I interned for advertising and architectural photographers before settling-in as a studio-manager for a San Francisco advertising and food photographer. In this role, I set up the equipment, managed the days’ shoots, and assisted the photographer. Working here was farrr more educational than my 4-year degree. I also got yelled at a lot, too. Fair.
My favorite clients were Mattel and Nike . The food photography for ‘Got Milk’ and ‘Bon Appetit’ was real eye-opening, as well.
We set up everything in-studio, shot film with Sinar-X and Hasselblad cameras, strobe and hot lights, worked with stylists, big advertising shops and brands.
A few years later, I found myself working for a large, conglomerate printing company as a product photography coordinator and photographer— high volume product photography for weekly advertisements.
The shop was different. There were fewer opportunities to work with stylists. I clocked-in and out. I wasn't yelled at as often.
It was always noisy with the sound of million-dollar Heidelbergs that ran 24-7. I managed to learn a ton about offset-printing, digital photography, and color-correcting for press. We were an early-adopter of the original Mamiya LEAF digital back system (lovingly referred to as ‘the brick’), then Phase One digital backs for Hasselblad and Contax camera systems. The latter combo—Phase One with the Contax— is still my favorite medium-format system.
I spent a lifetime here, but I eventually left to pursue a graduate degree in a very experimental M.F.A. program in New York. The program was focused in the interesecting areas of graphic design and photography.
I take quiet photographs where light, architecture, and environment are often the theme. This sometimes manifests in the form of printed, exhited photographs; sometimes very small editions of artist books. The latter, particularly, is rewarding combining type and image.
I prefer the slowness and patience required of my very old medium-format camera, Tri-X or slide-film, and a tripod.