t he Los Angeles Collective

Vol . 1
Thanks from PhotoWhoa!
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 Los An-
geles Collective. But instead searching the world, we’re
staying in LA. We’re pulling the best of what this crazy
city has to offer. And like before we’re giving it away free
to you.

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/los_angeles

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 Amanda Friedman.

Don’t miss out on all the other Collectives!
Our Beauty Collective was first. Then the Street Collective. We
loved how much everybody loved them, so we decided we’d
stick to this. Be sure to get them all on our website!
CONTENTS
the L o s A n g e l e s C o l l e c t i v e

Tyler Shields, 5
Nathaniel Wood, 8
Amanda Friedman, 11
Shawn Nee, 14
Tom M Johnson, 17
Ryan Schude, 21
Maarten de Boer, 25
Jacqueline Di Milla, 29
Jana Cruder, 34
Benjamin Von Wong, 40
Blood. O
ne of my favorite lines, from any book, from
any time, comes from Norman Mailer. And I
“You can’t be know he wasn’t the greatest spokesperson for
planet Earth — he had a cancerous ego, was happily
scared of what violent and sexist, and slowed by a strange machismo-
portraits of actors/actresses doing what they usually
do for Hollywood, HBO, or the Networks. His images
are working, at their best, to dislodge portraiture from
reality, reminding you that photography — even sup-
posedly honest photography — still obscures the truth.

Guns.
mysticism (I mean, who really knows what his deal
others might with contraceptives was?). But, still, he wrote it, and
it’s a line that you can use for many things:
think, who will
be mad at you. “When your best and worst motive agree on the same
action, watch the juices flow.”
It’s about you That could sum the whole of Mailer (perhaps sexual
But if they cause you any hesitation, remember it’s all
makeup, toy guns, Mickey Mouse heads, and red corn
syrup. It’s nasty and hilarious — not the ideal, lofty,
up-in-the-clouds glitz and glamour but the nose-bleed
afterparty, the concrete-glitter, the other side to imagi-
nation.
In this interview, Shields talks about his provoca-
tive approach to celebrity photography, explains his

Women.
expressing your desire too?), but it could also explain something about thoughts about getting emotion captured on camera,

imagination, and
your imagination
can only run wild

Celebrities.
if you let it.”

with Tyler Shields

Los Angeles photographer Tyler Shields’ work. Work and reveals his greatest advice for photographers.
that isn’t like much out there and vastly more graphic
than anything we’ve showcased, it’s work that either
you understand and admire, possibly love, or it’s work
that you analyze and began to loathe. It’s very compli-
Y ou don’t shy away from provocative subject
matter, and I like that your work doesn’t play
nice. How did you get your start in photography?
cated to say the least.
And although it’s out-there, it’s no more violent, or I wanted to make movies and had started direct-
sexually-charged, or bloody, than anything you see ing music videos and but then I had a girlfriend who
coming from our entertainment machine. They are cheated on me. I borrowed a camera took one photo
and that photo changed my life. I am all about tak-
ing something negative and making it positive. I used
that pain to fuel me, to push my life, and it did. I can’t
imagine my life without photography. It is the best
thing that happened to me in my life.
How would you describe your style?
I never really describe it. It’s hard to explain. Nor-
mally, when someone doesn’t know my work, they
say, “So what kind of stuff do you shoot?” I just say I
set people on fire and make them jump off buildings.
The confusion usually ends the conversation, but the
honest truth is that there are so many things I like to
shoot and so many things I have shot. I suppose it’s
just easier to say that than really getting into it because
I don’t really like talking about it as much as I like
doing.
When did you become confident of your abilities?
Were you ever unsure your talents?
I knew nothing about photography. I had taken this
one photo and everyone loved it — everyone wanted
to have it. So I thought well that was easy, I can do
that again (it’s not easy). I believe if I set my mind
to it I can do anything, although I will say at first I
didn’t take it seriously. I just did it because it was fun
to do. I had no idea what I was getting myself into. I
had no idea people even made a living at photography,
but then I hit a moment when I realized that this can
change my life, and I made that happen.
Blood, guns, knives, biting, punching, hunger, sex –
there are plenty of violent elements shown in your
work. Why do you think you’re interested in show-
ing these elements in your images?
They are real. I love playing with reality in fiction.
It makes you feel something. It affects you and it’s too
real for some people, but the people who love it, really
love it, and that makes me happy.
I would love to see what goes on through your pre-
production meetings. How do you think up your
shoots?
HA! A few months ago I called everyone into the
office and I said I need some space suits (tough to get).
Everyone knew they were hard to get. One of my guys
looked at me and said, “How many?” I replied, “15
to 30”. You could hear water drop — the silence was
golden. The next question: “When do we need them?”
By Friday, it was Monday. That was an insane week,
but we ended up getting 15 and some insane images.
But one of my favorites was the human heart, but
that’s a long awkward dangerous story I will leave for
another time.
Do you draw inspiration from other media?
Sometimes, when cops started pepper-spraying
students, I thought it would be fun to see the students
spraying the cops back. But the truth is I don’t watch
the news. If I watch anything, it’s boxing, NASCAR,
and House of Cards. Other than that, it’s movies or
music. The last time I watched the news was the elec-
tion, it was riveting.
Your work reminds me of a line in Norman Mail-
er’s Harlot’s Ghost. “When your best and worst
motive agree on the same action, watch the juices
flow.” What does this line mean to you? Do you
think it applies to your work?
Wow! Never heard that before, I love it. First of all,
if you really want to push the boundaries, you have
to be willing to push yourself. You can’t be scared
of what others might think, who will be mad at you.
It’s about you expressing your imagination, and your
imagination can only run wild if you let it.
Your images also forced me to analyze the whole
meaning of celebrity portraiture. The images reveal
exactly what they mean to say: This is not real. This
is not reality. These are actors doing what they’ve
always done in cinema before. They are stills that
could be pulled from any movie. What do you think
about this? Have you ever been fascinated by reac-
tion to your work?
You get it exactly. They are all playing a part for
me. They are acting: still camera, film camera — it
doesn’t matter. You create a scene and actors will
play in it. The reason I use actors is not because of
their fame it’s because of their talent. They are willing
to go further. They want to do the best they can and
push themselves and they do. There is no such thing
as fame. Fame is a lie. It’s all playing a part. I have
seen the most famous people in the world go to the
bathroom. They love, they hurt and the old saying in
my house is: “No one is famous when you’re sitting
in a dark room.” If you’re a good person, if you have
talent, and if you want to be the best you can be, that
interests me. And some people’s talent is being in front
of a camera, and it’s a hard talent to have.

But beneath all the spectacle, you still seem to have

a hankering for softer emotions. These can usually
be found in your close ups. “Ashley Greene Hand”
is an example (right). But no matter which emotion,
you seem in tune with the subtleties of facial ex-
pression. Do you think this right? If so, what advice
could you give to other photographers about learn-
ing how to see emotion?

Well, there are two ways to go about this. You can

capture emotion, which is being in the right place,
the right time. For instance, the photo you are talking
about of Ashley just so happened to be in the middle
of the night, and the emotion was real so I captured
it. Then there is the other side of it where you have to
create the emotion. You have to make it happen and
then once it happens you can run wild with it.

Could you give us the most honest piece of advice

you think every other photographer needs to hear?

A camera is an expensive paper weight if you don’t

use it. Stop making excuses: one day I’ll have the right
gear, one day I’ll have the right peo-
ple to shoot, it’s easy once you shoot
famous people, if I had this, if I had
that. No, those are all excuses. Pho-
tography is a marathon not a sprint,
and the only way to finish a marathon
is to keep going.

Be sure to check out all of Tyler’s

work on his website!

“It makes you

feel something.
It affects you and
it’s too real for
some people, but
the people who
love it, really love
it, and that makes
me happy.”
Why You Should
Always Put Yourself
in the Thick of It
with Nathaniel Wood
M
usic and photography have remained in-
separable for Los Angeles photographer
Nathaniel Wood. During college, whenever
a band he liked came to town, he would quickly email
the manager, the publicist, the tour manager, or any-
one on their website for a chance to shoot the concert.
He wanted to be in the thick of it, close to the action,
away from the crowds. He needed to see a closer side
of his favorite musicians. Photography granted him
that.
From there, Wood’s range continued to grow. He
never stopped exploring and eventually landed jobs
with the New Yorker, VICE, Rolling Stone, and SPIN
— basically, all the plush, cool, cigarette-smoke-
through-the-nose clients every photographer wants
or respects. Still, one thing has remained unchanged
since Wood’s start: the documentary feel to his im-
ages, the way they put you there. They’re perfect
examples of why you should shoot what you love.
In this interview, Wood talks about how he got his
start in photography and how music helped shaped
it, explains his documentary aesthetic, and plugs LA’s
Tacos Villa Corona — this humble editor’s favorite
burrito joint.
I really like how kinetic your photography is. How
did you get your start? How would you describe
your work?
I started out doing video but that whole process
took so long. I realized I could make something cool
in a lot less time with photography. I always looked
at both mediums in a documentary sort of way. Even
though my photos are way different now from when
I started shooting, I feel that they still have that docu-
mentary quality.
When did you become confident of your abilities?
Were you ever unsure of your talents?
Absolutely. I’m still unsure sometimes, but I think
that’s a good feeling to have because it keeps you on
your toes and makes you think more about the work
you are producing.
You have a great ability to capture bracingly hon-
est moments. The second-to-last image in Marshall
for Vice is a great example (top). How are you able
to consistently capture these moments?
 With photos like that, it just boils down to being in
the right place at the right time. Also, being prepared
for that moment helps a great deal. For the Marshall
job I was given the direction to take photos like that.
Behind the scenes and in the moment. Getting that
direction definitely helped shape the type of photos I
captured.
You also capture a lot of action. When out shooting,
what guides your camera? How do you know when
these moments are going to happen?
It all stems from being in the right place at the right
time. But I have trained myself to be more aware of
what’s going on. I definitely notice so many more mo-
ments now compared to when I started shooting.
You’ve worked with many other high profile cli-
ents. How did you secure your first one?
The first and best one would have to be when I
toured with OK Go for six weeks. I had only been in
LA a few months when I met the bassist, Tim Nor-
dwind, through some friends. I told him if they ever
needed a photographer to give me a call. A week later,
they asked if I wanted to go out on tour. I got super
lucky. They are the best group of dudes.
From browsing your portfolio, it becomes obvious
that you love music. What draws you to capturing
musicians, concerts, and the crowds that surround
them?
That’s just where photography started for me. When
I was in college and a band was coming to town that I
liked, I would email the manager/publicist/tour man-
ager/anyone on their website or Myspace and ask for
a photo pass. It usually worked and that’s what started
my love of shooting music. After I realized the type of
access I could get shooting photos—that was it for me.
Being close to the action is so much better than being
in the crowd.
Be sure to check out all of Wood’s work on his web-
site!
Why You Should
See Los Angeles the
Way this Celebrity
Photographer Does
with Amanda Friedman

