Authentic Lives | Alex McDonell

We’ve been friends with Alex for forever. We recently discovered some of his early work in our archives. Check it out.  

Take Better Portraits: Tips from Brandon Roberts

Like yesterday's story with Emil we sat down with Seattle based photographer Brandon Roberts while he was in New York City to discuss his journey towards mastering portraits. After introducing Brandon and Emil to each other they went out into the city to create a series of portraits of each other to demostrate how their styles differ. 

Who are you. Where are you. Give us your links.  Brandon Roberts, currently residing in Seattle, WA. www.betterrugged.com. @betterrugged.

How long have you been a photographer. Is it your main job? Ever since I was a kid, I’ve taken photos. In high school, I spent time shooting and developing my own film. That’s when I became captivated. It took years after that to look at photography as a career and not just a hobby. Currently, I split my time as a reality tv producer and part-time photographer. I’m not far away from being a photographer full-time. #goals

When did you take your first portrait? I feel like my first portrait is from when I was 15 years old, in my awkward, clumsy days taking pictures of my friends for my high school my photo class. One of the first is of my best friend, Annie. I had her sit and pose on my plaid-covered futon in my teenage-boy bedroom. In this black and white photo she’s looking off to the side with all my crap around her. In the photo you can see a Marvin the Martian poster, Real World poster, an expired Washington state license plate, a Lucille Ball set-photo of her losing it in the chocolate factory, a CD boombox and a fish tank (DANG. hahahaha). This was a photo I shot and developed myself. 

How have you progressed over time? What do you feel has been your most improved quality? I’m constantly progressing. That’s always going to happen as long as I keep shooting. My style has changed over time because I continuously create a space for myself to try new techniques whether that’s in-camera or during my editing process. My most improved quality while taking portraits, lately, is editing in a way that celebrates the subject. I don’t want to them to seem dull or fade into the background while in their environment and I try to add a bit of magic to help set the tone. That and just making sure there’s not a lot of noise, the image is properly exposed and the eyes remain sharp. If I don’t have these, I don’t have a portrait. 

What makes for a good portrait? A good portrait makes me feel something immediately. When a portrait makes me feel, as a viewer, I want to figure out what story is presenting itself to me. Lighting is beyond important as this helps set the tone for what story is being told. The gestures or reactions the subject delivers help elevate each portrait I take. Connecting and adapting to my subject is part of my process, I’ve got to be able to make them feel comfortable enough to decide where they want to go with my directing. Getting the best results in camera sets me up for a successful edit. 

Do you prefer natural light or artificial? Why? I have crafted my portrait skills mostly with natural light. However, I’m getting more into studio portraiture lately. They’re both so different. I like them for different reasons. When I’m out taking pictures of strangers or other subjects, I love to honor where they are in that exact moment, using the natural light to help tell their background story. With natural light you start to discern what part of the world they’re in, where they might be going, where they’re from or how they’re feeling. When using studio light to shoot a subject, I’m able to slow down the process and really get to know my subject. It’s way more intimate and that shows through the lens because as soon as the subject allows you to snap one pic you have successfully gained your subjects trust to tell their story, whatever that might be.  

How important is composition and what makes for good composition? Composition is essential in portrait photography. We have wandering eyes and short attention spans, so grabbing ahold of the viewer is the goal. Composition helps grasp the viewers attention. Good composition allows the viewer to navigate through the image effortlessly, with purpose and reason. Composition shouldn't be clumsy, it has to make sense. Cropping is an important tool to help with composition. One should always try to master my composition in-camera, to help setup a successful edit. 

Color or black and white? I currently shoot in color. There’s something about seeing the setting as it is. I like the hints of many colors the world has to offer in order to create a little bit of magic I like to exhibit in my photos. I’ve been shooting a lot more in the state of Washington and I cannot imagine not seeing these greens pop in photographs, nor would I want to take away all of the endless colors New York City has to offer. 

What Camera do you shoot with? Canon 5D Mark Iv

Any final advice? Go on photo-dates with other photographers who interest you, or you’ve never met in real life. Walking through the fear of not feeling capable or qualified diminishes once you get to know other photographers. I have pushed myself the last few years to do this and it has met me with incredible results. I’ve managed to make best of friends and continuously become inspired to keep going as a photographer. I have learned new skills, different shooting techniques and take the inspirations I receive during these little friend-dates to get me to the next level. It’s fascinating to hear and understand someone else’s photo journey. We’re all just trying to figure it out at the same time. 

Paul Tellefsen | Adventure Lessons

We've known Texas based photographer Paul Tellefsen for years. We are always inspired by his spirit of community and for adventure. We sat down with him to learn more about what he has learned from years of criss crossing the globe as a full time photographer. 

Why do you adventure? To push myself into uncomfortable, out of rhythm experiences to see what I’m really made of.

Why do you explore? Because I believe we were made to.

Why take risks in life? What is life without risks? Boring.

Where are you from: Born and raised in Dallas, TX

What is your 9-5: I quit the 9-5 and am a full time commercial photographer and work with @socality.

When you were growing up what or who did you want to be? I wanted to be a doctor for a long time because my mom said I had a good bed side manner. Then for a short time a chef and an architect. But I knew early on I was gifted at creative mediums like design and photography. It came naturally. So that’s what I ended up pursuing.

Favorite place you've visited? 12 Apostles on the Great Ocean Road in Australia. It was a lifelong dream to visit Australia. And this place took my breath away.

Place you most desperately want to visit? Northern Norway. My dad is the first generation in America from Norway. So our family still lives in Southern Norway. We went back this Summer after 18 years and I was in awe. Flights from there are super cheap up North too.

What is the single greatest moment of human humanity you've experienced while traveling?

New York City with Cubby Graham. I was flying to NYC for my first big photo gig with Cadillac and didn’t know who I was going to stay with or what I was gonna do. At the last minute, while I was at baggage claim, Cubby’s house opened up. Then the airline lost my bag. I spent two full days with no clothes or toiletries.

But Cubby showed one of the greatest moments of hospitality and care in my life. He offered to buy me clothes, borrow clothes, go back and wait on the baggage truck, by the way which never showed up), he gave up his bed. The list goes on. I’ve never felt so loved, but basically then a stranger. It changed my life.

What has changed about you because of your travels? My capacity to love. I’ve grown to love more and judge less.

Who is the most dynamic and thought provoking person you've ever met? Scott Bakken. Hands down probably. He’s one of the most dynamic people I’ve ever met and now have the chance to work with. His ideas on topics inspire and challenge me relentlessly. I’m forever marked by the time I’ve spent serving underneath his leadership.

If you could travel with one person in history or in present who would it be and why? I would pick Tanner Wendell Stewart (@tannerwendellstewart). I travelled with him a lot this year and just really enjoy seeing the world through his eyes. Highly respect his creative gift and his passion for nature. If you ever get the chance, travel with him and his wife!

 

Must Haves for Travel:

• Away Luggage
• My weird looking, but awesome neck pillow
• Mobile charger
• Good book
• Journal
• Camera with one variable lens
• Bathing Suit cause you never know

 

Give us Some Travel Tips:

• Always take the window seat. The view is worth it. I’m 6’4” and I always scrunch to do it.
• Travel Solo at least once.
• It’s not about the city you travel to, it’s about who you experience it with. 
• As part of your journaling while you travel, pick a flower or piece of a plant and put it into the journal to remember the trip.
• On long flights take NyQuil. Make a game of trying to sleep the entire flight.
• Wear your heaviest shoes onto the plane to save weight

Give us a story any kind of story from one of your trips: This summer I travelled to Norway to see my family and part of me expected to get these epic, crazy photos that you see from there. Now we did take one day of the two weeks we were there to drive to an amazing fjord, but most of the time was with family on our farm.

What I learned on this trip is to embrace the purpose of the trip you are on. If it’s to travel and drive all day to get the shot then enjoy it, but if it’s to be with family then be with family and enjoy that too. 

Based on your travels what is the single most needed improvement for humanity to be stronger: A desire to gain understanding of people different than us.

What would you say to someone who has never travelled before? GO! Save up. Getting outside of your normal bubble is the best thing I ever did.

The location doesn’t make the trip, the people do. I’ve travelled to some incredible places, but no matter how beautiful or EPIC the place is, if you are with the wrong people it will ruin the trip. Be thoughtful on who you bring with you.

What is the single greatest lesson you've learned from someone that is different than you? To not seek to prove someone right or wrong, but seek to understand. I use the phrase “Help me understand” a lot these days.

When did you feel you were most out of your comfort zone? What did you learn from that lesson? It’s honestly more of the same for me. We can’t judge someone regardless of their background or beliefs or what not. All we can do is have a heart of compassion towards all people. Seeking to care and not fix people different than us.

