNDER/EDITOR,  TOO MUCH CHOCOLATE

When I moved out to Portland last year, I figured that I’d assist for at least a year or two, like everyone else; it was fully what I expected to do and what was expected of me. However, the industry out there is small. The time I spent trying to get assisting work was eclipsing everything I was doing, which didn’t make sense. I quickly recognized this and switched gears, spending all that time promoting my own work instead- a long-term investment in myself, analogous to paying rent vs. paying off a mortgage. The other big tip-off for me was a solid reaction from photographers and photo editors to my website, which gave me the confidence to make the move towards promoting my own work.

So my “jump” was primarily made out of necessity, but in order to successfully make it across, photographers who are at this point need to have a well-rounded portfolio they can stand behind, as well as the skills to get that portfolio in front of the right people. Most importantly, anyone at this point in their careers needs to have found a photographic voice unique to themselves that will have a demand in some part of the industry.

Ryan Schude

RYAN SCHUDE, PHOTOGRAPHER

I knew I was ready to quit assisting when I would show up on set and the novelty associated with being there was replaced with an anxiousness to be making my own work. It wasn’t as much a matter of courage as a realization that I was sure to succeed if I spent half as much time on myself as I did working for someone else. Of course it was scary at first considering many of the jobs you take in the beginning are pro-bono or near enough, but that’s why god invented credit cards right?

Evan Kafka

EVAN KAFKA, PHOTOGRAPHER

I was pretty lucky since I only assisted about five months before I started shooting. I got some breaks shooting for magazines early on, but shooting weddings here and there made the transition financially possible. My first magazine assignment was for Metropolis and very soon after I was doing regular shoots for ESPN, who were in their early prototype stages of developing their brand. I was doing a lot of photojournalism, at that time, which didn’t really require assisting and there was a lot more work to be had in those days.

When I assisted, I mainly worked for Neil Selkirk and Kristine Larson, who were total opposites. I really learned a lot from each of them. Early on, when I began shooting, I found myself emulating the way they related to subjects and clients. It’s most obvious to focus on learning the technical stuff, but I really had no idea how to act on set. I certainly could have stood to learn more from them. In hind site, I don’t know if I was really ready to stop assisting, but it all worked out.

Some of my friends took longer to get out of assisting, including some of my former assistants, but eventually they have done really well. Everyone develops and finds their place differently. The most important thing is hard work. Very few people really hit the big time overnight. For the rest of us it takes years of perseverance, and you may never feel like you’ve made it.

Manjari Sharma The Shower Series

MANJARI SHARMA, PHOTOGRAPHER

It’s hard and challenging to break away from assisting. Assisting as we all know, starts out in our industry as a way to apprentice for a photographer whose images you admire and whose process and experience you hope to learn from. In exchange for this you are willing to give him/her your time, energy and passion to learn and improvise. Often however, it somehow so happens that many assistants get comfortable in that spot, so it’s hard to break away from. I recommend being selective at first, not working for anyone and everyone but instead for people you know you can specifically gain desired inspiration from, artistically and morally. In my case, it was a combination of published and personal assignments that gave me my wings. I recently worked for American baby magazine and was hired via my website. It was sort of a wake up call. Though the work I personally make is quite different from what I got hired to shoot, to see myself published in a magazine with national readership gave me the confidence to leap forward and pursue my own goals harder. To be trusted and hired to do an assignment is one way of surely knowing that you are getting there. Driven by it’s success, I was inspired to make work that can scream my style. I am currently working on a series that is developing strongly. It’s called “The Shower Series.”

Scott WallSCOTT WALL, PHOTOGRAPHER

I had been working with Tom Hollyman, one of the great society-corporate-travel photographers of the 20th century, who enlisted me as his personal assistant for about six years. From the onset, Tom always maintained that only I would know when it was “time to leave the nest” during my tenure with him. This was an open ended verbal agreement, so the evolution of being an assistant to becoming pro took some time for me, owing to the circumstances of commitment and loyalty to one person and one ideal. That being that, Tom was the master and I was the second mate aboard his ship.