L
os Angeles is a huge city. Geographically
speaking, Boston, Pittsburgh, Milwaukee, and
Manhattan, all could fit within its city limits.
It’s also an unbelievably diverse city. There are hun-
dreds of tiny, unique neighborhoods, each with their
own cultural landmarks and distinct looks, smells, and
feels. And not too far off, there’s the beach, the desert,
the woods, and broken concrete — lots of it. Los An-
geles can be many things, but it isn’t typically beauti-
ful. Some of it can be downright ugly.
But Amanda Friedman has embraced LA’s many
different faces. She’s even managed to find her own
hidden jewels. Just look at her night landscapes.
There, you’ll find LA at its most obscure and brilliant,
finally understand the city’s gloom and color. And how
about celebrity portraiture? There’s no place like LA
when it comes to taking advantage of that opportunity.
But it’ll just take a hustle like Friedman’s to be fea-
tured in Complex, the New York Times, Interview, and
Vanity Fair like her.
In this interview, Friedman talks about how she got
her start in photography, speaks about the advantages
of shooting in LA, and explains her usual approach to
portraiture.

Y ou’re a celebrity photographer but also shoot

amazing landscape and travel photography.
How did you get your start shooting celebrities?
How about landscapes?

When I first started out in 2000, I was sending pro-

mos to magazines. The work was mainly portraits and
personal work I had shot during school. Nylon maga-
zine took notice and started assigning me to shoot up-
and-coming actors and musicians in LA. From there,
the work started to snowball. The London
Sunday Telegraph saw my work in Nylon
and started to give me celebrities, which
has been an ongoing relationship for over
10 years. I started shooting my night land-
scapes as a personal project while in col-
lege. The work got such a good response
that I just decided to keep shooting it as an
ongoing project.

There’s a consistent feel to your images.

Your portraits, landscapes, and fashion
work, all share a clean, sleek, and cool
design. How would you describe your
photographic style? Do you shoot with
the same gear? Any lighting gear pref-
erences?

Clean, graphic, natural, unforced pho-

tography. From 1998 until 2007, I was
shooting all film for my assignments and
personal work, using the mamiya RZ pro
2 6×7 along with the 4×5 Toyo 45a2 field
camera. I reluctantly switched to digital
in 2007 and now shoot with the Canon 5d
Mark 3. My lighting preference is shoot-
ing with natural light when possible, but
on the off chance I need to shoot with
strobes, I use all Profoto lighting.

What advice would you give to other

cityscape photographers hoping to find
interesting locations? Can you trained
your eye to look for the unexpected?

Scout as much as you can. Interesting

locations don’t just pop up. You have to
find them! I think you can train your eye
to look for something interesting. Just
takes time to hone your skills.

For most of your portraits, you seem to

prefer light cool colors and window-soft
light. This makes the photographs seem
quiet and personal. What is your usual
approach to starting a portrait? Do you
spend a lot of time getting to know the
person?