What would you say to your former self? Calm down. Take a deep breath. You don’t need to be perfect.

What gives you hope? Jesus. period. I know that’s super Sunday school. But in my life it’s truth.

Where to next? I’m actually writing this right now on a plane to Nashville to work with Tennessee Tourism.

Is flannel always in season? Yep. I have some packed away in my suitcase.

— @technopaul

Estival Survey + Alaska

About two seconds.

That’s what you have between being asked and your response; before you let on.

It’s important first, to acknowledge we’ve reached the era of total geographical and technological accessibility. Our generation has become comfortable, in such a way that we can begin to treat a trip to say— Vik with as much insouciance as some may have once— and do, their honeymoon to The Bahamas. So with this accessibility, it’s become less uncommon to cross paths with those whom venture frequently. I believe it’s the sheer magnitude of some variables that revolve around certain destinations; kilometers driven, meters climbed, batteries exhausted, that continue to garner an audience eager to follow along, and possibly take part in the journey through your response. Your response, however, is what you control. Following the great distances and scenes catalogued, you have a brief opportunity to contort history to serve the limelight into which you’re asked to share it.

About two seconds: to say the trip was perfect, or to tell the truth.

We’d gone in, a band of misfit storytellers, documentarians, broken hearts and transcontinental navigators. We’d agreed to drive our friends’ [@floatballoontours] hot air balloon from Phoenix, some four thousand long miles, to Anchorage. Upon our arrival, the Cloth & Flame (@clothandflame) and Royal & Design (@royalanddesign) teams would rendezvous and fly the balloon over the great Alaskan frontier. We’d camp, cook and share in campfire tomfoolery along the way. We’d collect our cast as the journey unfolded, and exchange it as the screenplay called. We’d gather the endorsement of our favorite like-minded brands, and set course into the true unknown, unruly and untamed wilderness of the far, far north. We’d no idea what we were getting into, but as the self-proclaimed crew of the first Survey; Estival Survey, we had done the best we damn could to prepare.

Our initial trajectory took us across Joshua Tree National Park, Los Angeles, the mighty Redwood Forest, San Francisco, the dunes of Oregon, and up to Seattle, Washington, over the course of roughly seven days. It was seldom a matter of beauty, where our attention strayed, as it was a matter of cognitive survival. This was meant to be the mild stretch— the familiar territory where we’d have ample time and resource to recuperate and charge our souls before moving onward.

The reality, and the response we wish to share is that behind the glamor, there lies a greater truth. Fevers, flies, poisonous vines, damp earth and sleeplessness all laid the groundwork to a remarkably taxing expedition. The nauseatingly vast stretch across Canada had begin to set in several hours after crossing the border. The decision had been made to trek through until our final destination. We made several day camps— of course given the extensive amount of daylight the further north we ventured, allowed for some flexibility with this. Kathleen Lake, Yukon was arguably one of the most beautiful places we could have ever hoped to lay our heads, hammocks, and sip a beer in freshwater at. We knew, however, our time was limited, as we wished to make schedule to Alaska. We drove, and drove, and drove into some great towering blackness; bear dotted gravel ways and tree lines set to stun. We drove, and drove.

Our time in Alaska felt short. It felt longer than the days we occupied it, and somehow still brief. I think it’s the madness of going that causes this. The brands we had partnered with allowed for several remarkable campsites and experiences; unparalleled landscapes of blue, and soft etchings of green. Not to say we weren’t in some ways sick, smoke tainted and tattered. Several of us had developed sever reactions and wounds. It was rough. Tempers were fickle. We pressed on, to admire and notice the Earth we escaped to find, and connect with one another in ways we left home to conquer...

When the brazen adventure seemed to be nearing its end, I received an unexpected opportunity to plunge myself one more time into the throws of the unknown. On my last day in Alaska, one of our hot air balloon pilots, Jeff, a slow-talking, wispy outdoorsman with a salt and pepper mustache and a sweat-stained baseball cap, offered to fly one member of the Estival Survey crew over the Knik Glacier in his plane to snap photos since weather would not permit us to charter a helicopter and fulfill our ultimate dream of flying the hot air balloon over the glacier. Knowing it was my last day, my beloved crew of cohorts voted unanimously that I should be the one with the privilege of taking this flight. We went to the local airport and walked up to a 1958 super-cub single-prop plane. At first I was a little nervous about getting in that rickety old thing, but true to the spirit of our journey, I went for it.

Photo by S. Cole Kiburz (@coleplay)

We flew over Anchorage and roughly another fifty miles over gorgeous Alaskan frontier to the edge of Inner Lake Gorge which connects to the mouth of Knik Glacier. That’s when old Jeff announced to me over the intercom headsets that we were going to be landing there. We hiked to the edge of the lake to take in the view of the massive icebergs floating in the water. After a little while, old Jeff, inadvertently stumbled upon an old, overturned canoe that was hiding in the brush. We flipped it over to reveal two sun-bleached life preservers and two oars. The canoe frame was bent crooked in several places and there was a large crack in the green frame which is almost certainly why it had been left behind. There are no roads to take you to this lake so the canoe must've been flown in  by helicopter at some point. Jeff duct-taped the crack in the canoe and we tested it's ability to float in the shallow water. Once we were confident that the boat wasn't going to sink, we decided to get in and take it through the maze of icebergs; the majesty and grandness of which I will never be able to fully describe. The crackling, squeaking, breathing noise of the ancient ice and how each jagged tower was as beautiful as any sculpture. The blues were comically over-saturated and the whites were blinding. We grabbed a couple chunks of ice that had broken off and fallen into the lake. I don't know fully how to describe it, but this ice was somehow colder than normal ice. We wrapped a couple chunks in a jacket and flew it back to Anchorage with us.

Later that night, when my time on the adventure came to an end, the remaining crew ofEstival Survey poured a glass of whiskey over top of the ice and cheers’d to what had genuinely been, the trip of a lifetime.

Photo by S. Cole Kiburz (@coleplay)

This isn’t about running away from your problems or grandstanding or crusade. It’s about connecting with the natural world that is so easy to overlook in the times we live in. It’s about rectifying the blisters on your feet with the sunset from the mountaintop. It’s cleaning your hands and face in the cool waters of the river. I believe that the answers we seek reside within us, always. We are born of truth, but the unbridled beauty of this planet can help bring that truth out of us. Sometimes it’s simple; like how rain on the canvas tent can enhance the reading of a book. Sometimes it’s profound; like the twilight nights around the fire when the sun never fully set; when you question god and yourself. It’s when you realize once and for all that you ain’t no wilting twig damned to a cracked pot. You are a wildflower, born of the sun and the dirt. It’s when you agree to give it hell and see where you end up. It’s when you get up and get going. It’s when you let the compass point you forward and the stars compel you onward. It’s my sincerest hope that we may all meet with vigor the challenges of our destinies.

I aligned with an idea that life could be compared to attempting to lift the stool you're sitting on. I'm now more inclined to think it best described as adrift in a hot air balloon. Silence until noise. Still until caught. It all seems simple, and then you look around beyond the comfort of your woven chariot. You are at the mercy of variables beyond control, with your only powers to react or not. You notice places slip by below, and wonder whether they too had stories; whether they too have chosen a response, or one day will. Regardless, they pass. Regardless, the horizon will never repeat itself, for by the time you circle the sphere, the landscape has changed again.

We’d gone in, a band of misfit storytellers, photographers and makeshift transcontinental navigators. We’d agreed to drive our friends’ [Float Balloon Tours] hot air balloon from Phoenix, some four thousand miles, to Anchorage. Upon our arrival, the Cloth & Flame and Royal & Design teams would rendezvous and fly the balloon over the great Alaskan frontier. We’d camp, cook and share in campfire tomfoolery along the way. We’d collect our cast as the journey unfolded, and exchange it as the screenplay called fitting. We’d gather the endorsement from our favorite like-minded brands, and set course into the true unknown, unruly and untamed wilderness of the far north. We’d no idea what we were getting into, but as the self-proclaimed crew of the first Survey; Estival Survey, we had done the best we damn could to prepare. Created by Ryan Neal Cordwell & Royal & Design, 2016 Feat. Song For a Girl, "Orem Dugas," Jared & The Mill, 2016

Estival Survey, 2016 (#EstivalSurvey)

Words by Ryan Neal Cordwell (@ryannealcordwell) & S. Cole Kiburz (@coleplay)

Film by Ryan Neal Cordwell (@ryannealcordwell, @royalanddesign)

Photos by Constance Higley (@constancehigley)

Team:

Ryan Neal Cordwell (@ryannealcordwell)

S. Cole Kiburz (@coleplay)

Dylan Brabec (@dylanbrabec)

Constance Higley (@constancehigley)

Michelle Johnson (@meeshalrj)

Brendan McCaskey (@jarofbuttons)

Cheyanne Paredes (cheyp)

Royal & Design (@royalanddesign)

Cloth & Flame (@clothandflame)

On The Bright Side | Brandon Lopez

ON THE BRIGHT SIDE

MEET BRANDON LOPEZ 

His aesthetic is bright, crisp, and super clean. His photos brighten your day with their incredibly pleasing and refreshing simplicity. I had to learn more about how Denver based photographer Brandon Lopez developed his skills and his style.

