Monday, May 11, 2009
Monday, April 27, 2009
America Is Waiting
America is waiting. We are hoping that our money supply will outlast the siege in our banking system. We are praying that while we are watching others fall around us, that through brilliance and willpower, "I" will one of the survivors.
The creative community is waiting. We are hoping that our corporate masters will realize that the only way to survive is to seduce America into buying their dreams and that we, the creative community are those masters of that seduction.
We are waiting for the leaders of industry to reclaim their passion. We are waiting for the bean counters that only know how to cut costs on the backs of others to step aside. We are waiting for those of us who dream of innovation, who dream of serving their customers, who know that only real way out of this morass is to reclaim the true passion of business which Is not only profit but most importantly customer satisfaction will be allowed reclaim the leadership of corporate America.
We got into this mess by putting short-term profit first. We started making cars that while profitable, but were not world class. We allowed our bankers to stop thinking about what was best for their customers but instead lend money to people who had no chance of repaying so that they could pocket their 3%. We created bureaucracies that rewarded blind obedience to rules and formula instead of service to our citizens. If America is going to climb out of this hole, and I fully believe we will, we will do it by reclaiming the mantel of service and leadership. We will become leaders when we put aside the lingo of self importance and dedicate ourselves not to next months profit margin but to building companies, institutions and brands that stand for more than making money but for truly serving our client’s needs.
I am tired of waiting. So tomorrow and each day after I will re-dedicate myself to my craft and to telling my client’s stories with all the passion and creativity that I have. If we all do this, if we all say enough of cost cutting and back room politics and re-dedicate ourselves to our customers, the waiting will soon be over.
Sincerely,
Zave Smith
www.zavesmith.com
The creative community is waiting. We are hoping that our corporate masters will realize that the only way to survive is to seduce America into buying their dreams and that we, the creative community are those masters of that seduction.
We are waiting for the leaders of industry to reclaim their passion. We are waiting for the bean counters that only know how to cut costs on the backs of others to step aside. We are waiting for those of us who dream of innovation, who dream of serving their customers, who know that only real way out of this morass is to reclaim the true passion of business which Is not only profit but most importantly customer satisfaction will be allowed reclaim the leadership of corporate America.
We got into this mess by putting short-term profit first. We started making cars that while profitable, but were not world class. We allowed our bankers to stop thinking about what was best for their customers but instead lend money to people who had no chance of repaying so that they could pocket their 3%. We created bureaucracies that rewarded blind obedience to rules and formula instead of service to our citizens. If America is going to climb out of this hole, and I fully believe we will, we will do it by reclaiming the mantel of service and leadership. We will become leaders when we put aside the lingo of self importance and dedicate ourselves not to next months profit margin but to building companies, institutions and brands that stand for more than making money but for truly serving our client’s needs.
I am tired of waiting. So tomorrow and each day after I will re-dedicate myself to my craft and to telling my client’s stories with all the passion and creativity that I have. If we all do this, if we all say enough of cost cutting and back room politics and re-dedicate ourselves to our customers, the waiting will soon be over.
Sincerely,
Zave Smith
www.zavesmith.com
Wednesday, April 22, 2009
Monday, April 20, 2009
I want to be a teenager in love
These two models are a bit older than teens but that song kept playing in my head while shooting this delightful duo.
Enjoy!
Zave Smith
Thursday, April 16, 2009
Thursday, March 26, 2009
Thursday, March 19, 2009
Once in a While
I like to write and God knows I like to talk. But once in a while somebody says it better than I:
Vince Nelson
enjoy!
Vince Nelson
enjoy!
Tuesday, March 17, 2009
We Will Get Past This
If history teaches us one thing it is that the genius of America is that we will find a new way. We are a country of boundless energy. Together and as individuals we will find our way forward again. A recession like this one will reallocate a huge amount of our resources. The question for us, is where will I end up in this relocation? As artists we are often viewed as luxury. Nothing is further from the truth. For when a society convulses we need our artists to help us understand what we are going through and to give us hope. Art is hope and understanding.