Not at all. I rarely have time to sit with

a subject (especially a celebrity) before the shoot
happens and often times I only have 10 or 15 minutes
to actually shoot them! My approach to any job is to
first find the perfect spot, get my lighting correct and
then give a bit of direction once the subject arrives to
be photographed. I do often try to engage with people
while shooting, but sometimes that does not work as
the person’s mouth moves, which we all know is not
flattering.
Westwood #1 is a great example of exploring to
find something unique. For anybody who’s been to
Westwood, this image would be surprising (right).
It isn’t the first thing you think of when in West-
wood. Could you explain how you made that image
from start to finish?
I was actually on assignment for a friend who de-
signs UCLA magazine. He loved my night landscapes
and had me in mind to document UCLA’s orientation
party on campus a few weeks before school started. As
luck would have it, one of the main campus buildings
in the quad had these amazing beams illuminating the
sky and the fog was rolling in. The perfect combina-
tion for what I was after that evening. I spent some
time looking for a good vantage point from buildings
across the quad and ending up getting this shot. I was
very lucky that night.
You’re a Los Angeles based. Any advice to making
it in the city? What advantages does this city give
you as a celebrity photographer?
I think making it in LA is the same as making it in
any big city. You have to hustle to get work and never
stop! In the beginning of my career, I shot and tested
as much as I could. I sent out promos 3 to 4 times a
year, I entered contests and went to New York ev-
ery year to show my portfolios and meet editors. As
a celebrity photographer, living in LA does have its
advantages, mainly its never cold, so you don’t have
to always shoot in studio during the winter. The city is
also so big, there are a million places one could do a
photo shoot. I love the variety in landscape here. You
have the beach, the mountains the desert and the city
all at your fingertips. What more could you ask for?
Be sure to check out all of Amanda’s work on her
website!
Alone on the L
os Angeles is an ugly city. There’s no getting
around that. From 6th St. downtown to Sun-
set Boulevard’s trail to the ocean, you’ll see
people, highways, sidewalks, and buildings, all ready
Street, Capturing
to give in. Millions of people live here and, to each,
millions of stories. But not all stories are good. Not
all people are nice. It takes a special person to want
to walk LA’s rough streets for the chance at making a
photograph. But street photographers don’t care. They
like being alone. They enjoying getting in the mess.
the Raw Energy
They’re the closest things we’ve got to Bolaño’s idea
of savage detectives.
Real street photography smells like the streets, to
paraphrase Bruce Gilden. Nothing between you and
the shit around you. And I know it’s silly to write it
out, but if you’re ever had a camera around your neck
of LA with Shawn Nee
and walked, really walked, then you’ll know what I
mean. A great street photograph will make you stop.
It’ll get hold of you. It’ll show you that true beauty is
damn near impossible to hide. That even in this ugly
city, there are people, stories, and moments that need
to be shared.
Only few photographers have this ability to see and
then capture what happens on the street. LA street/
doc photographer Shawn Nee is one of them. Besides
being named by Complex as one of the 50 best street
photographers alive — and being arrested by LAPD
for shooting the streets –, he’s also been featured by
NPR, the Los Angeles Times, PBS, and F8 magazine.
In this interview, Nee talks about how difficult his
start in photography was, explains his approach to
taking street photographs, and praises the virtues of
getting out of your house and making photos happen.
Y
ou’re a Los Angeles documentary/street pho-
tographer. How did you get your start? How
would you describe your work?
Like many people, a family member gave me an old
film camera when I was in my late teens/early 20s. It
was a Canon AT-1 and it took me a long time to figure
out how to use the thing. I was actually terrible at pho-
tography for many years, so I would put the camera
away and forget about it. Some time later, I would pull
the camera back out, try it again, and then put it away
because I just wasn’t that good. This cycle went on for
many years. In 2001, I moved to Hollywood and there
was a lot going on in my neighborhood, so I gave
photography another try and started photographing
abandoned shopping carts, which is something that put
me in contact with Hollywood’s marginalized commu-
nity. At that time, these were just people I would see
on the street, talk to, and help them out on occasion. It
never dawned on me, that years later, I would photo-
graph the majority of these people and become really
good friends with them. During this time, I also started
reading more about photography and discovered the
work of various photographers. Folks like Mary Ellen
Mark and Eugene Richards really influenced me. I was
just fascinated by what these people were doing and
their work opened my eyes to issues I could be photo-
graphing in Hollywood.
At some point, my family visited LA and we all
went to Vegas for a week. My grandmother gave each
of us $1000 to gamble with, but I didn’t spend any of
it. When I came back to Los Angeles, I decided to buy
a used Canon EOS 1 and 24mm L-Series. I then went
to the corner of Hollywood and Highland and started
photographing Chris (Superman), Max (Batman), and
Joe (Hulk). It was fun hanging out with these people
and being outside in the city. It’s something I had
never experienced before. After I got some rolls back
from the lab and saw some decent images in there, I
finally thought I could take a picture that someone else
would appreciate. That’s pretty much it. After so many
years of disappointment, it really was all just happen-
stance the way I figured out that documentary photog-
raphy was something I liked and should pursue.
You tend to capture an agitated, conflicted Los
Angeles in your street photographs. Do you agree?
What is your usual approach to shooting street
photographs?
I agree. There’s a lot conflict in my photos, which
is probably representative of my own life. So I guess
that it’s just translating into the work. The city’s also
a rough place, and the people I tend to spend time
with and photograph have really difficult lives. So that
definitely plays a role, too. My approach to street pho-
tography is much different from documentary photog-
raphy. When I shoot street, I just walk around the city
with my camera, hoping to find something that’s worth
photographing. I’m really focused on trying to capture
a great image of city life because that’s the goal with
shooting street. Otherwise, no one would want to look
at the image. I’ll likely upset a lot of people by saying
this, but to me, personally, street photography is a self-
ish act that’s driven by my ego, or in the case of other
photographers— their egos. That’s the way I see it. I
want to find some moment in the city, photograph it in
a way that’s appealing, and have people like the photo.
It’s that simple.
On the other hand, there is a lot of emotion and
connection involving documentary photography and
I’m much more devoted to this kind of relationship
and experience. Spending weeks, months, or even
years with people takes a lot of time and effort to
produce a strong body of work. And it’s a process that
I’ve always enjoyed more than shooting street. Also,
for the past few years I’ve been less focused on tak-
ing pictures of these people and have actually come
to appreciate just spending time with them, enjoying
the relationship we’ve built. Sometimes I’ll spend
days with one person and only take one or two pho-
tos; sometimes none. One guy, I’ll take fishing with
me from time to time. So for me, it’s easy to say that
the people I photograph are more my friends than
anything else, and I just take pictures while we’re out
doing whatever.
In Moments, you capture several traumatic scenes
(top). How do you find these moments?
Just by chance. Years ago, I always had a camera
with me wherever I went, so if something happened I
was in a position to capture it. “Moments” can hap-
pen around us at any time, so you just have to be there
with a camera and ready to take the picture.
Your protests and rallies photographs are power-
ful. What draws you to these sites of conflict? What
is your aim with them?
Thank you. I try to experience as much as possible,
and Los Angeles has a lot of protests, so I photograph
the ones that interest me. And obviously, I’m drawn
to the protests that involve the most conflict. Conflict
helps tell the story; it makes things interesting. When
you’re at the event, conflict also makes everything
much more exciting. Just look at history; all of the
greatest stories involve conflict. It’s what draws people
in and keeps their attention.
Besides all of that, when I photograph a rally or a
protest, I’m also driven and influenced by the histori-
cal aspects of the event. The way the civil rights era
was documented and preserved through photography
is really motivating. I wish I grew up in the 60s. What
Bruce Davidson captured during this time period is
just fascinating to me, so I want to document events
the way many photographers did decades ago. For
instance, Occupy was arguably, in some sense, our
civil rights movement, so I photographed that event
for historical purposes. That’s the way I saw it, when I
was there.
How do you keep yourself from provoking anger?
I would imagine that in these tense situations it’s
easy overstep your boundaries.
Well, the first day I ever shot street I was punched in
the face. So over the years, I’ve learned anger is just
a part of being a street/documentary photographer.
People don’t like cameras; it’s just an odd, inexpli-
cable phenomena. So anger, and sometimes, physical
violence, is something I have to deal with. But provok-
ing anger – it’s something that you can’t worry about.
Otherwise, it will restrain your work. You’ll actually
censor yourself because you’ll be more concerned
about upsetting someone if you take the picture. Just
take the picture, and respond appropriately to the situ-
ation you just created.
When it comes to documentary photography
though, it’s important that I upset as few people as
possible. All kinds of things can go wrong if you upset
people you spend lots of time with and you don’t want
that. The relationships that you form are based on re-
spect and trust, and you don’t want to destroy it by let-
ting your anger get the best of you. Especially, when it
has taken you years to earn a person’s trust. You don’t
wanna throw that away. So in situations like that, I try
to diffuse the situation before it gets out of hand.
What practical, necessary advice would you give to
other doc/street photographers about shooting in
these tense situations?
You have to assess each situation differently and fig-
ure out what’s comfortable for you. You also have to
figure out what’s the best option for keeping yourself
safe. That’s the most important thing. Some people
aren’t afraid of physical confrontation while others
want to avoid it entirely. For me, I shoot very close all
the time, and from experience I know what could hap-
pen, so projecting confidence and a strong demeanor
seems to help curb some negative reactions. No matter
what the situation though, if there’s ever any kind of
weapon involved just get away because the situation
will not improve for you.
One of my favorites is the second-to-last in Pales-
tine-Israel (top middle). It’s a perfect moment to use
motion blur. How did this image come about from
start to finish?
I was on the edge of sidewalk photographing in the
other direction where all the protestors were standing;
people were engaging the cars as they drove past the
Federal Building. The car in the photo started honking
and out of the corner of my eye I caught a glimpse of
this beautiful older woman leaning out the window.
It was all very quick and fluid, so just as the car was
passing me, I whipped around at the very last second
to take her picture. The woman saw what I was doing
and she gave me the peace sign. It wasn’t planned. I
wasn’t even trying to achieve a blurred shot, which I
couldn’t produce if you asked me to. It’s just one of
those lucky moments that eventually comes together
after taking hundreds of photos.
Being a doc/street photographer, you’ve probably
been around much of Los Angeles. What is your
strategy to exploring his large diverse city?
If you live in LA/ Hollywood, you just have to
leave the house. Hollywood, which is where I’ve lived
for 13 years, is a great place for photographers and
you’re bound to fall into something that interests you.
I walk around my neighborhood a lot, and I also ride
my bike. Most of the time I have my camera out, and
I can’t remember how many times I’ve ended up in
some crazy situation because someone saw it hanging
off my shoulder or sticking out of my bag. I described
one of those incidents to Animal’s Marina Galperina in
her series, I Should Have Shot That.
Have you encountered any epiphanies (perhaps
coincidences?) in your walks through the streets?
Photography is a very cathartic process, so I’m sure
I’ve had a couple of epiphanies while I’m out walking
around or just sitting somewhere waiting for some-
thing to happen. My mind really starts to get away
from me during these down moments. Most of my
thoughts aren’t related to photography though. I tend
to think about every day life stuff, family, and our dys-
functional society—especially LA. But I can’t really
remember any specific epiphany or realization.
You’ve become a hero for street photographers.
Could you state the reason(s) why you love street
photography?
I don’t know what my life would be like today, if
my aunt never gave me her camera. But I’m certain
photography changed my life for the better. It opened
up my city, and the world to me and I’m a much more
informed person because of it. It’s also presented me
with so many opportunities and experiences. I’ve met
all kinds of interesting people and have done so many
things that I never would’ve done if it weren’t for pho-
tography. There’s so many reasons why a person could
love photography, but I love it because of the way it
has transformed me during these past few years.
Be sure to check out all of Shawn’s work on his web-
site!
Why You Must Raise Your Expectations
to Achieve the Possible with Tom M Johnson
E
ditorial/fine art photographer
Tom M Johnson admits he had
not been drawn to art, much
less photography, until he spent time
in Paris in the 1980s. Before then, he
was — through no fault of his own —
attracted to sports and girls. But once
in Paris, he made weekly trips to the
beautiful galleries & museums around
the city and soon became immersed in
a culture deeply appreciative of art. He
then bought a camera and with a little
help from his friends finally learned to
create art: he begin photographing.
Although it took time to find his
visual voice, Johnson believes in per-
sistence and committing oneself fully
to perfecting one’s work. His dedica-
tion shows in his photography. His
images are quiet, almost serendipitous
yet always disciplined. His images are
attracted to subtlety: color and com-
position blended perfectly within each
other. It is no surprise that Johnson’s
derneath those pictures that need to be unraveled often
work has been received so well. He has been featured
lies deeper more meaningful narratives, which often
by the New York Times and LENSCRATCH, among
ask more questions than they answer. One my favor-
many others. He has also worked with many celebri-
ite photographs that hangs in my home is “Swing”
ties, including Jack Black and Miranda July.
(above). It’s terribly subtle. I’ve entered it into several
In this interview, Johnson talks about his time in
contests and it never seems to draw much attention,
Paris and how that influenced him, reveals his ap-
which, stubbornly, coaxes me to like it more. The
proach to on-location portraiture, and explains his
photograph is deeply nostalgic, reminding me of my
sense of composition.
youth, growing up in a suburb. It was taken at twilight