Website - BrandonLopez.co | Instagram - @brandon.brightside |VSCO - vsco.co/brandonslopez

When did you start photography: My interest in photography was piqued three years ago when I lived in South Florida and was surrounded by so many great photographers, fashion designers, and street artists.

What caused you to get into photography: The pulse of creativity in South Florida inspired me to start thinking through each shot more technically - composition, light, texture, etc.

What was your first camera: The first camera I shot on was a Canon 5D Mark III that I borrowed from a friend in Colorado Springs. I barely knew - and maybe true still - what I was doing. 

What is your current camera: Currently shooting with a Canon AL 1. I’m trying to learn film, mostly by trial and error. It’s frustrating and exciting to shoot and develop a roll and see what turns out - it’s a patience thing.

What is your dream camera: Haven’t quite thought this through very much honestly, at least as far as an everyday camera. I’m still trying to find what feels most comfortable in my hand while shooting. If I had to name one, probably a Leica M3, but like most of us, I’ll keep dreaming.

Who inspires you: Fashion photographers like Samantha from @sammykeller in Denver and Jana from @ojandcigs in Miami are killin it right now. I love they’re style, the colors, the poses, the compositions, really their whole aesthetic is perfect. Street photographers like Joe from @ioestreet capture the human story in ways I only wish I could. Lastly, Toby from @tobyseeingthings is doing some pretty awesome work in minimalism - his series called ‘minimal body’ is one of my biggest sources of inspiration currently.

What inspires you: People inspire me. The people in my life, the people that pass me by every day. Everyone has a story to tell, whether that be through creative expression, vocation, or just conversation with strangers. 

What is your favorite subject to shoot, least favorite: Favorite would be people either candidly (street photo style) or somewhat staged. Currently I have this idea running through my head about social anxiety and feeling alone in a place that was once home. Looking in on people in what would feel like familiar settings we’ve all been in or known but in awkward or slightly uncomfortable poses - which sometimes (at least recently) is representative of how I feel in social situations. Lol. 

What do you feel is your greatest strength and what is your greatest weakness: I’ve been told my greatest strength is capturing people - so I’m running with that. Greatest weakness is probably the technical side of things, like operating a camera. Honestly this is a new form of expression for me. 

You have a very bright style, why? I like to keep my photos bright, colorful, and lively mostly to remind myself that this is what life is like. Honestly, I’ve been depressed for most of my life, growing up in a relatively religious home and keeping to myself about sexuality, along with a slew of other shit, has lead to some pretty dark days. And I’m not looking here looking for pity or ‘oh poor Brandon’ comments, but to show people who experience depression that there is a whole other side to their story that will come if they’re willing to fight for it - the bright side. 😉

What's a bit of life advice you'd give: Ha! You’re asking the wrong person for life advice. When I figure it out I’ll be sure to share. But to echo my answer for the last question, which actually sounds p corny when I read it back, but honestly life is a battle and if you’re willing to fight for what you love you will find that there is a whole community of people, with stories just as intricate and messy as yours, that will love and build you up. 

A Focus on the Human Element | Jeyson Paez

When it comes to portrait photographers Texan Jeyson Paez is in a land of his own. To learn more about Jeyson and his work I asked Christophe to sit down with the man behind the portraits.

Christophe: When did you first become interested in photography?

Jeyson: I was really young, I can't remember the exact age. But I always knew that I wanted to express myself in a creative and interesting way. I was always captured by the beauty of images and the stories they could tell. That translated into my interest in being behind the camera as a photographer, so I could be the one behind the stories. 

C: Were you self-taught or did you learn in school/from a mentor?

J:I took a class at a community college covering the basics of photography. I was taught how to properly use a camera, but the imagination is inherent in me. I was ready to learn things on my own, and I knew that I needed more hands-on practice. 

C: How did you develop your style?

J: I'm not sure if I've locked down a style yet. My work is about the people, and they inspire me in a different way every time. 

C: What themes do you explore through your work?

J: There are two themes in all of my work: the personal and the professional. My personal is more visceral and candid; I like to put a focus on the human element. It's a little more free, and the story comes naturally. It's definitely more intimate and honest. Professional is more polished and stylized--I know the photo is for a specific purpose, and there's more structure to it. 

C: How do you find and choose your subjects or locations?

J: I find most of the models I work with on Instagram, and sometimes they find me. When choosing, I veer towards someone who (I think) can give me more of a personal connection to the photos I'm taking. I like to make my personal work feel as real as possible. For locations, I do this the old-fashioned way. I drive and bookmark the unusual or unique spots around my city! 

C: What inspires your work?

J:The people and their stories. That's where the appeal of an image comes from, and that's why I picked up a camera in the first place.

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

J: It always depends on the subject. I think not knowing how things will go in a shoot is the most exciting part because it creates this unique experience for me and the models I work with. We are walking into the unknown, and that's how I can capture emotion and vulnerability. With my current project, ROOMS, I sometimes don't even know what the actual room is going to look like until I'm with the model the day of the shoot.

C: What has been your biggest lesson learned through creating your art?

J: Whatever you create or do, always make sure you're doing it for yourself. I sometimes push the limit and it may not be the popular choice, but I know what images matter the most to me. I'll always focus on that. 

C: What do you hope your art says to people?

J: That life is a beautiful mess.

C: Why did you choose your craft(photography)

J: I've always gravitated towards photography since I was very young, and it felt like the only option for me to express myself creatively. 

C: How hard was it to become profitable at it?

J: I'll let you know once I find out! 

C: Any suggestions to newcomers to the field?

J: Find what gives you the fire, and go for it. It's not going to be an easy journey but if you truly want it, the result will be fulfilling. 

C: If you couldn’t be doing your craft, what would you do instead?

J: While I can't imagine what life would be like without photography, I know I'd be working with people in some way. Anything I think about has to do with helping people, with inspiring them to be their best self.

C: Any favorite moments of your career so far?

J: My glitter project, Glitter That Portrait, took me places I never could have imagined. It was something so personal to me, and the reception was widely positive. I ended up being featured on Instagram, OUT Magazine and Cosmopolitan. It gave me a platform to expand my photography business. 

C: What would you do differently if you could start from scratch?

J: Honestly, nothing. I am where I am because of what I have gone through, and I can't imagine a different outcome than where I am right now. 

C: Is there a defining moment in your career so far?

J: My current project ROOMS. I've always wanted to explore the internal battle between good and evil, and it was something deeply personal for me. I was afraid to take things too far or make someone uncomfortable, but I took a chance. When the reception was positive, it was the best feeling. I put something so personal and gritty out there, and found that it made so many people feel something.

C: Is there anything you really enjoy in your craft vs another line of work?

J: The connection I can foster with people. The behind-the-scenes conversations make people feel relaxed and comfortable, and I don't think I would find opportunities to get to know people like this with any other job.

C: Biggest pet peeve about the industry?

J: The unrealistic idea of what pretty and perfect looks like. We are all different in how we look, how we act and what we want. That keeps the stories behind the photos unique instead of blending in with each other.

C: Is flannel really always appropriate?

J: It REALLY isn't.

Thriving Photography: An Interview with Bronson Farr

California raised, New York living, Bronson Farr is a phenomenal photographer whose love and passion for people is evidently displayed through his work. His very presence lights up a room with his radiating optimism & positivity, which is a pretty useful skill to possess being in a profession dependent on light.  We had the privilege to hear about his journey and career as a photographer.

Christophe: When did you first become interested in photography?

Bronson: Growing up, I though photos were really only to commemorate the happy stuff in life. When I was a child, I went to a wake for my Gramps. My uncle was taking photos of Gramps in his coffin and I super confused by it. I asked my Uncle why he was photographing this particular moment. He replied with something along the lines of "all aspects of life are important to document, even death". For me, this was a total and complete revelation. Photos aren't only for the happy moments, but photos are for ALL moments. Moments that we will all look back on and pensively reminisce over and moments that our posterity will look upon and know that we all existed and lived good lives. There is something magical and romantic about that, this is when the idea of photography became something meaningful to me. 