Over time, through many, many thousands of miles of travel for assignments and countless hours of in-house studio work, I gradually realized that I could shoot images just as wonderful as my boss. I didn’t have the nerve to march into a boardroom of fortune 500 companies and tell the CEO what to do, but I could set up the camera and lights to make photos worthy of publication in my estimation.

We were on assignment in Ohio for a chemical company for a few days and Tom wasn’t feeling well. He made a snap decision to leave for New York on the next plane and simply handed me his camera in the field saying, “you can shoot the rest of the Annual Report, you know what to do.” So there I was standing in the middle of a Horta sphere farm in the dead of a clear winter’s afterglow with the crescent moon rising along with a few chemical engineer’s who looked at me and asked, “What do you want us to do now?” It was a bit scary yet I finished the shoot, took the plane home the following day with the client and got published in the company’s annual report! I knew at that moment in my heart that it was time to start thinking of going solo in the near future. Tom was very generous thereafter and began referring me to a few of his clients saying that I was a very capable photographer who they could trust. As work began to “flow” and my income gradually became sustainable through these assignments, I naturally felt that it was time to leave the nest as Tom had predicted from the onset of our working relationship.

Courage under fire comes out of practice and hard work, patience and dedication. Think of a ballet dancer who spends hours of training in preparation for the big performance. I suppose it’s like going on your first scuba dive. There you are, in an element that is strange and exciting all at the same time and yet you need to make sure that you breathe and check your gauges periodically as you now that a mistake can cost you dearly.

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Keep a look out for next month’s Q&A! I am always looking for new voices and new ideas so if you have comments, questions, or if you’d like to participate, please email me!

Jacqueline Bovaird, Assignment Representative

212 – 462 – 4538  •  jacqueline@glasshouseassignment.com


Q&A: Role of personal work?

July 29, 2009

What is the role of a photographer’s personal work?

As a photographer, how do you negotiate the two halves of your creative self? Does there have to be a separation between the two? As a buyer, do separate bodies of work confuse things or make an individual more interesting? What if a photographer’s personal and commercial photography are drastically different?

Personally, I feel that doing work for yourself has the power to ground you in your career and keep you focused. It is always important to put yourself in the art director’s chair now and then. This month I’ve put this question out to some of my favorite people in the industry. As always, thank you so much to all the contributors! If you’d like to be contacted about being a part of the Q&A series in upcoming months, or have feedback, please email me at jacqueline@glasshouseassignment.com. Enjoy!

- Jacqueline Bovaird, Assignment Rep, Glasshouse Assignment

Evan Kafka, Personal Work

EVAN KAFKA, PHOTOGRAPHER

I am obsessed with photography. I can’t stop photographing. I photograph my family constantly. It keeps me interested, keeps me sharp. We just took a family trip to Finland and I shot 1500 pictures, mostly of friends and family. I have to record my life. I can’t stop myself. A friend mentioned that he feels like he is missing out on life when he does that. I don’t feel that way. For me it is part of enjoying life. It’s an impulse. It’s my hobby.

At the moment I especially like that I am doing my personal work mostly with the same camera that I do my professional work, the Canon 5D Mark II. This is great because I stay close to that camera at all times. There is no period of getting used to the camera.

My professional work is pretty formal and usually lit, a lot. My personal work is completely the opposite: available light, hand held and wide open. It helps me stay balanced.

See Evan’s personal work in our client access section (password: kafka) or by clicking here and here: Abstractions, Commute and Occurrences.

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BizBash Cover

ALISON ZAVOS, PHOTO EDITOR, BIZBASH MEDIA, PUBLISHER, FEATURE SHOOT

I think personal work is most successful when it’s an extension of the photographer’s commercial work, an outlet used to take risks and to explore subjects or styles without any outside interference. I know of many photographers who have taken jobs in order to fund their edgier personal work, which in turn can lead to more interesting paid work. So in the end, it can become an investment, if executed well.

•••

MartinAgency

CINDY HICKS, ART BUYER, THE MARTIN AGENCY

Personal work I love, it shows me that the photographer loves his/her craft & does it for themselves not just for the money. Often I hire someone based on that work, since jobs are most often the vision of the agency/art director/client. I like to see how they experiment & stretch themselves creatively.  It often shows another side, since really art is a rarity in advertising these days.