Sincerely,
Zave Smith
www.zavesmith.com
Sincerely,
Zave Smith
www.zavesmith.com
Monday, March 9, 2009
The Cure
I have been at this for a while. There have been good years and there have been years where sleep came hard for worry.
I started my career in 1982, a year with a similar economic climate to this one with high unemployment and no optimism in the air. Like many of you here I am receiving a fair amount of resumes and young photographers asking for advice these days.
I was never one who buys the idea that it was “better back then” a career in the creative arts has always been a difficult choice. We who dedicate our lives to constant reinvention soon discover that we cannot always pull the next big thing out of our camera shaped hats. Our markets are not forgiving. Our markets always want the next big thing.
So what do you say to the next bright eyed recent photo grad with a huge heart, deep passions and a small camera? How do you find the right tone between follow your heart and watch your wallet? We all want it all; sex, money, power, sprite and the idea that you are saving the world. How do you let them know that while few have it all, with hard work many of us get to drink a bit from the cup of joy even during times where the oxygen seems to be leaving the room.
To those of you who are starting your careers, have faith, work hard and keep on creating images that are close to your heart.
Sincerely,
Zave Smith
www.zavesmith.com
Wednesday, February 25, 2009
Throwing Stuff At People
Click Here For More Images From Mardi Gras 2009
After a weeklong orgy of food, music, stories, sore legs and photography I realized that Mardi Gras is not what I expected. I imagined Mardi Gras to be booze and bare breasts with thousands of people behaving badly. I have learned that Mardi Gras is a fun celebration that binds family and community together via tradition, stories and the sharing outrageous fun of the Mardi Gras parades.
One of my favorite memories from my childhood in Detroit was the Thanksgiving Day Christmas parade. Now imagine a city that has not one parade but dozens. Each parade has its unique roots and route. I watched in awe as dozens and dozens of marching bands and floats rode colorfully by. I watched in amazement has thousands of well behaved people lined the streets in a community wide celebration.
History tells us the in late 18 century France the aristocrats paraded around Paris tossing out food to the hungry peasants in honor of Mardi Gras. In New Orleans instead of food it is beads, umbrellas, stuff toys, fake coins and for the lucky few, a painted coconut.
Who knew it could be so much fun to dress up, drive around and throw stuff at people but fun is what Mardi Gras is about. I watched as kids from troubled neighborhoods reached out, screamed, and begged in delight for somebody to toss a bead their way. I saw the same child like joy in the VIP stands with the rich matrons of old money New Orleans.
In Mardi Gras, all in New Orleans becomes united by joy of an old tradition kept alive by sheer fun. Mardi Gras does not make sense until you live it and living it is definitely worth the trip.
More pictures on Monday.
Sincerely,
Zave Smith
www.zavesmith.com
Monday, February 23, 2009
As Seen In New Orleans-Mardi Gras 2009 Continued
For some more images from Saturday and Sunday:
Mardi Gras 3
Enjoy!
Sincerely,
Zave Smith
www.zavesmith.com
Saturday, February 21, 2009
Friday, February 20, 2009
Mardi Gras 2009
There is nothing more fun and challenging that an unusual assignment. Most of the time our shoots are sizable productions. We tend to work with large budgets, producers, stylists, models, and assistants. I am surrounded by our usual motley crew of people who I love, trust and help me execute my client’s dreams.
Today I am flying on my own. I have pared down my equipment from five to ten cases to a backpack. Today and for the coming week I will be masquerading as a photojournalist. I will be photographing a behind the scenes peek at Mardi Gras from an African American tradition. The pictures will be used to promote minority tourism for the State of Louisiana. There will be no set ups. I will photograph what I see as I participate in the balls, parades, music, food and mirth that is Mardi Gras.