C: Were you self-taught or did you learn in school/from a mentor?

B: Self, Friends, Youtube tutorials.
 

C: How did you develop your style?

B: Practice and Collaboration.

 

B: Natural light is my absolute jam! I like to work with interesting locations in the city where there is a good mix of direct sunlight and shadowed back drops. Most times, my subjects choose me. For my art series, @bronson.skin a lot of subjects reach out via instgram, but if I think you look interesting I have no problem being that creep asking to take your photo. When it comes to clients, I always have a consultation to make sure the vibe is right. Nothing is worst than working for a client you can't stand or truly collab with. 

C: How do you find and choose you subjects or locations?

 

C: What inspires your work?

B: My absolute favorite part of my work is working with people. People inspire me and my work. 

C: How do you compose an image?

B: One thing that is always on my mind is the rule of 3rds. 

C: Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

B: A bit of both. You need to know what you want to accomplish in any given shoot. Location, tone of voice, lighting etc should be worked out before your shoot, but if you aren't open to inspiration in the midst of creating- then what's the point? If you are looking at the model and your set and get a great idea that you are enthused about- the best advice I can ever give is to try it! You'll hate yourself if you don't.

C: What do you hope your art says to people?

B: I really just hope it makes people happy and make them want to work with me or try to execute what they've seen me do. 

C: Why did you choose photography as your craft?

B: It's the best mix of working with my hands, working directly with people, and actively trying to be creative and thoughtful. It just works for me.
 

C: How hard was it to become profitable at it? 

B: Thankfully I didn't struggle too much to get in the green. One of the first projects I worked on was a fundraiser for my friend's dad who had throat cancer. I shot loads of family sessions and gave all of the proceeds to my friends family. A few days after the project was done one of my roommates handed me an envelope with all of the money I had made and donated. He said someone dropped it off for me and said to not mention who it was from. To this day, that person is the reason why my equipment is paid for. 

C: Any suggestions to newcomers to the field?

B: Just show up. Take every opportunity to shoot and learn.
Be with other creatives. Train your eye and your hands.
Cloud based storage will be your friend.
Shoot RAW and in manual mode.
Practice with prime lenses.
Stop if you don't love it. Thrive if you do.

C: If you couldn’t be doing your craft, what would you do instead?

B: You know how Uber partners with hella companies to do cool stuff? I wanna be the guy to set up those partnerships...

Puppies would be in every car.
 

C: Any favorite moments of your career so far?

B: Shooting an huge Indian wedding in San Francisco. The groom's family blocked off part of Union Square and the family danced and sang while the groom rode in on a white horse. It was the most magical display of tradition I'd ever seen. 

 

C: What would you do differently if you could start from scratch?

B: I was transfering data from one hard drive to another. I got a bit too stoned and ended up deleting every.single.photo. If I could start from scratch, I would get that cloud based storage off the bat, for sure.

C: Is there a defining moment in your career so far?

B: I was shooting a fashion show for Marc Bouwer and got to meet some of the cast of Orange is the New Black and some of those Housewives from BRAVO, that was pretty cool.

Ben: Is flannel really always appropriate? 

Bronson: Obviously.

C: Biggest pet peeve about the industry?

B:I don't think I've been around long enough to have too big of complaints. 

To capture all the moments of life as Bronson does really causes him to stand out. That to me is authenticity at its finest. He captures the good times, the hard times, and everything else in between. To follow his journey or even be a part of his shoots, check out his Instagram and Website below!

Bronson Farr's Website 

Instagram @Bronson.photo

Beautiful Vulnerability: An Interview with Ann Marie Amick

Ann Marie Amick is a photographer and painter based in Brooklyn. Her curls are full of secrets and she was able to share a few about her craft with us. This brilliant artist takes photographs that each one of us can relate with. While you read about her development and exploration as a photographer, ponder on her art and see the ways in which you can connect with her photos. 

Christophe: When did you first become interested in photography?

Ann Marie: I have found myself interested in photography throughout my entire life. I grew up around cameras and photography, due to my father's love of both. The sound of a Polaroid camera shutter is a constant memory-stirrer for me. However, when I was 19 I found myself more curious about photography and sought out my father's advice regarding how to get started. He pulled out his 1976 Olympus OM-10, ran me through the basics of exposure, aperture, and the rule of thirds, and sent me on my way. That's where my love affair with film began, which eventually led to me pursuing photography more passionately.  

She always conveyed the importance that regardless of if someone else has conveyed this story via camera, no one has told it in my own voice, and it's a voice worth being heard. Over time I have learned different aspects from photography from fellow photographers, and I consider photography to be an ongoing creative adventure where I'm constantly learning new things. 

C: Were you self-taught or did you learn in school/from a mentor?

A: A collection of people assisted me with my photography knowledge. My father led me through my first year of learning 35mm film, understanding the basics of photography and finding what inspired me. A very dear friend, whom I consider to be my mentor, led me into my next stage of learning, which included understanding what I wanted to convey with photography. She taught me the importance of telling a story, but making the story my own.

C: How did you develop your style?

A: I developed my style through a great amount of trial and error. If I was curious about something, I would attempt to photograph it. I essentially hold the majority of my creative ideas with an open hand, i.e., I don't get too attached to ideas. If I have a plan for a shoot but I find my creativity leading me in another direction, I'll go with it. This is how I finally found myself working on form studies and photographing the nude form. Curiosity led me to something that I developed a great passion for photographing. I am continually seeking to challenge myself with different aspects of learning photography and how to push myself forward, so I feel that my style will continue to grow and change as time goes on.

C: What themes do you explore through your work?

A: I'm passionate about exploring connections, vulnerability and sexuality within my work. I choose to photograph nudes because it inherently either connects a person to an image or offends a person.

Either way, I have found that it causes a person to think about the image set before them. I have always said that if you hate the work I create, I've at least made you think enough to decide that you dislike it. In thinking about it, you've connected to it in some way, whether it is a positive or negative connection. I always enjoy exploring both subtle and overt sexuality within my work. Within the last year I have had the opportunity to study and photograph the male form more than previously in my photography career, which has brought about a great deal of learning and challenges.

I've seen an array of different responses to my work now that I've included the male form as well, and it's been interesting to see the change in people's approach to my work. 

C: How do you find and choose you subjects or locations?

A: When I initially began to photograph the nude form, I would ask any friend that was willing to sit for me. As I began to study the human form more and more, I began to search for different types of bodies and different physical qualities that would stand out within a photograph. The majority of subjects I photograph I've met through fellow artists or models, however recently I've been working with a number of models whom have reached out to me upon discovering my work via my website or Instagram. 

C: What inspires your work?

A: I have always said that individuals and their stories inspire the work that I create. I prefer portraits that subjects along with the general public can relate to. I prefer a casual atmosphere where I'm working alongside my subjects and models and the whole process feels more like a collaboration than anything else. I like to create portraits where the subject sees themselves within the photo, rather than the portrayal of something outside of themselves. The human form in and of itself is my biggest inspiration. Every single human body is different, moves different and has a different story to tell. The male form is wildly different from the female form in the realm of muscle structures, movement and lines. The challenge of using the human body to tell a story through movement that is both relatable and inspiring continues to be one of my main goals for creating. 

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

A: When I initially meet with a model in order to discuss a shoot, I always say that I hold all of my shoots with an "open hand." I approach the majority of my shoots with an outline and an idea of specifics shots that I would like to get. However, if the vibe of the shoot moves in a different direction or I'm feeling inspired, I really enjoy following any creative leads that I feel. I find that this kind of organic yet still organized creativity is both wildly enjoyable and creates magical things.

C: What has been your biggest lesson learned through creating your art?

A: The most important lesson that I've learned through creating so far is to trust my intuition and take chances. I've learned that even when I take a chance creatively and it doesn't work out the way I hoped it would, something was learned from the experience. I've had a few shoots which I've considered failures - even the negative emotions associated with it were a healthy reminder that things don't always work out, but it should not deter me from continuing to create. On the other hand, I've taken creative chances and created images that were not even something I intended to, and in these situations I've found even more inspiration.   

C: What do you hope your art says to people?

A: I want to create photography that people can relate to. I choose to continue to photograph the nude form because I've found that no matter what people can always relate to the nude form on some level, even if it happens to be in a negative capacity. I want people to be intrigued by the human form, to take a second glance and to ask questions. My favorite portraits continue to be the ones of a slightly ambiguous nature, where people have stated that they're not quite sure what they're looking at. I want to continually create art that people can both relate to and question over time. 

It is easy to simply like or dislike something without ever figuring out your reasoning. Ann Marie's art allows for an inner dialogue to meditate emotions and thoughts, whether positive or negative. Humans either connect with vulnerability or push it away; art creates a safe place for exploring the depths of ourselves.  