I have seen so much bad photography and the personal work can be horrifyingly bad, like back first year art school stuff, I try to stay away from those, we are lucky that the people we tend to hire are not at that level (with this economy it could change).

Ryan Schude

RYAN SCHUDE, PHOTOGRAPHER

The role of personal work is to fulfill a desire to create. A concept will strike you and inspire the need to see it actualized. Ideally, you are communicating something with that image in the process. The same should happen in commercial work, except you are working with someone else to communicate a combination of their concept and your personal aesthetics.

Tony Fouhse

TONY FOUHSE, PHOTOGRAPHER

Personal work keeps me sane!  In fact, if you look at my web site, more than half the galleries are the result of personal projects. That’s how sane I am.

With my personal work, I don’t really want to leave a mark on the world, I want the world to leave a mark on me. So I tend to go places where I’ll be kind of uncomfortable, an outsider.  I have a theory that most middle class, first world folks suffer from being chronically comfortable. My personal projects are designed to subtract a certain amount of comfort from my life.

I find that I learn a whole lot more during the brief, intense interludes I spend working on personal projects than I do in a whole year of the dull routine of existence.  Even though, as a commercial and editorial photographer, my routine is rarely dull, but you know what I mean.

And, in the end, that’s the role of personal projects.  To live and to learn.

Check out a recent NYTimes article about Tony here and his blog here.


NGAdventure

CAROLINE HIRSCH, PHOTO EDITOR, NATIONAL GEOGRAPHIC ADVENTURE

A lot of our favorite photographers came to photography as a way to document their passion for climbing, kayaking, or biking (even though they might be doing fashion or advertising work now), so personal work (or any work that shows a dynamic eye or perspective) is quite important to us in determining if a photographer is a good fit for us.

AndresCortez_Vox

ANDRÉS CORTÉZ, ART BUYER, THE VOX COLLECTIVE

Super important! You can see the latitude of the photographer.

Keep a look out for next month’s question and email blast!!If you have any ideas, comments, or if you’d like to participate in our monthly email Q&A, please don’t hesitate to contact me, Jacqueline Bovaird. I am always looking for new voices to add to this evolving discussion.
212 . 462 . 4538   |  jacqueline@glasshouseassignment.com

Evan Kafka in Arrive Mag

July 2, 2009

Check out Evan Kafka’s portrait of Maria Bartiromo in the new issue of Arrive Magazine! See Evan’s full portfolio here and here.

Evan Kafka

Evan Kafka

Contact assignment rep Jacqueline Bovaird with questions or portfolio requests.

212 – 462 – 4538  |  jacqueline@glasshouseassignment.com

www.glasshouseassignment.com

Kafka in Money Magazine

May 20, 2009

Evan Kafka. Always reliable. Always awesome. Always reliably awesome.

Check out Evan Kafka’s portraits of Robert Frank in the new issue of Money Magazine.

Evan Kafka in Money Magazine

Evan Kafka in Money Magazine

Evan Kafka in Money Magazine

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Great job Evan!

Contact assignment rep Jacqueline Bovaird with questions or portfolio requests.

212 – 462 – 4538  |  jacqueline@glasshouseassignment.com

www.glasshouseassignment.com

Q & A Series: The Worst Mistakes

April 22, 2009

Q & A SERIES: THE WORST MISTAKES PHOTOGRAPHERS MAKE

This month for our Q&A, I’ve asked industry creatives to name the worst mistake a photographer has ever made or could ever make (on a photo shoot? early in their career? in dealing with clients?). I’ve left this purposely open-ended to allow for contributors to take their answers in any way they wish. One thing seems consistent throughout the answers: put your ego aside, listen, and work very very hard. Check out full answers below. If you have any questions or contributions, please feel free to email me (jacqueline@glasshouseassignment.com) or leave a comment on the post! I’d love to hear some feedback on this series and also your opinion… What do YOU think is the worst mistake a photographer can make?

As always, I am so pleased and grateful to all of you who contributed! You are not only making me very happy, but are also helping to build this forum and open up discussion about  our community. Thank you, thank you, thank you!