I am not an event person. I usually stay away from crowds. Luckily for this trip it will be all first class with the gracious staff of Gmc advertising paving mine and my fellow journalist way.
Reading about the history of Mardi Gras, looking at newspaper articles and photographs one question keeps coming to my mind; Why? Mardi Gras is obviously a very expensive, time consuming orgy of color, food, drink, sex, and music. Who has the time? Who has the money? Who has the energy to dedicate this much effort to something so transient?
Sincerely,
Zave Smith
www.zavesmith.com
Tuesday, January 27, 2009
You Want Me To Do What
Just a small sample from today's fun and games on set.
Sincerely,
Zave Smith
www.zavesmith.com
Friday, January 23, 2009
Friday, December 19, 2008
Walking to New Orleans
I had the pleasure of spending last week in New Orleans. Here is some of what I saw:
www.zavesmith.com/talent/nola08
Enjoy!
Sincerely,
Zave Smith
www.zavesmith.com
Monday, November 10, 2008
Leaves have fallen, what stories do I tell?
Leaves on the ground, what stories do I tell?
We have had an amazing run at the studio. This whole year was crazy but the last 6 months set all sorts of records.
This morning I wake to find frost on the ground. At the Studio, I now find frost in my client’s pockets. Everyone is scared. Everyone is nervous. Only the warm glow of the election is keeping things from freezing up.
The coffee is rich and warm. The morning sun is changing the window’s darkness into shapes of fall color. I have some time today. Stories that have been held up inside by the demands of commerce now have room to wiggle free.
Snippets of conversations overheard, “He kissed me so I kissed him back” an attractive 30 something women told her friend. “My life was hard before I met him” said the eighty-year-old lady at next table pointing to her second husband.
My editor sends back the new photos and tells me how great they are. These are pictures that I almost did not send in because I did not believe in them. What to make of all this?
It is time to cook. What is in the pantry? Do I mix up some comfort food or do I try something completely different. Leaves on the ground, what stories do I tell?
We have posted a lot of new images to our website, go take a look: www.zavesmith.com
Sincerely,
Zave Smith
Thursday, September 25, 2008
An Open Letter to the Stock Photography Industry
The stock photography industry is in trouble and nobody knows how to save it. Currently three market forces are buffeting stock photography. The first force is an oversupply of images. The second is the rise of licensing models that are unsustainable and the third is the current economic slowdown in the industries that use the large share of stock imagery.
There is little that we can do about the oversupply and the current economic slowdown. No new policy from the market leaders, and no high-minded ideas on a photography news groups is going to increase the ad pages in Time Magazine or convince thousands of newer photographers to stop submitting images as microstock. What we can do is affect the perceived value of images.
The every popular Micro Stock as allowed our every image user - from multinationals to small businesses - to buy for a buck what they used to buy for several hundred dollars. No increase in volume is going to make up that difference in revenues. A minority who invested in the microstock circus early have made money but I predict as time goes on these success stories will dwindle as oversupply makes the investment less and less worthwhile.
I have nothing against the concept of low-priced licensing like the Micro Stock model; In fact I think it is a good way for beginning photographers to connect to buyers who need ok images. The problem I have is when market leaders who are selling premium images play this game.
I don’t want to dwell on why I believe that selling a Lexus at the same price, as a Kia is silly. What I want to offer is a possible way out of this rabbit hole.
Let’s start treating microstock in a logical, market-enhancing way.
Let Micro Stock be the farm team of our industry. Let Microstock be the place where beginning stock photographers learn how to produce sellable images and where small businesses, educators and non profits learn how to pay for images instead of “borrowing” them from the internet.
Our distributors need a systematic method of making sure that their microstock collections stay clean of high value images. HOW IS THIS POSSIBLE? When images appear on the Microstock sites that have more value, being produced by photographers with more talent these images and photographers should be immediately promoted to the major collections where they can be sold at sustainable price points. If this policy was enacted Micro Stock would enhance our industry instead of helping erode it.