See more of Ann Marie's curls and art at her website and Instagram: @am_amick

Propelled by Passion: An Interview with Ricardo Bouyett

'Live Authentic' rings true in the life of Ricardo Bouyett. We had the absolute privilege and honor of having a raw, honest interview with him. Embracing vulnerability, Ricardo shares his painful, yet hope-filled journey with us. His career as a photographer & filmmaker go hand in hand with the trauma that he has gone through and his quest for healing. Read below with an open heart and mind; there is a lesson to be learned for all of us. 

Christophe: When did you first become interested in photography?

Ricardo: I first got into photography when I was in high school and my parents gave me a Canon Rebel as a gift. I only ever played around with it a handful of times. It wasn’t until my second semester as a freshman in college that I started taking photography seriously. I had just figured out that I was gay and I was in this weird semi-romantic relationship with a straight boy who lived in my dorm and he had called me the devil for seducing him into cuddling with me for several weeks and he dropped out of school. I was trying to process this situation along with a lot of my own questions in regards to my sexuality and identity and photography seemed like such an easy way to both distract myself and find myself. After class I would go out and shoot with friends, practice, teach myself certain things I didn’t really know.

C: Were you self-taught or did you learn in school/from a mentor?

R: I started trying out different digital techniques, coloring, and ideas to emulate some of my favorite artists. I decided to transfer to Columbia College Chicago so I could have a more stimulating environment as well as the opportunity to make some worthwhile connections and elevate my education in the arts. From the time that I applied for the transfer to my first semester at Columbia, I started my 365 project and began learning through trial and error. By the time I got to Columbia, I had been a little under halfway finished with my first major body of work. But once I was in that academic environment I started questioning more, challenging myself more and really trying to figure out what my visual voice was trying to say and what I wanted my images to be about. 

C: How did you develop your style?

R: My 365 project played a huge role in my development as a photographer. It helped shape my technique, my attention to detail, and make sense of my emotional palette. Unfortunately, in January of 2014 I was raped and that event alone took my art and flipped it on its head and blasted it into an inferno of rage, misery, and ambiguity. I didn’t know how to handle what had happened, I was in denial for a while and I could only make sense of my nightmares and of that persistent sensation of having someone inside me through creating more colorful yet pain stricken imagery. Between 2014-2015 my imagery became much more surreal as I kept dissociating from reality just to sort of survive myself and my everyday social obligations. I didn’t understand what happened to me, how it could’ve happened to me, and why it happened to me. I kept blaming myself and during my senior year of college I found the strength and courage to talk about what happened to me in a more direct way in my work. With my series, Dame De Feu, I finally started to openly explore the visual dialogue about rape survivors, but being still new to this social arena, I didn’t quite have the tools to communicate that story effectively. At the same time I was also struggling with my desire to be a photographer. During my last semester of college I realized my true voice and my true passion was in filmmaking. I crowdfunded, directed, wrote, and filmed a short film series called “Lionheart” which helped me explore issues of homophobia, domestic abuse, and rape for the first time. After having created this body of work I started to step away from post-manipulation and surrealist imagery. I felt confident in my nakedness, in the rawness of photography, and saw it fit to move on from the constructed image and onto the raw image. I will never give up coloring the way I do, so I kept that fluently going throughout my work as my style kept changing. Mama doesn’t mess around with her colors. 

In all seriousness, my style matured after this significant milestone. I mean, I raised over 2 thousand dollars and made a film series that altogether lasts about an hour. I felt unstoppable, like I could make any project I could think of. So with that in mind, I created a series called “Color Me” that more directly explored my relationship with depression over the years which later led me to make my short stories collection. That collection had about 18 short photo stories that were about domestic abuse, love, sexuality, and body image. After creating this body of work I was thirsty for another film project and set out to make “Silver Screens”.

 Moving on from the short stories collection to “Silver Screens”, I finally figured out I wanted to talk about the problematic rhetoric in rape culture. “Silver Screens” is a film that focuses on an unstable relationship where sex is used as a weapon and the main character doesn’t ever come to realize that because his therapy session is less than helpful and he finds himself constantly recycling his memories and getting nowhere. While creating this project I got the inspiration to make my most important work to date, “Oh, Bouy”. The project is a collection of volumes that help me navigate and explore rape culture through different art mediums.

While creating this project I got the inspiration to make my most important work to date, “Oh, Bouy”. The project is a collection of volumes that help me navigate and explore rape culture through different art mediums. 

My main focus with “Oh, Bouy” is to talk about the need to hold men accountable for how we sustain a culture that objectifies women, humiliates and ostracizes effeminate men, and blames victims of abuse instead of reprimanding the abusers. My style has definitely changed between 2013 to 2016 in that it’s much more direct now and carries an emotional weight that is rooted in reality as opposed to fantasy. 

C: What themes do you explore through your work?

R: In my work I explore sexuality, spirituality, and identity and how those correlate and fluctuate under certain given circumstances. My main focus in my work currently is creating stories that talk about rape survivors and navigates the complexity and fragility of the male psyche. 

C: How do you find and choose you subjects or locations?

R:When I was a student at Columbia, I relied heavily on word of mouth to find models and actors to work with. I had a website ever since I started going to school there so it was easy for other students to google me and find out if I was worth working with or not. As far as locations go, I’m very lucky in how I stumble onto special locations, especially back in Illinois. Normally I would go adventuring with friends in the suburbs or in the city and I’d always start with one point of interest and from there I’d make it up as I went along. 

C: What inspires your work?

R: Emotions drive my work to its core. Put me in a room with speakers blasting emotional, sexual, or neurotic music and I’ll have a full body of work ready on your desk the next morning. I can’t explain it, sometimes I lose myself to this other voice in my head that takes over and when I’m shooting, directing, writing, or editing, I almost always lose myself to my surroundings and to the people around me and I’ll find myself waking up hours later not remembering how I made what I made. Other times I have a moodboard, a concept, and then an emotion and then I go off script once I get there. 

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

R: It honestly depends on the shoot and it depends on the project. If I’m just exploring with friends or new models, I follow my instincts and let my personal relationship with the subject inform my creative decisions. If it’s a film project, I have a script, a storyboard, and 20 pages of notes on my phone with different scenarios to explore. I almost never shoot something without first brainstorming 100 different ways it could turn out. If I’m not set on making something, I don’t make it. I always think to myself, “Someone else somewhere in the world has already made this image or is making this image right now, why do I have to make it? Why would I want to make it? How does it fit to my mission as an artist?” 
If I can’t answer those questions and convince myself then I don’t take the shot. 

C:What has been your biggest lesson learned through creating your art?   

R: I think the biggest lesson I’ve learned is to stop comparing myself to other people and other artists. Everyone is on their own path. 

C: What do you hope your art says to people?

R: I hope it says “love yourself, love others, and most of all, don’t be rude to people just because you don’t understand what they’ve been through.”

C: Why did you choose your craft?

R: I chose it, along with filmmaking, because it was the best and most effective way for me to heal from traumatic events as well as create and share stories that I’m passionate about. 

C: How hard was it to become profitable at it? 

R: Not a lot of platforms or galleries want to pay an artist who in their eyes doesn’t make the kind of work that fits their audience reach. Do people love the work on social media? Yeah, I’ve gotten a lot of positive responses, but a lot of the time I still get ignored, rejected, and pushed to the side by art institutions and major art publications because my work makes them uncomfortable. Rape survivor stories aren’t the most popular in the photo and film world. Especially if they don’t depict the graphic violence of rape. My work talks about male violence, how damaging male sexuality has been in an overtly patriarchal society, and that just doesn’t sit well with a lot of people. And I understand that, but the unwillingness for art platforms of any kind to get involved in issues about domestic violence and rape makes it that much harder for conversations about the ramifications of men’s violence to even take place. Everyone jumps on reporting on the drama of rape and the graphic nature of the violence, but hardly anyone furthers the conversation about the life of survivors after the fact. I’m not profitable at making my photos, I’m only passionate and starving. 

C: Any suggestions to newcomers to the field?

R: Do what you want to do and don’t take no for answer. It can be very discouraging coming into a field that is so saturated with talent but that shouldn’t deter you from doing what you want to do. Everyone has something distinct they bring to the table, so why can’t you? 

C: What would you do differently if you could start from scratch?

R: I would’ve gone to school for filmmaking, not photography. 

C: If you couldn’t be doing your craft, what would you do instead?

R: I would be a singer, or maybe a vocal performance instructor. But I prefer doing this so I’m glad I can still do it.

C: Any favorite moments of your career so far?