- Jacqueline Bovaird, Glasshouse Assignment

taraguertin_afarcover11

TARA GUERTIN, PHOTO EDITOR, AFAR MAGAZINE

In general, what comes to mind first and foremost is lack of enthusiasm for the work, and thus not putting 100% into it. Some young photographers can have a sense of entitlement that drives me crazy! The worst mistake a photographer could make on a shoot would be not shooting enough….too many people have too many ideas how things should look, especially on the advertising side!

Evan Kafka for Next to Normal

EVAN KAFKA, PHOTOGRAPHER

The biggest mistake is to make a portfolio of pictures you think they want to see.  Show the work that moves you and its power will translate.  Direct your career, don’t let your career direct you, if you can help it.

MARK JENKINSON, PHOTOGRAPHER, BLOGGER, AND EDUCATOR

Mark Jenkinson

Well there are mistakes, faux pas, and disasters. A disaster is when the strobe falls in the swimming pool just as the client is diving in. A faux pas, is farting when the entire crew is sitting down to lunch. A mistake can be anywhere in between those two.  I think the most common mistake I made as a young photographer (and sometimes still do), and that I also see young photographers do all the time is to talk too much, and listen too little.

Photographers are always in the position of selling themselves, of convincing the world that we are the best photographer in the world.  We know it’s not true, but our careers require a certain amount of confidence and salesmanship.  The average person goes on a series of perhaps 10 job interviews once every five or ten years.  Photographers, especially starting out,  literally go on a hundred job interviews a year.  Sometimes it’s tough to turn off the sales pitch.  Young assistants, fresh out of school are the worst, always telling me what they know instead of asking what I need.

One of my best business lessons came a few years ago when I was looking for an architect to build my house.  I called the first four architects and within five minutes they were each telling me about what amazing architects they were, and the great house they were going to build for me.  This before they asked about my family size, my interests, or my budget.

I realized that I was often guilty of this as well, so I now make a conscious effort to be the quietest person at every meeting. If you are in the meeting, then chances are you either have the job, or you are a front runner so this is the time to shut up and focus on the task at hand, not brag about the shoot you did with (name a celebrity) last week. BTW: Before I looked at his portfolio I had pretty much decided to hire the fifth architect, and I love the house he built for me

fands_1

SPENCER JONES, PHOTOGRAPHER
It’s hard to know what is professional and what isn’t sometimes. I  hear stories about photographers with big egos that work all the time and I hear stories about photographers with big egos that clients use once  and say never again. There are many variables that go into a shoot. It’s important to have  confidence in what you do and the client needs to sense this. But at what  point does the photographer cross a line and the shoot becomes more  about them and not a collaboration between the art  director’s vision, the clients needs and the photographer’s creative  talents?

I’m surprised how many times I hear clients and art directors talk  about shoots where the photographer was unprofessional. There was the  time when my wife was the client and waited outside a photographer’s studio 45  minutes before he showed up. There she was with all the crew and models  standing outside freezing. There was another time when the client and art  director showed up at a photographer’s studio, buzzing the door for 20 mins. After they were let in they realized that the photographer lived  there and was asleep. To say the least these photographers were never  used again. Every time an art director awards a job to a photographer,  it’s the art director’s job on the line and photographers need to remember that.

Ryan Schude

RYAN SCHUDE, PHOTOGRAPHER

In general, the biggest mistake a photographer can make is not constantly making new images and not constantly sharing these images with everyone and their mother. Of course you shouldn’t flood people’s inbox with crap on a daily basis just to fulfill this, but keep producing and distributing solid work consistently.

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KELLI GRANT, PIXPALACE

I think the worst thing that a photographer can do is to not immediately caption and credit his/her images in IPTC fields. There are too many photographers who have failed to establish a keyword/captioning workflow. Once an image is digitized, it’s always best to attach the proper and thorough, “who”, “what”, “when”, “where”, “how” and of course “by whom” information in the header of the file.  Many photographers have gotten in the bad habit of waiting too long and then the caption information is less rich than if they had captioned the image while the specifics were fresh in their mind.  The captions become very general.  General captions lead to general keywording thus fewer hits on a search, so less sales. There are many applications out there including Photo Mechanic, Bridge, Aperture and Fotostation that are quite easy to use and fast. Photographers must always stay on top of technology especially when with the Orphan Works Act looming.