I would also urge our distributors to stop pitching Microstock to valuable commercial and publishing clients. For businesses where quality images are an important part of their communication and branding, make them pay what our images are worth to them, which is far more than a buck.
This idea of protecting the value of premium images also applies to the growing trend to offer major clients access to premium collection images for minimal fees. Getty Images’ Premium Access program and Jupiter’s Unlimited Plus product come to mind, and I’m sure there are many more under the radar. While I can understand the market need for preferred pricing and for subscription access, programs I again feel that allowing all images to be sold this way devalues all images. If a manufacturer wants to have products in all price points, the usual method is to develop different production for each of these markets not just to lump their premium and basic goods into one bargain basket. If a company needs access to premium quality images, they should make sure that the pricing reflects the high value of both their client’s needs and their images’ worth.
I have been in the photography business for 19 years now. One of the lessons that I have learned is that it can take years to build up a reputation as a source for great creativity and only a couple of days to destroy that hard-built reputation. I have learned the power of walking away from a bad deal. I have learned the difference between being busy and being profitable. I have learned that often that best way to get a client to say yes is for me to say no. I plead with our distributors to learn these basic lessons. I urge them to once again have faith in themselves and the imagery of their contributing artists. I also urge photographers to be more aspirational in their stock output. I believe that photographers need to think twice before playing the volume game of Micro and RF stock and start playing the quality game of RM stock. I think that for most photographers they will find more artistic gratification and increase income from playing in a higher quality market. Better pictures, more money, what’s not to like?
I am publishing this open letter in order to open a dialoge. I invite other industry stakeholders to tell me why my ideas will not work and to share with me their ideas on how to put our industry onto a healthier track. For we are at a point in time where all of us need to come together to share our views and work together for positive change. Otherwise, we can expect more and more talented people from across our industry to end up sharing a place in the unemployment line.
Sincerely,
Zave Smith
www.zavesmith.com
There is little that we can do about the oversupply and the current economic slowdown. No new policy from the market leaders, and no high-minded ideas on a photography news groups is going to increase the ad pages in Time Magazine or convince thousands of newer photographers to stop submitting images as microstock. What we can do is affect the perceived value of images.
The every popular Micro Stock as allowed our every image user - from multinationals to small businesses - to buy for a buck what they used to buy for several hundred dollars. No increase in volume is going to make up that difference in revenues. A minority who invested in the microstock circus early have made money but I predict as time goes on these success stories will dwindle as oversupply makes the investment less and less worthwhile.
I have nothing against the concept of low-priced licensing like the Micro Stock model; In fact I think it is a good way for beginning photographers to connect to buyers who need ok images. The problem I have is when market leaders who are selling premium images play this game.
I don’t want to dwell on why I believe that selling a Lexus at the same price, as a Kia is silly. What I want to offer is a possible way out of this rabbit hole.
Let’s start treating microstock in a logical, market-enhancing way.
Let Micro Stock be the farm team of our industry. Let Microstock be the place where beginning stock photographers learn how to produce sellable images and where small businesses, educators and non profits learn how to pay for images instead of “borrowing” them from the internet.
Our distributors need a systematic method of making sure that their microstock collections stay clean of high value images. HOW IS THIS POSSIBLE? When images appear on the Microstock sites that have more value, being produced by photographers with more talent these images and photographers should be immediately promoted to the major collections where they can be sold at sustainable price points. If this policy was enacted Micro Stock would enhance our industry instead of helping erode it.
I would also urge our distributors to stop pitching Microstock to valuable commercial and publishing clients. For businesses where quality images are an important part of their communication and branding, make them pay what our images are worth to them, which is far more than a buck.