Y
around the time, after a summer day of playing, my
ou say on your website that your photography
mom would hail me in for dinner and stillness would
is in many ways like you, “shy and hesitant
settle upon the neighborhood. There is feeling of se-
to make an immediate impression.” Could you
renity and security I take from this image. Years ago I
explain why you’re drawn to images that must be
took a workshop with Keith Carter, and it was he who
“unraveled” to be appreciated?
made me aware of the mystery and beauty of twilight,
or as the French like to say, “entre chien et loup,” the
It’s not that I only appreciate photographs that need
remaining light between the dog and the wolf.
to be unraveled. There are plenty of images that I like
and even taken that have an immediate impact. Yet,
Your “Au Bout de la Ligne” series is your take on
I’ve always been more attracted to subtlety. And un-
photographing Paris, a city which has been photo-
graphed by nearly everyone. It’s also a callback to
your life there in the 80s. What did Paris teach you
about life and photography?
Growing up I wasn’t exposed to art nor interested
in it. I was drawn to sports and girls. Then as a young
man I was lucky enough to have a job that gave me
the opportunity to live in Paris. By nature, I’m open
and curious, and I was fortunate to make friends
with many Parisians who had deep appreciation for
art. With them I made weekly visits to galleries and
museums and trips to other countries. In Paris art is
everywhere: it’s not only seen at the monuments and
museums, it’s in the French language, the way women
dress, how their apartments are decorated, and how
they approach life in general. The French make the
time to savor the quality of the moment. Through my
work I met photographers and as a result I eventually
purchased a camera and with their help learned how
to use it. I certainly wasn’t a natural. I took volumes
of bad photographs, but I knew fairly early that this is
what I wanted to do, so I stuck with it.
“Au Bout de la Ligne” is filled with many great
locations. How do you sense when a location will
make an interesting photograph? What are you
looking for?
I once heard a photographer I highly respect say
you have to take a lot of bad pictures before you take
good pictures. Essentially you have to learn what
works, and that takes many exposures and years of
failed images. I like that you use the word sense when
determining if a location will make an interesting pho-
tograph, because it truly is a sense. Initially, I look for
something that catches my attention: it could be the
way the light is brushing against something, a mix of
colors that work, something odd or ironic, or someone
unique. Then before I ever look through the view-
finder, I walk around the subject, study all its angles,
and actually try not to make a photograph. That I feel
is the disadvantage of shooting digital: the desire to
see and have immediate results distracts oneself from
sensing the environment. And please I don’t mean to
come off as a snotty purist; I do exactly the same if I
have a digital camera in my hands.
One of my favorites from that series is the 31st
photo. I like the contrast of absolute dark, the men-
acing windows, and the pale green field (right). It
seems like you were exposing for the shadows. How
do you normally approach lighting? Just natural
sources? How about off-camera setups?
If I had the resources I would approach every scene
I photograph like Gregory Crewdson. I’d have sev-
eral 10K HMIs and a crew of grips and electricians
to move and adjust the lighting to my every whim.
Wouldn’t that be nice! The only time I can add light
to something is when I’m shooting, whether commis-
sioned or personal, a set-up portrait. I have enough
experience that I’m comfortable working with strobes.
I’ve become fairly proficient balancing strobe with
natural light, and with digital rendering immediate
results it’s much easier now to play with and adjust
lighting. However, because I’m a location and not a
studio photographer I haven’t developed an impres-
sive knowledge of all the modifiers of lights. I really
admire the work of those photographers who have
mastered lighting like Dan Winters and Nadav Kander,
to name just a couple. But using light doesn’t neces-
sarily mean you must use more than what is available.
Being a photographer is a never ending study of the,
natural or not, use of light. The source, quality, and
direction of the light and time of day and weather are
all factors on how I approach an exterior image. There
are certain scenes that I’ll photograph in the middle of
the day while others will have a much greater impact
if I wait to photograph them at twilight.
You seem to be drawn to colorful architecture and
iconography. The 21st image in your personal sec-
tion is a great example (middle right). I love that
you included the desert in frame. When you’re
shooting, are there any guidelines to composition
that inform your work? Or do you just feel it?
I thank you for observing that I am drawn to ico-
nography. And I have absolutely no reason as to why,
but your observation is correct, I am attracted to heroic
structure. Perhaps because I’m a Virgo, I like my lines
and composition neat and orderly. I suppose without
ever having studied underneath them I am a student
of the Bernd and Hilla Becher movement…. I really
have no guidelines to composition. I consider proper
composition like accurate exposure; it’s a necessity for
the image to work. That written: It’s very hard for me
to release the shutter if I don’t feel completely pleased
with the composition, because composition embellish-
es the narrative. What makes the photograph you refer
to compelling is isolated in the middle of nowhere
is this bizarre little convenience store, so to give the
viewer a sense of place the frame had to be expanded.
Like several of the families you photographed in
“Lakewood”, many of your portraits of celebri-
ties and artists avoid indoor settings. Why do you
prefer taking portraits on location?
It’s not that I avoid interiors; it’s just that I am
inspired by exterior locations. And although I’m not
a landscape photographer I seem to thrive when I am
outside. I don’t think I would be very happy living at
a place where extreme weather conditions forced me
to be locked indoors for months at a time. And it’s not
just my visual senses that are aroused on location, I
can be inspired by the sound and feel of the wind, the
humidity or lack there of in the air, the smells of a hot
summer day, a dog barking, the ring of a wind chime,
or the honk of freight train in the distance. In attempt- My favorite antidote, and it segues nicely from had on me my camera and a couple of rolls
ing to answer this particular question it has become your last question was a shoot I had for the German of film, so I found a spot with some O.K.
very apparent to me that what photographers choose Magazine, Stern. I was commissioned to photograph light and made the best of it.
to photograph is so much a reflection of who they are Jürgen Klinsmann, who at the time was the coach of I have two pieces of advice to give,
and all that has influenced their make-up. I’m sure I’ve Germany’s National Soccer team. He’s now the coach which I would tell anyone, who’s willing
read and been told this insight a hundred times, but of USA’s National Soccer team. He was living in Hun- to listen, interested in making photography
now it truly resonates. tington Beach and the shoot took place at the Hun- a career. 1. Throw ever fiber of your being
tington Beach Hilton Hotel, which sits adjacent to the into it, because the only way you’ll make it
What advice would give to other photographers beach. So I came up with this, at least I thought it was, is to spare nothing and sacrifice everything.
who may also decide on working with a client out- brilliant idea to photograph him standing on the beach, 2. And it is something I heard from Chris
side? Any advice you wish to share? barefooted, pant legs rolled up, one foot resting on a Buck. It is a valuable piece of advice that I
very large and colorful beach ball, and a huge smirk probably would not have understood or ap-
There is no
substitute for ex-
perience. It would
“Perhaps because I’m a Virgo, I like
be very difficult
for photographers
my lines and composition neat
who only work in and orderly. I suppose without ever
a studio to know
what to do if they having studied underneath them
are commissioned
to shoot something
I am a student of the Bernd and
outside. Obviously,
the same applies in
Hilla Becher movement. I really
the opposite. If a have no guidelines to composition.
photographer wish-
es to be capable of I consider proper composition like
shooting outside,
(s)he best make it a
accurate exposure; it’s a necessity
regular practice to
shoot outside, so if
for the image to work. That written:
(s)he decides or is It’s very hard for me to release the
forced to shoot an
assignment outside shutter if I don’t feel completely
(s)he has devel-
oped enough tech-
pleased with the composition.”
nique and aware-
ness to pull it off. Second to experience is preparation. on face. The image I had in my mind was full of sym- preciated when I was new at photography,
It’s best have scouted the location and have at least 3 bolism. Well, what I wasn’t aware of was there was a however; now I find it extremely powerful,
solid options planned out before the shoot. And often lot of criticism of his selection for the national team and something I have written big and bold
for some unexpected reason you’re forced to discard because he wasn’t living in Germany, and his critics on my mood board. Simply, “You have to
your options and quickly come up with something on in the German press mocked him as being a Southern raise your expectations to get the possible.”
the fly, which in many cases, the unexpected, can lead California beach bum. Thus, my idea, unknowing to
to the best photographs. me, would be sticking it in the eye of those critics. So, Be sure to check all of Tom’s work on his
after my assistants and I set-up the lights on the beach website!
It looks like you met some really interesting people I drive to the hotel to meet with him. And before I can
and probably experienced a great deal. Could you get word one out of my mouth he says to me “whatev-
share any particularly noteworthy stories? What er you do, don’t photograph me near the beach!” Then
would you say is greatest lesson you’ve learned he tells me that he needed to be somewhere, and that I
during your photography career? only had 5 minutes to photograph him. Fortunately, I
Studio Sets Like You’ve Never Seen Them
Used in Photography Before with Ryan Schude
A
fter looking at Los Angeles photographer
Ryan Schude’s images, you’ll immediately
notice his film and literature influences. You’ll
see that his images do more than document. They tell
stories. In fact, some of his images could easily fit in
any Wes Anderson retrospective — they’re that pre-
cise. And although he loves shooting documentary
style portraits and street photography, these storytell-
ing images are made from (and the focus of this inter-
view will be on) these carefully planned productions.
Productions of the big Hollywood kind, large, filled
with intricate duties, and requiring creatively designed
sets, lights, and many, many actors. Schude makes
photographs that capture a story already in motion,
pausing a moment from large-scale — like any film or
novel. They are both sprawling and precise. Built from
hand and using visuals to convey its point, they’re also
like those panoramas you made as a kid except his are
professional, beautiful, and unlike anything you could
ever achieve alone.
In this interview, Schude talks about how he got his
start in photography, reveals how Los Angeles has in-
fluenced his work, and explains how he usually begins
and finishes these large-scale photographs.
I love how intricate your photography is. How
did you get your start? How would you describe
your work?
 There are two totally different styles of work that I
am currently exploring. One is the staged, narrative,
tableau which are large productions shot at carefully
planned locations or sets and using actors cast for spe-
cific roles in order to tell multiple stories within one
frame. The other is a much simpler, documentary style
of portraits and street photography that was the basis
of what I’ve always shot from the beginning.
There are many levels of design to your work. You
use light to direct attention and build story. Could
you explain your approach to set design? What
influenced you toward this direction?
The approach is unique to each photo. Sometimes a
location can influence the story being told while other
times there is a concept first and then we need to either
build a set or find a location that works for that par-
ticular idea. Influences come from all over the place,
many are variations on things I’ve seen or experi-
enced. Film and literature also play a huge role.
What’s your pre-production process like? How do
you first develop the story/setup?
Again, it’s different every time. It might be easier
to talk about specific photos and explain their back-
story. Let’s take this one of Lauren Randolph in the
tub with the toaster for example. She is a photographer
and at the time had just finished a project where she
shot a self-portrait everyday for a year straight. I was
imagining how burnt out she must have been on the
whole process and wanted to take a portrait of her that
illustrated this. I got it in my head that she needed to
be throwing in the towel, so to speak, by electrocuting
herself in the bathtub. Then began the search for the
perfect bathroom. After scouting a few locations that
fell way short of my expectations, I decided to build
the set in the studio instead. Working alongside my
brother Collins who has done production design for
many of my photos, we bought or rented every item in
that photo specifically for a pre-determined style. We
then built the set according to a hilariously bad sketch
I made outlining what I envisioned for the composi-
tion. Adding Lauren’s cat and sister in the photo made
sense considering how much of a part they played
in her series as well. The backstory isn’t necessarily
important to viewing the image as the toaster is an ob-
vious one liner for what she is doing here but I do like
the ambiguity in Caitlin’s action as many cannot tell
whether she is trying to save her or aid in the demise.
One my favorites is #2 in Book 1 (top left). There’s
so many details to keep the eye’s interest, and the
sunset color is gorgeous. Could you explain how it
was completed from start to finish?
That is a collaboration with Lauren Randolph for
a creative retreat we attended called Phoot Camp in
2010. We knew we were staying at that house and
wanted to make a group portrait of all the members
telling the classic story of high school kids throwing a
party when their parents went out of town. Each per-
son dressed in their favorite teenage stereotype and the
scene was constructed around the pool. Everything is
shot in camera at the same time. Ideally it would have
been one single frame to ensure that it looks as natural
as possible. In the end, there are maybe 12 different
frames composited together shot over the course of an
hour or so.
Your portraits are also very much about set design
and color. They’re well thought out. #3 in Book 2 is
a great example (top right). Did you find this loca-
tion first then build the portrait around it? How do
you usually plan a portrait?
That particular image was part of a series that
matched a specific prop with a matching wall behind
the subject. The locations came first, driving around
Los Angeles and finding places I wanted to shoot at
and then coming up with props appropriate for each.
Again, this is not a consistent process for all portraits,
it goes both ways where the subject can inspire the
location or vice versa.
#5 in Book 2 (left) is one of my fa-
vorite images of yours. It showcases
your careful eye toward matching
colors and finding the right moment
to capture. Why did you think it was
important to make sure the car, the
roof, and the car match?