MILES LADIN, PHOTOGRAPHER

Miles Ladin

The worst mistake a photographer can make while working on a commercial assignment
is to try and please the client while ignoring their own creative impulses.  The client hired you for a reason, otherwise they would have hired someone else or possibly tried to shoot it themselves. If you try and make an exact illustration of the client’s concept there will be nothing left in the shot to call your own. There might be a financial reward in the short term, but you won’t be evolving your own vision for the future. Selling out is truly a dead end.

The worst mistake an emerging photographer can make early in their career is to pass up potential opportunities due to an inflated sense of ego or a clients tight purse strings. Never turn down an assignment or an opportunity unless it offends your personal morals or you feel completely manipulated. As fabulous as you feel you are,  you need to check your ego at the door, especially early on in your career. If a client has no budget but is offering you a really interesting assignment or to photograph something different than you normally shoot, say YES.  It could lead to a new creative direction, an image for your portfolio, possibly even connections that will have a bigger budget.

The worst mistake a photographer can make in general is choosing this creative path by happenstance or a desire to be famous.  The most inspired images come from photographers who feel the medium is a calling, closer to a religion than a career. The famous dictum by Joseph Campbell, “Follow Your Bliss”, should be taken to heart. Why were you originally drawn to photography and why are you making images today? Never forget the particulars of what inspires you about the photographic process. Your joy will lead you to success; creatively & professionally.


Derrick Gomez

DERRICK GOMEZ, PHOTOGRAPHER
“The worst mistake you can commit  as a photographer is to rely on your technique, rather than your taste. Great lighting and camera work are fundamentals, but in relying on them you risk producing repetitive work. You risk being a trend. Good photography requires vision. Read books. Attend concerts. Visit galleries & travel. Develop your taste.”

Craig Ruttle

CRAIG RUTTLE, PHOTOGRAPHER

Although times are challenging now for photographers of all disciplines, one thing in my mind has become ever important, and that’s knowing your strengths and desires. I’m finding this out after being a professional for almost 30 years…. Nothing new here, obviously, but the achievement of this requires some flexibility and ability to keep a tight grip on your finances. Your money. I’m not talking about getting rich, although there certainly are some people in this field who have been incredibly successful. I’m talking about doing the work you know and enjoy the most. I’ve had conversations lately with fellow professionals about what they want out their careers and I’m finding that many are willing to work outside their comfort zone to bolster the work they find personally important.

A good friend of mine is a fine portrait and travel photographer, supported by a rep and good clients. He is doing well, but has built in time to work on some long term, self assigned projects that I believe will eventually pay off for him. What he’s documenting may prove to be an important part of visual history, and to be plain, he’s really good at it. Simple, strong images that will stand the test of time; important work that is paying him with great satisfaction, and I think will eventually be seen as classic documentary work.

Back to the money part: unless you have an endless stream of cash, and I hope you do(!), keep a close eye on your finances, live frugally when you can, and take jobs from time to time you may not want to (within reason, of course). So after you’ve completed the less than perfect assignment, you can hold your head up knowing that at the end of the day, you’ll have worked hard to stay true to yourself, and pay your rent, too. Maybe this is too simple, but I bring up this subject where viewpoints meet at a crossroads; the completion of the assignment. Too far down the road, perhaps… Assignments are not all created equal, and even the same assignment might not be the same in the eyes of different editors, art directors, etc. Sometimes the pointed direction is clear; sometimes it seems like one needs an assignment map!

As a photojournalist (using my example only), there are certain realities that can’t be avoided and must be captured. Outside of this, there are nuances that, for instance, I may feel are important to a specific job. Some editors welcome a broader view, while others might feel being flooded with images is a waste of time; sort of a “get to the point!” attitude. Hopefully, you see what I mean. Whether it photojournalism, editorial, still life or portrait, having a clue of what your (probably new) editor or art director has in mind at his or her publication/newspaper/web site is essential. I’m convinced that once a relationship like this is formed, and one usually knows right away, your point of view can be added as trust is built, which is the reward of a cooperative professional experience.

Thank you everyone who participated!! Keep a look out for next month’s question and email blast!!