R: My favorite moment was when I made “Lionheart”. The rush of crowdfunding and the success of finishing the project changed my life drastically. Nothing has ever made me so confident and newly passionate. 

C: Is there a defining moment in your career?

R: The most defining moment in my career so far has been creating the different iterations of “Oh, Bouy” . While “Lionheart” may have given me a new found confidence in filmmaking, “Oh, Bouy” has catapulted me into a new framework of thinking and execution and for that I’m grateful to everyone on the creative teams. But aside from artistry, the project has definitely made me less afraid to stand up and advocate for social issues that I care about deeply.

C: Biggest pet peeve about the industry?

R: The industry only cares about who you know not how much you know, and I think that’s the reason why a lot of mediocre publications, production companies, and photographers have an unfair advantage over underdogs who are climbing up a steep hill without any lifelines to help them up. I think it’s a shame, I’ve met a lot of capable artists who deserve a lot more than what they’re given. I don’t think popularity is a proper measure of someone’s ability.  

R: I like that I don’t have to answer to anyone, that I can collaborate with people who respect my opinion and want to work with me and I like that I get to involve other people who can work out their own therapeutic needs with my work.

C: Is there anything you really enjoy in your craft vs another line of work?

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Ricardo's work is more than mere photos and videos. His art has a message that needs to be heard and talked about. Let art open the door for dialogue and a greater level of honesty in our lives.  No matter the outlet, we all have a creative voice with a message that can create such a difference in our world. 

You can find more of his work on his website and Instagram. 

Shenandoah Skyline Road Trip

As the Summer of '16 winded down, one thing from my to-do list had yet to be fulfilled - a road trip. To where, though? I had been north to Canada; I had been west to the mountains. However, one segment of America I had not yet explored - the South. I have family down in Atlanta and with some free time on my hands, the perfect opportunity lay before me to take a road trip.

I devised a plan to spend about four days and three nights along one of America's most scenic byways - The Shenandoah Skyline drive and the Blue Ridge Parkway, which connect in central Virginia. The first day I spent driving about five hours to stay with a friend near Washington D.C., which was close enough to the real starting point of the journey that I could simply wake up the next morning and begin.

At dawn, I hopped on I-66 West, which was a quick hour ride to Front Royal, VA - the gateway to Shenandoah National Park's north entrance. After receiving a tip from someone familiar with the area, I grabbed a juicy burger at local sensation, Spelunker's. Finally, I was ready to begin.

The Skyline Drive is one of the most amazing roads one can experience. It gently winds back and forth through 105 miles of stunning Virginia wilderness with 75 pull-offs to take in the view (about 65 of which I stopped at.) The 35 MPH speed limit ensures that you're here to take it slow and be in the present. There's simply no rushing through such a beautiful place.

I spent the first day riding along, taking in the pull-out views and photographing the curves and stretches of road. It was pleasantly quiet in the park so I took my time soaking in everything. While there are plenty of hikes and outdoor activities to do in Shenandoah, the Skyline Drive is more or less the park itself. Many national parks are reserved spaces of land that have plenty of loops for circling and exploring. Shenandoah is unique in that the park is linear - only a few state routes intersect the park with options to exit. Otherwise, you're entering on one end and you're coming out on the other end, which encourages one to see its entirety.

I'm generally all for roughing it, but it was a particularly humid week and I desperately needed a shower after driving for so many hours. I made my way to Big Meadows campground, which is a beautiful campground and one of the few I've experienced that have a full range of facilities. The ranger at the registration booth gave me a short list of her favorite campsites at the Big Meadows loop and I took her up on the spacious, yet secluded, A103.

The weather was expected to deteriorate in the coming days, so I wanted to take advantage of what might be the last clear night on my trip. I made my way over to the Lodge to watch a spectacular Virginia sunset and converse with the travelers staying overnight.

When they sky finished its show, I went back to A103 to cook a ravioli dinner on the camp stove. Solo camping can get a bit lonely at times but a meal by a campfire was incredibly calming. Night fell and as the surrounding campers ended their day, mine was just getting started. I grabbed my camera and headed down to the entrance of the campgrounds where its namesake lies - literally a big meadow. I set up my tripod under a moonlit sky and just started shooting. Per usual, the end product was far beyond my initial intentions or expectations...

The next morning, the fog rolled in and I wouldn't see sunlight for days to come. However, that wasn't gonna stop me from continuing my journey and taking advantage of the photo op. I packed up camp, said goodbye to A103 and meandered my way down the rest of the Skyline Drive. I had many days to go and 500 miles of Blue Ridge Parkway to experience. The road trip was just beginning...

To see the rest of Jack Tumen's roadtrip of a life time, check out @jacktumen on Instagram.

Pursuit of Intimacy: An Interview with Dusty St. Amand

Dusty St. Amand is an incredibly talented photographer living in New York that we had the pleasure of interviewing. His work is absolutely beautiful and can definitely be described as sexy. Be prepared to have your breath taken away. 

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Christophe: When did you first become interested in photography?

Dusty: I’ve had my eyes on erotic and/or pornographic media for a *long* time. I’ve always been inspired (whether it sent me towards good or ruin) by the way homosexual sex and intimacy was depicted in art and in the media. I’d venture to say that an obsession with intimacy has pushed it out of my personal life and into what is now my photography. The camera is how I choose to participate in conversations about the sexual and emotional lives of men. I’ve been playing with cameras for just under a decade but I’ve been more focused on shooting with intent for the past 3 years.

C: Were you self-taught or did you learn in school/from a mentor?

D: I’ve been fortunate enough to grab a lot of technical information from friends and from the photographers who used to photograph me (I “modeled” as, like, an "art-hobby"). From the shoot to the final photos, I was absorbing a lot know-how from the other side of the lens. I follow a lot photographers on Instagram who I see myself reflected in. With really open eyes, I take notes from them constantly. All the photo info in my head was entirely self-sought, but communally taught.

C: How did you develop your style?

D: I think limitations guide your style. I used to live in the Bronx with a tiny, narrow kitchen that I shot in. I had one tall blueish softbox light that barely fit in front of the models and I taped a grey curtain to the far wall. And I only had a fixed 85mm lens, so I’d have to press myself into the last inch of the opposite corner in order to fit the model in the frame. All of my images were coming out with extreme shadows and were often cropped into specific body parts. My obsessive nature started to thrive in that light scenario. It was moody and sensual and sexy and sad. And that’s the vibe I incorporate into everything now.

C: What themes do you explore through your work?

D: I play with identity. Sometimes I want the people in my images to have no discernible face or name so that more viewers can look on with empathy, less altered by bias or attraction.

When you boil an intimate and/or sexual experience with another person, so rarely are you absorbing all of the visual information they offer in one scope (as a photograph would). We take one another in through glimpses. Flashes of tone and motion. I like to see those vignettes that make you feel like you’re there. A neck, shiny from a kiss. The middle of the back where the muscles butterfly outward. The gap in the teeth. The belly, overgrown with fur. My work is occasionally lonesome. Occasionally manic and egotistical. To me, it’s delicate.

C: How do you find and choose your subjects or locations?

D: Many of the people I have photographed have not been purposeful models. A lot of them have been friends and lovers who I happened to have near my camera. But a lot of them have also been those dudes that twinkle to me. They’re either beautiful in some specific way or they’re fresh off a big achievement or they vibrate somewhere near the weird plane of thought I live on. Locations are so circumstantial. If terroir is important to whatever I’m trying to express, I do what I can to organically factor the surroundings into the work. I like to go walk and shoot too.

C: What inspires your work?

D: How delicate masculinity is. Taboo feelings towards sex. My pursuit of intimacy. Humorous men who are honest with themselves.
Sex workers.
Porn.
Dance.
The body compartmentalization and dehumanization of the people we fuck.

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

D: The latter. I try a ton of different settings throughout and see what sticks. If it’s a winning location, I take my time and compose things. Otherwise I’m just buzzing about, clicking.

C: What has been your biggest lesson learned through creating your art?
 

                                    D: How to balance performativity in work and life- learning to commit to things because I love them not because I want to be perceived as loving something.

C: Why did you choose your craft?

D: It’s my way of telling stories in a very digital image-centric cultural.

C: What do you hope your art says to people?

D: That intimacy is something everyone needs and deserves.

C: How hard was it to become profitable at it?

D: I’m still working on that but… if you can manage to find a good client or a good array of clients that pay you enough to keep yourself a float and maybe then some, reinvest into yourself while you have the money to do it. Freelance jobs often won’t have deductions in your pay, so a huge tax bill can hit you if you’re not managing and writing off expenses to balance that a bit. It’s kind of a feast or famine career (not photography in general, but this very unique career that I’m still in the process of starting).

C: Any suggestions to newcomers to the field?