Your eye moves around the photo

jumping from each red object while the
subjects are frozen in their own move-
ment. It all works together to create a
little dance in the frame.

What principles do you think other

photographers could learn from your
work about telling a story with de-
tails like color and composition?

Maybe not to overuse a gimmick.

Keep it subtle enough so that it isn’t
jumping out at the viewer as a one liner
but an afterthought that compliments
the story as opposed to dominating it.

You’re a Los Angeles based photog-

rapher and photograph many loca-
tions within the city. What advan-
tages do you think this city provides
to photographers? Any organizations
other photographers should know
about?

Before living here I wasn’t a fan at

all. At first glance it isn’t a classically
pretty city but it is fairly diverse and
vast enough to keep you exploring
nonstop. You can go from the beach
to the mountains to the desert in the
same day. Every resource you could
ask for is here to help you make work,
the most important being the troves of
creative people surrounding you. The
biggest reason I may never leave is be-
cause of my immediate community full
of people hungry to make great work.

Be sure to check out all of Ryan’s work

on his website!
Why a Photographer’s Style Will Always Remain
Deeply Personal with Maarten de Boer
“A photographer’s style is a deeply personal
thing, whether they realize it or not.”
H
ow do you introduce your-
self to strangers? Do you,
like celebrity photographer
Maarten de Boer, admit that you
enjoy eating popcorn with chop-
sticks? Or that you love bacon and
black pudding? And if you have
a beard, do you say you love it?
I’ve learned a thing or two from
interviewing many great photogra-
phers, and one of them is that their
aesthetic reaches out to everything
they do, even determines their little
bios on their sites. Some go formal,
others go silent, and still others,
like de Boer, go personal.
The personal ones are my favor-
ites. From de Boer’s, I can gather
that the ellipses, the under-cased i,
and brilliant selfie all indicate that
he’s a photographer who truly en-
joys and understands himself. Per-
haps that’s why his images all feel
consistent and personal. They are
photographs that proudly scream
that they were taken by him. And
though I haven’t met de Boer, I
imagine that he’s as approachable,
confident, and graciously funny as
many of his images are.
In this interview, de Boer talks
about his long journey in photogra-
phy, explains how he achieves his
wonderful lighting, and reveals why
a photographer’s style is a deeply
personal thing.
Y
our celebrity and personal
work is great. How did you
get your start?
I have to say I’ve always had
an affinity to photography. It was
something I always gravitated
towards in school. I was born in
Scotland and lived there until I
was 13, then we moved to Norway
where I attended an International
High School. As a freshman, they
started a photography class taught
by our Spanish teacher. I signed up
for the class and learned the basics
of black and white film. I think
my first camera was a Canon AE-1
with a 50mm lens. I was terrible,
but I loved it. I have fond memo-
ries of processing and printing my
own work in the darkroom. Hav-
ing lived in Scotland and Norway,
I’d say that my exposure to the
world of photography was pretty
limited — keep in mind that this
is still pre-internet days! Crazy. At
18, I moved to the U.S. and at-
tended the Webster University in
St Louis. I was a Special Education
major, as an elective I continued
to take photo classes, spending
more time in the dark room. At this
point it still hadn’t occurred to me
that photography could have been
a viable career choice. It wasn’t
until my final year in school that I
dabbled with the idea of pursuing
photography. I bounced around a
little after college, finding myself
in Houston, TX. I got a job at the
Houston Camera Exchange, a great
little camera store. I learned every-
thing I could about cameras and
lights there. From there, I applied
for a job with a local photographer named Arthur I really had no business doing it! But we all have to cumulation of my own choices. Where do I shoot this? it’s still life, celebrity, automotive, kids, headshots,
Meyerson. He was looking for a new full-time 1st start somewhere. I built on my knowledge and experi- How do I light this, or shoot this? How do I interact or whatever! I’ve known many photographers who I
assistant. Looking back I would say that this was my ence, and a couple years later I opened a small digital with my subject? How do I treat the colors in my consider to be wonderful and creative but they never
actual start, and the beginning of my real education in capture company. I saw it as an opportunity to make image? Which images do I select and retouch? What gained traction. There is so much more to being suc-
photography. Arthur was a commercial photographer money, to own gear to use for my shoots, and pay the direction is given for retouching? All these questions cessful in this business than just raw talent. You have
with a great eye, a great reputation and a strong work bills. It was a good business to have, but it still wasn’t need answers. All those answers are a reflection of to be resilient, business savvy, good with your money,
ethic. A lot of my behavior today in this business was what I wanted to do. This is a really long winded way my personality, my aesthetic, or myself as a person. A knowledgeable and most of all prepared for your lucky
built off what I learned from him. I only worked for to tell you how I got to where I am today but I think photographer’s style is a deeply personal thing, wheth- breaks.
him for a short while, but in that time, we travelled the it’s important. Your experience and background are all er they realize it or not.
world, I saw places and part of what makes up Who was your first
had amazing experi- who you are as a pho- Were you ever unsure celebrity portrait?
ences toting around 2 tographer. I wouldn’t of your talents? When How did you secure
full camera bags and change my path at all. did you realize you that work?
a backpack of 100’s Having worked for so could make it?
of rolls of chrome many photographers, I had to really think
film. Vietnam, Japan, on so many different I really love this about this. I think it
Spain, South Africa, types of jobs, it really question. I think I’m was a music press
Zimbabwe were just a helped me learn, grow always unsure of my junket I shot back in
few of the places I was and fine-tune what my talent. It’s either in my 2008. I was shooting
lucky enough to travel own focus and point of nature to be this way, or for a small magazine
to, while working for view should be. its just a healthy state called “Ego”. I say
him. Back at his studio, of being. I’m always small because its print-
I would manage the How would you de- wanting to learn more, ing was about 3×3. We
gear, the film, pull old scribe your work? do more, change it up were set up in a hotel
images and make dupe as I go, while maintain- suite in Hollywood, I
slides, print in the dark I once asked a friend ing my core sensibility. had 2 set ups that bands
room, sweep, clean to describe my work to There is an ebb and would come through
up, and when I found me in one word. He an- flow to the world of and I had a few min-
the time, I would pour swered, “Handsome”. photography, things utes with each of them.
over his collection of After some thought, I change, some things I remember Fall Out
photography books and decided I really liked stay the same, but I feel Boy stopping by. At
his work, soaking up as that answer. Handsome photographers should that time they were the
much as I could. can also mean person- always be looking to biggest names that I
I left Arthur, a little able, stylish, smooth, improve and evolve. had shot. Ego magazine
earlier than I think he smart, or well-dressed. It’s what keeps it excit- had hired me a few
would have liked, but I believe my style is ing. I love new and times before that to
I needed to break out accessible. I gravitate different challenges. shoot stylists, design-
on my own. I traveled towards a simpler And when did I realize ers, producers, but this
Europe, visited fam- message and image. A I could make it? Hah. was the biggest thing I
ily, and then eventu- photographer’s work is I’ll let you know when had shot for them at the
ally found myself in as much a comment on I do. If you had showed time. I don’t think that
Los Angeles. Ten years have past and I’m still here, themselves as it is a statement about their subject(s). me my portfolio today, 5 or 10 years ago, I would have magazine is around anymore.
working away. But as soon as I got to Los Angeles, Even though I’ve shot many many people, I feel like rejoiced and told you that “I had made it!” But being
I started assisting for whomever I could. I worked as there is a common thread throughout those images. where I am now, I’m still unsure. But again, I think Your approach to lighting is precise. I love the
an assistant for many years. Digital had taken hold You can view my work together and you can see that that’s just how I am. From the outside the answers on portrait of Leonardo DiCaprio (above). Could you
and taken over the photo business, so I taught my- I have a specific point of view. I think all photogra- how to be successful seemed so simple, but over the explain how you approached lighting that one?
self everything I could about digital cameras and the phers should have this. A commonality to their images. years of chasing work, booking jobs, losing jobs, cre-
digital work flow. One photographer and a good friend This is not to say that all their images should look the ating new work and trying to build relationships, I’ve Going into this shot, I knew that I would only have
of mine, Roger Erickson, allowed me to Tech my first same, but they should feel somewhat similar. I think come to realize just how difficult it can be. And each a very limited amount of time to shoot him. So I
job for him. That was nerve wrecking! Looking back, it’s impossible not to have this. My images are an ac- field of photography has it’s own challenges whether decided on lighting with constants. This shot was lit
with two 4-bank 4ft Kino Flow lights. One is above
camera, horizontal, and the other is camera right and
positioned vertical. I use Kinos a lot in situations like
this because I find I can get more frames. There’s no
flashing strobes, so the talent doesn’t have a clear idea
of how many shots I’m taking. With strobes I find peo-
ple are overly aware. It’s jarring, being in a darkened
room, and having a light flash in your eyes every time
I take a picture. I also love the creaminess I get from
the light of a Kino Flow. It’s never as sharp or as hard
as a strobe light, I prefer the feeling overall. I shot at a
higher ISO than normal and kept my aperture shallow.
I like the fall off I get shooting this way. It’s a bit of a
risk because I don’t want to miss my focus, which is
easy to do in the moment while rushing to get the shot,