If you have any ideas, comments, or if you’d like to participate in our monthly email Q&A, please don’t hesitate to contact me, Jacqueline Bovaird. I am always looking for new voices to add to this evolving discussion.

212 . 462 . 4538  |  jacqueline@glasshouseassignment.com

Kafka illustrates “Next to Normal”

March 20, 2009

FINALLY! Below are samples of Evan Kafka’s promotion photographs for the new Broadway show, Next to Normal. Okay…I admit it. I’ve had these up my sleeve for quite some time now. Please keep your anger to yourself and understand that I was waiting until Next to Normal was closer to being up and running before showing you these! Suspense is a good thing!

I had the pleasure to be on set for this shoot and meeting the cast and creatives. Not only was a few moments away from the computer screen a very welcome change, but it was so wonderful to meet all the stars of the show and see them work with Evan. Everyone on the shoot was so sweet and great to work with. Their enthusiasm and excitement for the project was absolutely incredible, and definitely has gotten me counting the days until I can see them in action. For your viewing pleasure…  here are Evan’s favorites from the shoot and a shot of the phootgraphy on the theater doors. Links below to the official Next to Normal website and opening dates.

Go see the show! AND tell everyone you know how fabulous the photography is….

Evan Kafka in front of Next to Normal doors

Evan poses in front of the doors of the Booth Theater, NY

Bobby Spencer, Next to Normal

Bobby Spencer, Next to Normal

Alice Ripley, Next to Normal

Alice Ripley, Next to Normal

Arron Tveit, Next to Normal

Arron Tveit, Next to Normal

Jennifer Damiano, Next to Normal

Jennifer Damiano, Next to Normal

Adam Chanler-Berat, Next to Normal

Louis Hobson, Next to Normal

NEXT TO NORMAL

Previews begin March 27, Opening Night April 15

Booth Theatre

222 West 45th Street, New York, NY

Official Website Here

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Check out NEW UPDATES to Evan’s main portfolio and corporate portfolio.

If you have any questions about Evan’s work, please feel free to contact his rep, Jacqueline Bovaird.

jacqueline@glasshouseassignment.com  |  212 . 462 . 4538

www.glasshouseassignment.com

Evan Kafka in April’s Smart Money

March 19, 2009

Check out a peek at Evan Kafka’s new work in Smart Money’s April issue. What do you think? I, of course, love it.

Evan Kafka, Smart Money, April 2009

Evan Kafka, Smart Money, April 2009- -

Check out Evan’s main portfolio and corporate portfolio.

If you have any questions about Evan’s work, please feel free to contact his rep, Jacqueline Bovaird.

jacqueline@glasshouseassignment.com  |  212 . 462 . 4538

www.glasshouseassignment.com

Arrive goes digital, Evan Kafka cover!

March 4, 2009

Arrive, Amtrak’s equivalent to an in flight magazine, has presented a digital format nice and friendly for online viewing. Also check out the latest cover… nice job Evan Kafka!

Evan Kafka on Arrive cover

Evan Kafka - Bloomberg

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If you’d like to know more about Evan’s work, contact his rep, Jacqueline Bovaird.

212 – 462 – 4538  |  jacqueline@glasshouseassignment.com

Evan Kafka in the newsstands

December 10, 2008

If looking at Evan’s work online isn’t giving you enough happiness and you find yourself needing more and more, well then go buy the new issues of SmartMoney and Bloomberg!

Here are a look at his photographs in December’s issues.

SmartMoney

“The Best Buying Opportunities in 50 Years”

Story by Russell Pearlman  |  Photographed by Evan Kafka

Dan Fuss, photographed by Evan Kafka

Dan Fuss, fund manager for Loomis Sayles Bond Fund

p. 52

Bloomberg

“Hedge Fund Agitator”

Story by Richard Teitelbaum  |  Photographs by Evan Kafka

Barry Rosenstein, photo by Evan Kafka

Barry Rosenstein, photographed by Evan Kafka

Photographs of Barry Rosenstein, Jana Partners

p.70

Well done Evan!

Here are links to Evan’s main portfolio and his corporate/business portfolio.

For more info on Evan or for portfolio requests, please contact me, Jacqueline Bovaird.

jacqueline@glasshouseassignment.com  |  212-462-4538


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