This idea of protecting the value of premium images also applies to the growing trend to offer major clients access to premium collection images for minimal fees. Getty Images’ Premium Access program and Jupiter’s Unlimited Plus product come to mind, and I’m sure there are many more under the radar. While I can understand the market need for preferred pricing and for subscription access, programs I again feel that allowing all images to be sold this way devalues all images. If a manufacturer wants to have products in all price points, the usual method is to develop different production for each of these markets not just to lump their premium and basic goods into one bargain basket. If a company needs access to premium quality images, they should make sure that the pricing reflects the high value of both their client’s needs and their images’ worth.
I have been in the photography business for 19 years now. One of the lessons that I have learned is that it can take years to build up a reputation as a source for great creativity and only a couple of days to destroy that hard-built reputation. I have learned the power of walking away from a bad deal. I have learned the difference between being busy and being profitable. I have learned that often that best way to get a client to say yes is for me to say no. I plead with our distributors to learn these basic lessons. I urge them to once again have faith in themselves and the imagery of their contributing artists. I also urge photographers to be more aspirational in their stock output. I believe that photographers need to think twice before playing the volume game of Micro and RF stock and start playing the quality game of RM stock. I think that for most photographers they will find more artistic gratification and increase income from playing in a higher quality market. Better pictures, more money, what’s not to like?
I am publishing this open letter in order to open a dialoge. I invite other industry stakeholders to tell me why my ideas will not work and to share with me their ideas on how to put our industry onto a healthier track. For we are at a point in time where all of us need to come together to share our views and work together for positive change. Otherwise, we can expect more and more talented people from across our industry to end up sharing a place in the unemployment line.
Sincerely,
Zave Smith
www.zavesmith.com
Leslie Hughes Wrote:
I read your article with interest. I would love to speak with you sometime about it. in the meantime, here are some thoughts to consider. I take a similar but different approach. I wrote an article some time ago for MacTribe that spoke about crowd sourcing and the pros and cons and how photographers were going to need to think about how they shoot and what and when to put through to what is simply a new channel. I don’t think you can stop and am a market person. I believe that if there is a demand which there is, someone will respond. So the key - which is the similar part - is to educate the photography community not to be silly in filling that pipeline with cheaply priced images of the “Lexus” product. How I differ a bit is that I don’t think necessarily that this is a talent issue but a product cost and channel management issue. You don’t put the good stuff in the cheap channel. And that is where I see a huge problem that will hurt so many good photographers.
If it takes little money and is fast to produce, than one may be able to produce it for microstock going forward - and s/he who does it best may be able to make money (I think). I am guessing this is what is behind the Getty decision to get into this initially plus the belief that content and the internet will move ever more toward a direct to consumer environment and high volume, low priced opportunity. It would be fascinating to explore how to create images that did not involve the “high priced talent” but maybe we create the opportunity for interns and as you say the farm team to learn by shooting what we know is needed. Focus the high end talent on the high end product. I like to use fashion as a metaphor. Mizrahi has done pretty darn well with his line for Target. But he does not use the same materials, not the same production process. The eye and design sensibility is pretty darn close and people love it.
Any way, I love the high end - please don’t misunderstand me. I think there is opportunity there for the right people. I also agree there is an over saturated market and that there will be more consolidation because of it. However, I also see that so much of how we live in the world is driven by the internet and we are moving away from transaction to collaboration. There is a mass market on young consumers who don’t respond to print in any way. Images and visual media will be an ever increasing part of online collarboration and clients and consumers will want inexpensive access to an ever abundant supply. We want to ensure that those that play in the space do so in a way that ensures integrity and the ability for creators to maintain control and make profit.
Interesting discussion and I love the you are willing to put in out there.
Leslie Hughes
CEO
E q u i d y n e V e n t u r e s
www.equidyneventures.com
Tuesday, September 9, 2008
Comes the Dawn
I remember watching dawn from Nabi Musa. We had climbed this mountain by torch light during the night in order to watch the sunrise from the spot that legend says Moses came face to face with God. I really don’t know if I believe in God but I do believe in beauty and when that first light reached across the desert and grabbed my heart I learned the meaning of awe.