and having such as shallow depth of field. I’ve learned
to be mindful of that in this lighting set up. The final
image is exactly what I wanted, it’s beautifully lit,
shallow, it has a mood and shape. I’m very happy with
the result.
All the celebrities you photograph have carefree
and natural expressions. What’s your approach to
directing a busy celebrity? Any tips?
I’ve received this feedback a lot regarding my
work. I’m not sure if I have a clear answer as to how
I get there. I think it’s as simple as approaching each
subject with an openness and the ability to quickly
read their comfort level, their personality, and being
pliable in your method to get what you want out of
them. Everyone is different. The same challenge is
present when you’re shooting non-celebrities as well,
people are just people after all. It’s a mistake to just
assume that a seasoned actor is going to like being in
front of my camera, not all do. If you think about what
actors do when on camera, it’s very different than
having their photo taken. In a scene, an actor is given
direction, purpose, and they become a character, all
the while interacting with their environment or other
actors in the scene. In a sense, the camera is secondary
to what they are doing. When I am shooting them, I’m
asking them to address the camera, to be themselves,
and this isn’t easy for most people — I know I hate
it, too. So as much as I can, I try to engage them, talk
to them, I try to distract them from the moment. I’m
not sure how helpful my advice is, but I think “just be
yourself” is the best route to take.
One of my favorites is #38. I think this concept
matches Michael Emerson’s on-screen persona so
well (top middle). Could you explain how this image
was completed from start to finish?
I shot that image of Michael a few years ago. It
was a similar situation to Leo’s picture. Limited time,
limited space. At the time he was on Lost and I wanted
to change up my lighting a little to reflect his character
on his show. He’s a delightful person, very soft spo-
ken, very nice, not at all like his character. I felt that
using a zoom spot with the grid would give the space
I was shooting into some dimension. I wanted to take
a risk, and instead of shooting something with flatter
pretty light, I decided on mood and depth. The com-
bination of his look, his wardrobe, and the light, it all
worked really well in black and white, so that’s what I
ran with. I’ve had the opportunity to shoot him again
since then, but this is still my favorite shot of him.
How much time do you spend researching your
clients? What are your pre-production steps like?
I try to do as much research as I can. It’s important
to see what other people have done so that you don’t
duplicate it. It’s important to see what projects they are
currently working on and what they’ve done to help
inspire and give a little extra to the shot. For example,
I recently shot
the cast of
Portlandia for
an Under the
Radar magazine
cover shoot. I
went back and
watched a lot
of their skits.
Knowing that
the “we can
pickle that” and
the “put a bird
on it” sketches
were very pop-
ular, I pitched
two ideas to the
magazine. In
one shot, I have Carrie and Fred in a pickle jar, in the
other I didn’t want to put a bird on them as much as
put them on a bird. I rushed to find a taxidermy bird,
something funny that they could be riding. I was able
to source a baby ostrich, I planned out the shot, and
my amazing retoucher put it all together. The result
was two of my favorite shots to date.
I really like the 1st image in your Vixen set (above).
Was this a candid shot? How did you find this
unique couple?
The “Vixens” series was a personal project I was
working on for over a year. When planning a friend’s
bachelor party, I knew he was a big fan of Star Wars. I
had heard about a local burlesque troupe that did geek/
Star Wars inspired shows. I tracked them down and
we hired them to perform at my studio space for his
surprise bachelor party. It was an amazing show! I was
so inspired by their costumes and performance that I
asked them if they would mind me shooting all their
characters in studio and shooting some of their shows.
The shot you mentioned was from a show they did
at the House of Blues on Sunset Blvd. Courtney was
dressed like the joker, and they had someone else as a
male joker in the show as well. I was running around
between the stage performance and back stage. I went
outside and found the 2 of them sitting just talking. At
this point, they were very used to me and my camera.
I started taking a few shots of them, moving around,
trying to find the right shot. It’s all a blur when shoot-
ing this way. It wasn’t until I got home, downloaded
my cards and
started to edit,
that I came
across this gem.
What’s has
been the great-
est advice you
received in
your career so
far?
I’ve heard so
much advice
from people
over the years.
I can be a
little headstrong
sometimes, so some of the advice I listen to and take
in, and some I just think about and then decide it’s not
the right advice for me and what I want to achieve.
Everyone seems to have an opinion on what is the
right thing to do, or the right path to take. I find that
the best advice for someone just starting out is to get
out there, work with as many different photographers
as you can, get on set, work hard, and be observant.
You’ll learn more about the business than just how to
set up lights. Every photographer’s path to “making it”
is a personal journey and no two people have the same
story.
Be sure to check out all of Boer’s work on his website!
This is How You Should Shoot Celebrities
and Landscapes with Jacqueline Di Milla
I
don’t know why, but it seems that all my favorite
celebrity photographers tend to also shoot amazing
landscape photography. Jacqueline Di Milia is no
exception. Her portraits and landscapes are precise and
charming, equally. They point exactly where they need
to — reveal only what they have to. Whether it’s a
gorgeous, spot-on, portrait of Greta Gerwig, or excel-
lent in-camera collage of expansive mountain ranges,
Di Milia’s eye knows what works and stays away from
what doesn’t.
But, as with many professional photographers, the
path to getting there was filled with many odd jobs
and assistantships. Her first opportunities after college
came from shooting clubs and club owners. It took
some time till she found her first client and celebrity
portrait. But, after finding it, she knew she had found
something that she never wanted to lose. And let’s
hope she doesn’t because who else is going to shoot
artists like St. Vincent, Haim, and Dirty Beaches with
that same incisive eye?
In this interview, Di Milia talks about her start in
photography, explains her approach to her ethereal
landscapes, and gives great advice that any aspiring
portrait photographer should read.
Y ou’re a Los Angeles/New York based celebrity
photographer, but you also shoot amazing
landscapes. How did you get your start in both
genres of photography? How would you describe
your photographic style?
Thank you. I studied photography in college, and
then went on to assist a handful of photographers.
Both of those things kept me pretty active in the photo
industry. It was helpful in honing in technical skills,
and to see how each person ran the show in their own
way. A few of the photographers I worked with were
pretty good about introducing me to editors and art
directors, which was really helpful. More than any-
thing, this goes for both genres, its been about keeping
creatively active with peers. A lot of things get going
by word of mouth, or by collaborating on projects. The
landscape/fine art thing wasn’t anything that necessar-
ily had or needed a start. They were just some things I
wanted to make for myself.
How did you secure your first celebrity portrait?
Who was your first client?
Peter Buchanan-Smith, an incredible designer and
art director, gave me my first gig shooting an editorial
for Isaac Mizrahi’s, who had a magazine at the time.
Peter was working on a redesign of Paper magazine,
so he suggested that I shoot something with them as
well. The first assignment was shooting a New York
City club owner, the next assignment received was
photographing a man in a club, and then I was asked
if I wanted to do yet another club shoot, which wasn’t
really my thing, but I was willing to do what I needed
to get more shoots. A few club shoots later, I was
asked to photograph Amy Winehouse. We were all
really happy with the way those pictures came out,
and from that point forward the assignments got better.
A week later, I was assigned musician Conor Oberst
and a few days later fashion designer Daryl K. Those
were the first stories I felt connected to and wanted to
continue getting similar jobs.
Being a celebrity photographer seems exciting but
also stressing. Unlike a portrait photographer, who
usually photographs models or clients willing to be
shot, celebrity photographers may have to shoot
people who might not enjoy being photographed. If
this happens, how do you work to ease the tension
between your camera and your subject?
My favorite camera to shoot with is a Mamiya 645
ProTL, for the reason that you can strip it down to a
very small and quiet camera. I like my shoots to be
as low profile as possible, especially when working
with higher caliber artists. At times, I think that large
productions can be distracting. I think it’s important to
make sure whomever you are shooting feels comfort-
able. I’ve had times where I thought maybe I would
shoot the person this way, but as soon as they were
ready I would feel their vibes and ditch the original
plans. In the end, if you can accomplish that, they’ll
hopefully want to give more of themselves to you.
How much creative freedom do you have
when taking a portrait of a celebrity for a
high-profile client?

It’s rare that I have any specific direc-

tion at all. Sometimes, clients may suggest
something ‘clean’ versus a more raw docu-
mentary look, but that’s really it.

What would be the most important

advice you would give to other aspiring
celebrity photographers about trying to
get their portfolio noticed?

I didn’t seek out to become a celebrity

photographer as much as I wanted to shoot
people who were cool and doing interest-
ing things. At first, a lot of my assignments
were to shoot people who were just emerg-
ing in their field, and didn’t have a big name
for themselves. My advice: research the
assignment, and if you think that person
is inspiring and talented — shoot them.
Sometimes those people end up doing some
pretty incredible things in their careers. If
they don’t end up making it really big, it’s
still cool to have spent the day working with
someone you respect.

Do you believe in portrait clichés? If so,

how might a photographer avoid them?

Sure. Just keep it real and be conscious of

where your image is coming from. I mean,
I’m sure everyone is guilty of it at times.

Your celebrity portraits are amazing, but

I was personally drawn to your Moon
Gardens project (left)? Could you explain
your aims with this project?