D: I’m totally still a newcomer to photography, in a technical sense, but I’ve been an artist within some medium or another my whole life… so let’s say the field is “profitable art when you’re a person who finally reached their breaking point and vowed to stop working for other people in jobs that brought you misery”. Just do what you love.

Make work that’s you, through and through. Devote your time and resources (whenever possible) to getting better, networking, and promoting your work. All of the work that’s come my way is from clients who found me because they love what I’m already generating.

C: If you couldn’t be doing your craft, what would you do instead?

D: Singing
while gardening.

C: Any favorite moments of your career so far?

D: I’m currently shooting a large portion of the visual assets that Grindr uses to market themselves globally. Millions of people engage with my images every time they’re featured. Getting hired by them (and subsequently hired again and again) has been one of the most fulfilling and rewarding professional experiences I’ve had. Shooting HBO’s ‘Looking’ star, Raul Castillo, was pretty rad. And I got to photograph this kid that I was really mean to when I was like 11 years old and we became friends.

C: What would you do differently if you could start from scratch?

D: I’d fill more of my time with technical training (lighting and studio management) so that I’d have been able to utilize those skills to support myself during slow financial times.

C: Is there a defining moment in your career so far?

D: I had my own solo art show at The Leslie+Lohman Museum for Gay and Lesbian Arts, in Manhattan, during this past Pride. The show ran for three days and I sold three pieces into the museum’s collection. That was pretty fucking major.

C: Is there anything you really enjoy in your craft vs another line of work?

D: I like that I’m able to engage people in honest, emotional conversation as opposed to hiding my feelings for the sake of hospitality.

C: Biggest pet peeve about the industry?

D: There are so many industries attached to photography, so I definitely can’t speak to everyone’s experiences. But I can address concern within the social/artistic queer sphere that I find myself in- I just want people to maintain some level of clear-headedness when it comes to comparing oneself to the curated projection of people’s lives and personas. These flat, tiled images are rooted in reality but they aren’t reflective of the way things truly are. They aren’t full truths.

Ben: Is flannel really always appropriate?

D: I don’t think I own any, but I also don’t try to be appropriate.

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I for one am very happy Dusty isn't just singing in a garden. His passion for photography and people is definitely displayed in his powerful and beautiful work. You can see more of his work on his website and Instagram.

Instagram: @Dusterzdeux

Website: SuchDustyPhotos

An Interview with Photographer Beau Simmons

Beau Simmons is a 26 year old photographer/cinematographer living in Laguna Niguel, CA. His fresh creative outlook provides amazing content that is never boring or repetitive. Whether it is landscapes or portraits, you can be sure his photography will be beautiful and the highest of quality. 

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When did you first become interested in photography?
“I first became interested in photography at a pretty young age when my Father was a film photographer/sports journalist. It didn’t become a serious profession until about 2013 though.”

How did you develop your style?

“Lots of late nights spent on my computer and head banging to hard rock music.”

Were you self-taught or did you learn in school/from a mentor?
“Self-taught”

What themes do you explore through your work?
“I like to either capture old school 70’s/90’s looks or put the model in a very unique location/landscape.”

How do you find and choose you subjects or locations?
“I love to visit National Parks and find new places or I find random spots in neighborhoods with great lighting.”

What inspires your work?
“Always looking back at photos I’ve taken and thinking of new ways to recreate them.”

How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?
“I tend to be pretty tedious with my shots. I usually put the outfits, poses, and locations in my notes and just shoot until I have everything I wanted.”

What has been your biggest lesson learned through creating your art?
“Don’t look at other photographer’s work. Stick to one style.”

What do you hope your art says to people?
“This shit is amazing.”

Check him out on Instagram @beausimmons to continue seeing moments of beautiful people in stunning places. We have enjoyed following Beau for a while now and it was a privilege to get together and hear more of his journey as a photographer. 

Meet Dylan Neuhaus

My Name is Dylan, I am a 22 year old student/retail manager/photographer who currently resides in Brooklyn, NY. Autumn is my favorite thing about living in the Northeast, to me there is no better subject on earth to photograph. There is something magical about throwing on your favorite boots and flannel, hopping in the car, and heading North towards New Paltz, stopping routinely to take photos of old rotten buildings, broken down rusted out cars, and of course for apple cider donuts. Spending a lot of my youth in Connecticut, I grew up exploring the state and finding some of my favorite spots that I continue to go back to year after year, and as of recent I have been spending a lot of time exploring the Hudson Valley, which has quickly found a special place in my heart. Autumn will most likely keep me living in the Northeast for the rest of my life, next year I hope to take all of October off from work, so I can travel the area, and shoot countless rolls of film throughout the entire month. 

Instagram @Dylanxneuhaus

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Erotic Meets Ironic: An Interview with Freddy Krave

FREDDY KRAVE is a young photographer whose art is thought provoking, inspiring, and absolutely one of a kind. His message is one of embracing oneself and being free in your own skin. It is refreshing to see someone so talented living authentically while doing what he loves. 

Christophe: When did you first become interested in photography?

Freddy: Since I was a little kid. I’ve always “had a thing” for photography.

C: Were you self-taught or did you learn in school/from a mentor?

F: Self-taught. I never had the chance to study photography, I have a big lack when we talk about lights, settings, lenses. I think I’ve just developed my own personal style with my basic gear.

C: How did you develop your style?

F: Speaking of..Well since I didn’t want to take bad pictures using natural lightning and since I didn’t know how to use at the best the environment, I just thought that using a white wall was a good idea. For me it was like drawing on a blank paper, creating something from nothing.

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C: What themes do you explore through your work?

F: I’m a big lover of the human body. I just wanna feel free to show it without fears or censorship. I would define my work “eronic”, a mix of erotic and ironic. I love the part of being sexy but at the same time I love the part of being silly.

C: How do you find and choose you subjects or locations?

F: Some of them are my friends, some of them thanks to social medias. I just ask, if they’re interested we shoot! The location it’s pretty easy to find. I just need a white wall, usually my place is my home made studio.

C: What inspires your work?

F: I’m inspired by my inner thoughts and by music. Music really is my muse. The thing is that I just wanna do things. I have no limits, sometimes I really feel different from other people, but I try to embrace this feeling.

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

F: I wanna give life to that blank space! The subject is the spark in the dark. Sometimes I have a certain shot in my mind but often I just do what I wanna do when I start to shoot. I think it’s much more sincere and natural.

C: What has been your biggest lesson learned through creating your art?   

F: Never listen to what people say. Just be yourself and always be true to what you are. If someone won’t appreciate it, there is no big reason to be sad, certainly someone else will love what you do. The most important thing is to have control about what you’re doing.

C: What do you hope your art says to people?

F: I would love to be understood by everyone in a parallel universe (lol), but knowing that this isn’t possible, I just want them to feel free to think what they want. I’m so open minded that sometimes I ask myself, “Is it possible to be more open minded that how i am at the moment?” I could never expect from people to see only what I want them to see.

And that is the one and only Freddy Krave. We here at FOLK are all looking forward to seeing more of Freddy and his photos. His work is a reminder to keep an open mind, live authentic, and be eronic.

Tumblr: Kraviation | Instagram: MrFreddyKrave

If you would like to purchase Freddy's work, click here

Top 10 Best of Fall

Experience the different aspects of Autumn submitted by folks from all over the place. Fall is a beautiful season of change and celebration, so enjoy the diverse perspectives offered by these photographers. Keep a look out for our next round up for a chance to be featured!

 @zapiratene

White Mountains of New Hampshire by @mattupham featuring @trussardigordon

 a quiet house in the highlands of Scotland by @davidtfbarry

From @mihiamelie in Croatia

Blue Ridge Parkway by @kristaramsay

@coldoctober

Loree Rowland @loree.1

Jamie Martin

M Burney Photography

Panagiotis Mavrakis

Q & A with Helias Doulis

We had the privilege of hearing from Helias Doulis, a young photographer from Greece living in London whose expressive work capturing portraits of people is thought-provoking, breathtaking, & poetic. See more of him and his work on his website and Instagram @helias.doulis

When did you first become interested in photography?

I started taking pictures when I was in my second year as an undergraduate student back in 2014 at the University of Wolverhampton, which had almost nothing to do in terms of similarity referring to their subject, to the ones that I have mostly been shooting during the past year or so. I started shooting abandoned buildings across the city that I used to live in the UK, and after breaking up with my first partner, I wanted to explore my feelings within random partners and the different seasons of the year in nature. This series is a completely unpublished one, which I still hold on to in order to create an exhibition which would contain my true self at beneath and above its roughest hours.

How did your Nurtured Nature series develop?