I started making the Moon Gardens

around 2010. I was into the way that artists
in other mediums were able to create things
that weren’t necessarily in front of them.
In traditional photography, you are always
working with something that is present in
front of the camera. The decision to work
with film was appealing because it was a
way for me to explore the unreal while using the real
in a different matter than if I had just digitally manipu-
lated some photographs and collaged them together.
At the beginning of the project, I was spending a
great deal of time in the Catskills, and traveling to the
West Coast to see places like Big Sur, Yosemite, and
the desert. Coincidentally, I was reading a lot about
science, geology, biology, and where modern ideas
and developments crossed over with metaphysics.
Everything I was learning about seemed so surreal and
powerful. I felt inspired to depict the sometimes mys-
terious and sometimes ethereal characteristics of what
I was seeing while visiting these places.
Each image is made in camera on film. Could you
explain how these images are created from start to
finish?
Each image is made by exposing the film multiple
times. The amount of exposures vary — some have as
few as two, others as many as 8. Depending on how
light or dark one scene is, I’ll meter the landscape then
reduce the exposure dependent on how many scenes
I’m combining — or at least guess how many I may
want to. It’s a little bit of math, and a little bit of in-
tuition. Some of the landscapes in the same frame are
from different places — they often aren’t preplanned.
Initially, I’ll have to decide whether I am going to do
4-5 or just 2-3 on a frame when I make that shot. Of-
ten, I look at the first landscape being photographed,
and think of something I would like to see to compli-
ment it. I’ll remember how I framed it according to
the split circle and keep that in mind when composing
the rest of the landscapes on top of it. The results can
be abstract or just slightly surreal. In the end, I’ll have
one image that looks like one dense mountain range,
but surprisingly it can be made up of 4-6 mountains in
different ecological zones.
Do any techniques learned from shooting land-
scapes enter your portraiture? How about vice-
versa? Which genre do you prefer?
I always hope to put equal care and consideration
into both while shooting. Sometimes I use a similar
exposure technique with shooting a portrait, band,
or fashion story. When Moon Gardens began, I was
shooting an editorial fashion story with a band who
had a psychedelic vibe. We were out in the desert,
and it worked well to incorporate the two. And again,
when photographing musician, Zola Jesus, I felt that
her electronic music was rather moody and mysteri-
ous, so it was an appropriate time to do so.
Being partly based in Los Angeles and partly
based in New York offers you a unique perspective
to compare the cities. What advantages does Los
Angeles offer photographers (celebrity or other-
wise) that New York City doesn’t?

Los Angeles is a beautiful city. The geography

can drastically change within a mile, making it very
easy to shoot in an area that looks rustic one day,
and the desert the next, or even on a rocky cliff over
the ocean after that. The city is flooded with a very
specific light with a dreamy quality. Some people
joke that it’s the smog — I don’t doubt it. The endless
amount of available locations, and the necessity of
having a car make produc-
tion for a small shoot highly
accessible. I shoot celebrities
in both cities, so I wouldn’t
say that it’s necessary to be
in LA for that reason. I do
think there are more musi-
cians living in LA though.
It’s an easier lifestyle for
young artists, and a really
good network. Aesthetically,
New York has a grittiness
that can be romantic, mys-
terious, or curious. Finding
light in NY can be difficult
at times, but when you do
capture it, it can be really
surprising. Going between
the two cities can really
open up opportunities, but
the constant travel isn’t for
everyone (I’m on a plane
right now). I think it’s best
to just go to where you feel
the most inspired, and surround yourself with inter-
esting people.

Be sure to check out all of Jacqueline’s work on her

website!
Forgoing Digital Effects for the Real (In-
Camera) Thing & It’s Beautiful with Jana Cruder
I
t’s really hard to bring up Flannery O’Conner
when talking about photography, but if you have
the chance, you take it — especially if it’s about
“A View of the Woods“. Like Mary Fortune Pitts from
that story, Los Angeles photographer Jana Cruder
spent a lot of time around places swarming with bull-
dozers and earth-moving machines. This is because,
at fifteen, her first paying job was to shoot her father’s
construction sites. But, while doing so, she soon fell in
love with taking portraits.
O’Conner’s story doesn’t end well, though. Thank-
fully, Los Angeles fashion photographer Jana Cruder’s
story has yet to end and goes nowhere near the not-
so-pleasant outcome of “A View of the Woods”. Her
work, however, does share O’Conner’s astute sense
of revelation and shading. I could try to explain this
further, but Cruder does it best when she describes
her portraits as “a beautiful dance between lovers: it’s
a little give and a little take and at the right moment
something extraordinary happens and we both know
it.”
In this interview, Cruder talks about how she got
her start in photography, explains her unique ap-
proach to in-camera techniques, and gives insightful
advice about getting fine art work exhibited in galler-
ies.
I really like how elegant and composed your work
is. How did you get your start? How would you
 describe your work?
Elegant and composed I like that, thank you. I
would describe my work as hyper-real with a sense of
soul. I set out to capture that ever so perfectly imper-
fect moment and try to create iconic images that make
you go whoa! I enjoy photographing people mostly on
location but also in studio when it’s right. I’m a true
in-camera experientialist. I like
bringing back old-school in-
camera techniques for the digi-
tal era. Since, you know, these
filters and colors and instagram-
esque feelings, those were all
once film bases, filters, and in-
front of lens techniques, full of
perfectly imperfect film surpris-
es. Now we have them easily
available at our digital finger-
tips. I’m also a seeker of light,
where there is great light you
will find me and even if there
is no light I can create light —
even in the foggiest or rainiest
of circumstances, I’ll breathe
onto my lenses and create light
fractals and flares where there
isn’t any. I would say that my
father was really my first paying
client. He owns a construction
company, and the second I got a
camera he threw a hard hat with
a sharpie drawing of a camera
on me and sent me to job sites.
I would shoot everything he
wanted, but I found I was really
drawn to the characters I met
on those job sites, and as a 15
year old kid that was quite an
interesting experience walking
around earth-moving machines
in mining quarries.
After high school, I attended
R.I.T in upstate New York and
obtained a degree in photogra-
phy. After that, I returned to my
hometown and assisted some
photographers who shot corpo-
rate and medical photography
in Pittsburgh. It was fun, but I
realized if I stayed in Pittsburgh
I’d only shoot corporate or
medical, and as long as I could
remember, I’ve always dreamt
of fashion, so when the oppor-
tunity presented itself I headed
west, deciding that Los Angeles
was warmer than New York. In
Los Angeles, I very quickly ran out of all the money
I had saved assisting in Pennsylvania and I needed
work. So I started working at a stock photography
house and worked at various stock photography agen-
cies until 2008. In 2008, I set out on a deeply personal
project of photographing Native American artists and
spent a few months in the desert making that work.
I got that year’s tax return and since started my own
business, pursuing my photography full time. In 2010,
I took my last assisting job and I’ve been walking the
freelance path ever since. As far as the fashion indus-
try goes, I’d say I truly honed my desire and thirst to
shoot fashion while living in Las Vegas. It was there
that a publication and a photo editor saw my potential
and encouraged me and provided an anything-goes
platform to publish my fashion. I’m forever grateful to
them for that.
When did you become confident of your abilities?
Were you ever unsure of your talents?
I think this is an ongoing battle for all creatives be-
cause, in my opinion, creativity is divine. It’s a chan-
nel that we are tuned into, and we are the conduit for
which ideas express themselves. I would say I’ve, in
the past two years or so, become more confident of my
abilities to be able to truly handle big projects. What
became clear to me, which lead to this confidence,
was knowing that I have a unique, distinctive vision.
People are seeing this and commissioning me for it
(that is so amazing!). But being unsure is part of it.
When you sign up as an artist, doubt and uncertainty
are part of the creative process. I’ve learned that when
doubt or uncertainty arrives it’s best to love it and just
know it’s there to teach you and make you better, and
it will pass and what will result will be the best ex-
pression of the idea.
Many of portraits are low-key and subtle. You also
have a preference for natural lighting. Why do you
prefer this type of lighting?
I really like to set the stage and step back and ob-
serve. I’ll craft the scenario, set the time of day, figure
the lighting and scenery, and then allow space for my
subject to be themselves — to be in it, as they are in
that scenario. Making a portraits for me is like a beau-
tiful dance between lovers: it’s a little give and a little
take and at the right moment something extraordinary
happens and we both know it. When someone steps
in front of my lens I try to connect in any way, try to
find something in common. This is the fun part, but it
can also be challenging, especially when that person
may be pressed for time or isn’t feeling exceptionally
photogenic that day. It’s my job to help them shed
those insecurities, and shake them out of what they
think I want and get them to truly just be and connect.
As for natural lighting, I do have a preference for it.
I would say, a lot of times, I don’t have the time to
set up tons of lighting on assignment. I’ve learned to
keep it simple. I use natural light or simply one light
for most of my portraiture. I prefer finding great light
and modifying it, so my focus is kept on the story and
subject — not what my lighting is. But most of my
images are a mix of available and reflected light and
some strobe lighting outside. I love light and that is
where I thrive, seeing it and interpreting it and allow-
ing light to create moods for me.
The Inked Girls series highlights your ability to
maximize a simple approach to lighting and design
(top).Were these shots improvised on the spot? Or
pulled from a shot list? What’s your usual ap-
proach to pre-production?
Inked Girls is a good example of three very differ-
ent lighting techniques. The on-white Oliva shoot was
simply next to the camera and on-camera flash, chan-
neling my inner Terry Richardson. The Des Wilson
was modified available light, and Roxy was heavily
controlled lighting on-location with gels. For Olivia’s
shoot, there was a shot list, and we stuck to it. For
Des, I showed up and took notes of what images could
be made then followed her around to where the light
was great, so no storyline or shot list. We let it unfold
and went to where the light was and trusted what felt
right and beautiful. Pre-production all depends on the
concept, subject, and whoever needs to sign off on the
final image. For some assignments, there is a specific
story to illustrate or a layout to shoot, but for things
like the Inked Girls or the Milk X magazine shoots I
have total creative freedom to explore my subject and
together we can create a story together.
I love the colors you used for your Kelly Rowland
portraits, especially the first image (right). Could
you explain how this image was completed from
start to finish? Any tips on post-processing?
Ahh! This was an interesting scenario indeed. We
shot high-key on white in a studio and after the shoot
the magazine said to me, “Well, we would love an
implied environment.” And they asked what we could
do in post. I was super happy, and I decided to add
some Jana-Flares in the actual capture by using the
light flares to create sunbursts plus some other tech-
niques in-capture that will remain artist secrets (winky
face!). So that gave us a lot to do in post. The images
were then color treated with the pinks and purples and
enhanced through painting and post-color ND tech-
niques. My tip on post: work with a creative and tech-
savvy retoucher who respects your vision and under-
stands you enough to help bring your vision to reality.
I really like the 8th image in your fashion set
(above). It’s one of your most visually dramatic im-
ages. What inspired this image? Could you give a
quick breakdown of lighting equipment used in this
shot?
Ohhh, I love this image and you’re going to love
this: it’s only window light. I used a Canon 5D Mark
3 and a 50mm lens. I remember in college studying
Art History how the great masters would paint by
window light, so when I walked into this location and
saw this window in the dark backside of a hotel room,
with the curtains drawn except for 4 inches spilling
a line of light across the table and the floor, and after
having the stylist bring in the model wearing a turban,
which was the piece to be highlighted in the image,
I instantly knew she had to be sitting down with her
cheek on the table with the turban in
the beam of light. The concept for the
piece is “Letters from Home”, and it
is a fashion-editorial embodiment of
the 70s. It’s about a girl who’s waiting
for news of her love who was sent off
to Vietnam. I shared that idea with the
model and asked her to embody what
that would feel like, and I think she
pulled it off.
You also shoot fine art projects. I really like Great
Expectations. Could you explain your aims with
this project?
Fine art is a rather new endeavor for me. I had my
first exhibition in 2011, then another in 2013. I was
discovered by a gallerist in Las Vegas and given my
first show from that. I now have two volumes of work
that are currently available as limited-edition prints
through multiple galleries in the US. The fine art world
is something I truly never thought
about, but I’m truly realizing I am an
artist at the core. The fine art work I
do explores sexuality and roles of men
and women and where we learn what
our perception of what it means to be
a woman and what it means to be a
man, and furthermore what it means to
be in relation. Where have we learned
these ideals and concepts and what shaped them? That
is what my fine art work is about. Currently, I explore
these ideas through the iconic eyes of Barbie and Ken.
In the series Great Expectations, Barbie becomes
‘Working Barbie’ and Ken enters the story. Since the
economy is down, Ken, who’s unemployed, assumes
the role of ‘Domestic Ken’ and spends his time enter-
taining himself at Barbie’s expense. As Barbie gets
deeper into her career she notices Ken’s becoming
increasingly distracted. Conflicted within himself, he
finds he enjoys spending his time with his new best
friend Joe. The story of these 3 plays out through a se-
ries of vignettes into the subtle dysfunctions of seem-
ingly perfect relationships. This is an exploration &
examination of the importance of appearance and how
the societal roles of woman, man, husband & wife are
learned and the influence of today’s media & culture
shapes us through icons like Barbie & Ken. This a
continuation of the images of Barbie, capturing dif-
ferent phases of her life. I’m currently cooking up the
next body of fine art work, and that will be released in
Oct/Dec 2014 with the Joanne Artman Gallery in La-
guna Beach. More info about my fine art can be found
through the galleries that represent me Brett Wesley
Gallery – Las Vegas and the Joanne Artman Gallery in
Laguna Beach.
What creative experimentations does your fine art
work allow you to explore that your commissioned
work doesn’t?
Through my fine art work, I can explore a concept,
an idea, or feeling, without any input from a client. It
is the purest form of my creative expression. In
my fine art, I don’t have to worry about being
too bold or about offending anyone. I can create
the platform for conversation and ask ques-
tions, then implore the viewer to ask questions
and ponder the same things I’m wondering. It’s
things we’re all thinking but are too afraid to
talk about. I can explore through fine art these
concepts and ideas that in commercial work
might be a bit taboo.

How did you secure your first exhibition?

I was working at my studio in Las Vegas and

the owner and curator from the gallery down
the street called and asked to come over, he had
seen some of my fashion work in one of the
magazines there. So he came over, sat down,
and said, “Show me something.” I said, “Well,
what do you want to see?”, as I opened my
website — he said, “No, show me something
no one has seen.” I said, “Okay, well I just shot
this series on Barbie in the desert and her quest-
ing and search for Ken.” Fifteen minutes later
he offered me my first solo exhibition. Whoa!
So a lot of it is about timing and being in the
right place at the right time. But also it’s fol-
lowing your instinct to what feels right. When
there is something you just have to create —
create it. Sometimes you won’t know why for a
while, but do it anyway. Follow that inspiration
because it’s leading you toward something.

You also live in LA. What photography mu-

seums, exhibitions, galleries, or spots should
every photographer go see?

Well, I hands down love the exhibits at the

Leica Store in West Hollywood on Beverly.
It always has fantastic exhibitions and truly
inspiring works, plus the cameras are yummy to
look at and play with, plus even more the peeps
there are super cool! Also, the Annenberg Cen-
ter for Photography is always an inspiration for
me. I’m also blessed to be in the epicenter for
great photo fairs and art shows, so I try as much
as possible to go see new things.

Be sure to check out all of Jana’s work on her

website!
How to Achieve Hollywood-Sized
I would describe your style as imaginative specta- retouching?
cles, where design and visual impact are front and
center. How would you describe your work? 1. Think about what you want to achieve with retouch-

Spectacle through Retouching and

ing before simply diving into it with your eyes closed.
Stories I think. I like to visualize my work as a snap
out of a greater picture. You don’t really have all the 2. Be critical with yourself – never being satisfied with

Imagination with Benjamin Von Wong

pieces in front of you to tell the complete story but
that’s where the imagination of each individual comes
into play!
Post-processing is essential to your work. How did
your work is the best way to improve and will help
you achieve better results.
3. Pay attention to details, editing things at 800% can
pay off, but don’t get too lost in details so that you

Y
you learn to retouch? What would you consider the miss the overall image!

ou can’t ignore Benjamin Von Wong’s work.

It’s impossible. Go ahead, try it. Look at
these images, what do you think? His im-
ages always call me back, no matter how focused my
attempt to look away. That’s their purpose. They’re
images built for and from our times. Using today’s
digital retouching powers to recreate scenes of fantasy
and the surreal, Von Wong makes images designed to
excite the fickle contemporary eye.
But keeping the eye’s attention isn’t easy. It takes
a lot of time to pack Hollywood-sized spectacle into
a single image, requiring work from a dedicated team
of talented workers, all inspired to work their way to
final product. And it makes sense that, before photog-
raphy, Von Wong spent three and half years working
as engineer. Only a person obsessed with details could
pull off these highly impressive feats of digital imagi-
nation.
In this interview, Von Wong reveals how he got his
start in photography, explains his approach to com-
pleting an image, and talks about how his unique
work.
L et’s start with your photographic style. It’s un-
questionably energetic, combining hyper-real-
istic retouching with unique visual concepts. Could
you explain how you came to making photography
in this innovative way?
I think that style comes with time and practice
for any individual – add onto that a combination of
personality, experience and preference and you get a
unique mixture. In my case – I enjoy things that are
different, surreal, and fantastical but I also don’t like it
when things look too fake and impossible!
For those who are wondering how you complete
“ Be critical
with yourself
– never being
satisfied with
your work is
the best way
to improve
and will help
you achieve
better
results.”
these images, could you give us a general approxi-
mation of your process from idea to final image? most effective way of learning? Your work relies heavily on being inspired and
consistently creative. When you’re in a creative dry
It’s 1/3rd pre-production 1/3rd shooting and 1/3rd The same way I learned how to shoot — practice spell, what do you to stay inspired?
post-production. In pre-production, you have planning, and the internet! I’ve never been a class type of guy.
gathering of resources, talents, locations, prepping for I think that the most effective way of learning is to I just keep trucking forward, really what more can
the shoot from a technical standpoint (gear, lighting, drown yourself in something passionately and com- you do? I like to travel, keep meeting people, doing
etc.) Shoot day is about making sure that despite all pletely but of course that only works if you’re passion- the things that I love and sooner or later counting on
the things you didn’t plan for you still manage to pull ate though! the inspiration coming back! That’s just how it is, it
together the shot. And, in post-production, you take comes and it goes! Those usually just apply to per-
everything that’s been done and make the best of it. What would you consider the three best lessons sonal shoots though, it has yet to happen when with a
you could give to other photographers about client :)
Your work relies heavily on being inspired and
consistently creative. When you’re in a creative dry
spell, what do you to stay inspired?

I just keep trucking forward, really what more can

you do? I like to travel, keep meeting people, doing
the things that I love and sooner or later counting on
the inspiration coming back! That’s just how it is, it
comes and it goes! Those usually just apply to per-
sonal shoots though, it has yet to happen when with a
client :)

A little about yourself. Why, photography? Why

not engineering? Medical school? Doctor, lawyer?
Politician? Philosopher? Etc.

Ha ha, I began my career as an Engineer — worked

3.5 years and then quit to do . . . something. That
something just happened to be photography! Who
knows what life will bring in the future. I don’t think
that I planned on being a photographer, it’s just one of
those things that happened. I never thought it would
stick, but it did!

Be sure to check out all of Benjamin’s work on his

website!

“I’ve never been a

class type of guy. I
think that the most
effective way of
learning is to drown
yourself in something
passionately and
completely but of
course that only
works if you’re
passionate though!”
Thanks again from PhotoWhoa!
If you enjoyed this ebook, remember to check out the others
we’ve made over at our website. Each of them will help you
get better as a photographer. They’re just as fun and awesome
to read!