I was shooting some photographs with my muse, back in 2015, in Greece, and more specifically at Limanakia. That’s quite common for us though, since I use his body as an artistic canvas where I can most of the times reflect myself upon, like creating a mirror that is not physically existing, yet is always managing to create a never ending emotional surface for both of us. It was just a month after our shooting for my first feature film that is now eventually completing its post-production process. He had lost more than ten kilos to be able to present his character on camera, so his body was extremely skinny apart from weak. We created random body shapes besides the rocky landscape of Limanakia in different times and types of daylight, when I realized that I wanted him to be a Siren within a project along more bodies.

Were you self-taught or did you learn in school/from a mentor?

I am a self-taught photographer who is experiencing his different emotional spasms with the support of the lenses of a camera, reflecting his filters upon poetic visuals.

What themes do you explore through your work, a dichotomy of nature versus nurture, or an exploration of humanity in nature?

There is a continuous fight between what we are designed to be with by Nature and what we have been armed to be with by Nurture. Nature in terms of a womb, in terms of a mother who is eternally giving birth to her creatures, yet Nurture in terms of a society, in terms of a father who is eternally killing his creatures’ sensibility upon the tomb of masculinity and patriarchy. The exploration of what men have been equipped to be with, the exploration of society’s expectation of them to be presented and act through their nurtured selves while running towards the shelter of Mother Nature.

You feature many types of landscapes in your work, sensuous rock formations and meadows. What do those settings speak to in your work and it's mood?

The setting for my ‘Parabyss: A Nurtured Nature’ and ‘Blossom of Solitude’ Series has been a rocky shelter where men can find a haven to exist freely and be protected by the threatening public eye of the viewer, who is always awaiting to corrupt their sensitivity across the shore. The ‘Sheltered’ Series was shot in Macclesfield Forest, in Manchester back in November 2015. I wanted to expand on that tightness within the expression of the bodies and the way they present themselves in adverse weather conditions while trying to survive. It has been the key point of my first exploration while using a female body as part of a photographic project in order to visualize Mother Nature as a desperate yet always resourceful body among the freezing meadows of Cheshire.

You compose your subjects in positions you don't normally see in portrait photography, how do you decide on those positions and what stories do they tell?

My aim is to highlight the creature’s path within the destructive environment, a dystopia that allegorically may vary the true identity of each one of us. The beautiful world of the Pre – Raphaelite paintings present the protagonists sitting sullen and sad, while in my own shadowy world, creatures – with beauty being conquered by desire – dare to look at the viewer, overcoming the shame they may feel. This shame, dipped in the persecution, is what I am trying to capture through the body.

What inspires your work?

Since my studies are on the Literary and Cinematic Writing, the art of speech is endlessly catching my attention when facing a human being or a landscape. Poetry, makes me realize that the human being is itself a landscape waiting to be explored. Leaving behind so many artists that have inspired me from this form of art, I will focus on some photographers and filmmakers, whose works have served as stimuli to my whole work, such as George Platt Lynes, William Klein, Greg Girard, William Gedney and Nan Goldin, whose aim was to create living statues exhale sensitivity or power, indolence or pleasure, ‘victims’ of their own desires and old memories. Regarding directors, I will deliberately mention Aleksandr Sokourov and Bill Douglas, who present their heroes always corrupted by misery, destitution, hiding behind the dust or debris.

Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

Within the first shots, I wanted to undress the Man of the coat that Magritte and Beckett gave to Him, the armor of which is said in the Three Guineas of Virginia Woolf that has supported the masculinity syndrome, and to reveal the vulnerable body, the enduring one. While observing my models and the movement that I wanted to create with their bodies, I realized that this is the time for me as an artist to reveal that sensitivity that they can hide in order for the viewer himself to reflect on the society’s garment that he is wearing, either.

How do you compose an image?

The poses are sometimes clear in my mind even before I get the camera in my hands and way more often when there are several models together, born at that time as the bodies exist one next to another, seeking to enliven with a touch.

What has been your biggest lesson learned through creating your art? What do you hope your art says to people?

Since I was a little boy, I wanted to create a shelter where everyone can hide himself from harness, wear or death. And even if I still find myself helpless or obsessed with what the past used to mean in my life, I do take the time to stay at home and hide myself from everything when I suddenly realize that there is nothing stronger than showing your weaknesses to overpower that scared little boy that is now crying to see the light of beauty, within my adult body. 

Coffee with Melody Joy

Join us for a coffee focused conversation with Melody Joy, photographer & coffee connoisseur... 

What is your favorite Coffee Shop?

I have a favorite coffee shop in every city. One shop that instantly comes to mind is @cairngormcoffeeco. It is located in beautiful West End of Edinburgh, Scotland. I spent the majority of my days sitting and working in their beautifully lit space when I visited this past trip. 

What is your favorite coffee shop drink?

I always like to try a latte in every shop I go to. When I work from home I just drink espresso or straight black coffee, so when I am visiting shops, I love trying espresso milk based drinks, and a latte or flat white(depending on what country i'm in), is always my go-to. The latte art when visiting shops doesn't hurt my images as well.

What makes a good coffee shop?

A combination of the lighting, the baristas personalities and of course the quality of coffee(a must) really are the determining factors for a shop to become a favorite of mine. 

Why do you love coffee/coffee culture?

I love the friendly atmosphere that coffee shops cultivate. I always enjoy meeting new people and coffee shops tend to provide a perfect atmosphere to connect with other entrepreneurs in the creative industry as well. I hold meetings in coffee shops, I work from my laptop in coffee shops, and I also hang out with friends and chat about life in coffee shops. It's a culture that breeds conversation, I feel, and I am all about that. 

My favorite coffee culture photo tip:

Make sure that you have plenty of natural lighting by a window, as that provides more true colors of the coffee and table scape. And don't worry about setting up a perfectly styled shot, if all you have is your coffee cup and the table, try to find a few new angles to shoot it from, instead of trying to add more props to the image. Sometimes backing up and getting the texture of the table or the background scene provide a lovely balance to your simple cup of coffee sitting there, in all of its glory. I always am an advocate for minimalism. 

Website: www.melodyjoy.co

Instagram: @melodyjoyco

Victor of Valencia

My name is Luke Gottlieb and I'm a portrait and travel photographer. I grew up in the mountains of Colorado where I spent most of my time running around the woods and peaks. As i've grown older my love for capturing the beauty of the natural world has also translated into capturing human form. Both bring me tremendous passion, which is why I couldn't have imagined pursuing anything else as a profession other than photography. 

Instagram: @victorofvalencia

Website: www.victorofvalencia.com 

A Moment with Evin McClusky

@evinmcclusky

I'm a 22 year old guy from Southern California with a love for photography, traveling, the ocean, listening to new music and a plethora of other things that I'd rather not take the time to list. My page doesn't have a color palette or style or anything like that. It's a direct reflection of where I am and what I'm doing in the moment. More often than not you'll see photos of the ocean but occasionally you'll get a glimpse of my face or some of the awesome people in my life. I'm always interested in deep conversations about anything with anyone, grabbing a drink or coffee, and shooting something fun.

Instagram: @evinmcclusky

@teronbrianne

@ausbadmon

@ryanshogo

 @haysmartie

Ol' Frank & Mary Kate

My name is Mary Kate Teske. I'm a twenty-two year old photographer from Billings, MT. I grew up in Terry, MT and was influenced early on in the realm of photography by the local wonder, Evelyn Cameron. Her work portrays the natural elements of everyday life, and with my work, I try to do the same.

That being said, a lot of perspective from my life can be found in the view behind the steering wheel of a classic car. When I was fifteen, I rebuilt a 1961 Dodge Lancer by the name of Ol' Frank with my family. The car actually came from my grandfathers farm in Terry, MT. My siblings and I growing up would spend summers on the farm working and one year my grandpa proposed the idea of restoring Ol' Frank. I jumped right in. Since then, he, and the rest of my family for that matter, has restored and given a classic car to each one of his grandchildren. 

  During the past seven years of driving it, I dreamt of taking it on a road trip and always thought of the places I would go. Recently, the season in my life allowed me to fulfill that dream. I spent June and half of July of 2016 driving along the west coast. In total, I think I averaged more than 7,000 miles. I left from Billings, MT and traveled through Idaho, Washington, Oregon, California, Arizona, Utah, Wyoming and back and took photos along the way. While on the road, I slept in my car and stayed with friends. I met a ton of inspiring people and hope to take another trip sometime soon. Hopefully to the east coast!

On a side note, I do NOT recommend driving through the hottest parts of the country without any AC. Most of the trip I spent driving while holding a huge bag of gas station ice in my lap.

Mary Kate's Instagram : @marykateteske

Frank's Instagram : @olfrankteske 

#FOLLOWFRANK