On a clear night on the shores of Lake Wessota, my new bride and I saw a meteor shower. It seemed that the stars were dancing just for us. Love can do that to a fellow.
This morning the sun rose again. The light danced between the trees while I read the morning paper and this evening it is setting across the field while my old dog pretends to chase bunnies that are no longer there. Once again I am moved. Once again I know that the most beautiful sunset and sunrise that I will ever see, will be the one that I will see tomorrow.
Sincerely,
Zave Smith
www.zavesmith.com
Friday, September 5, 2008
Biggest Mistakes
I was recently asked, "What were your biggest mistakes as a photographer"? It took me all of two seconds to answer:
1. Forget to listen to my gut
2. Forget to listen to my client
3. Forget to ignore my client
4. Photography with my head instead of my heart and eyes.
We just posted several new images on our website: www.zavesmith.com
Enjoy!
Sincerely,
Zave Smith
www.zavesmith.com
1. Forget to listen to my gut
2. Forget to listen to my client
3. Forget to ignore my client
4. Photography with my head instead of my heart and eyes.
We just posted several new images on our website: www.zavesmith.com
Enjoy!
Sincerely,
Zave Smith
www.zavesmith.com
Friday, August 8, 2008
Nova Scotia
Images from a recent trip through Nova Scotia
Enjoy.
Sincerely,
Zave Smith
August, 2008
www.zavesmith.com
Saturday, July 5, 2008
I Have Had Them All
I wrote this article 10 years ago, it still rings true
IN TEN YEARS OF Commercial photography I have had them all. There’s Art Director Silentius, who sits on a stool and reads old art magazines like he is at a doctor’s office. There is Art Director Interruptus, the one who is always right over your shoulder the whole shoot and telling you how to move your lights and did you know that he was a photographer in New York before he became an assistant art director at Low Budget and Now?
Then there’s Art Director Wait-A-Minutus, who stays silent while you spend an hour setting up a blue background only to pipe in just before going to film that the client really hates anything on blue. And of course, Art Director Baby Sittus, who’s always asking for something, like “can your assistant run over to the store to pick up a gift for my wife?”
Then there’s Art Director Wait-A-Minutus, who stays silent while you spend an hour setting up a blue background only to pipe in just before going to film that the client really hates anything on blue. And of course, Art Director Baby Sittus, who’s always asking for something, like “can your assistant run over to the store to pick up a gift for my wife?”
In between these Excedrin headaches there are many talented art directors of still photography. These are the art directors who understand their client’s goals, who help you reach further creatively, and who foster an atmosphere of trust and excitement during a shoot.
What are the qualities that separate the I can’t wait until they leave from the I can’t wait for them to return art directors? I believe it comes down to three areas: talent, communication skills, and trust.
TALENT. No matter how nice an art director is, if he or she has an underdeveloped visual sense and/or no power to make creative decisions, you are doomed to a day of frustration and guessing. I remember one very simple shoot which consisted of a couple of large food packages and a few small condiment jars on some sort of attractive background. The sizes of the actual products were quite different from how they were drawn in the layout, so what was on the set didn’t hold together the same way as the layout presented. I wanted to switch two items so that the picture would work visually in reality and the products would have their proper billing. The art director needed several polaroids to comprehend the change I was proposing. He then spent hours on conference calls, faxes and e-mails to get the change approved. By the time he was done I wondered why I had bothered to open my mouth in the first place! If only he could have been talented enough to understand how to make a layout and visualize changes... If only he would have been empowered enough to make these decisions...
When the art director has a strong concept that makes both commercial and visual sense, even the most difficult of shoots can be, yes, joyful. I remember working on a dental equipment catalog several years ago with Jerry Robertson of Reese, Tomases & Ellick.
Jerry is a master at communicating his needs and keeping energy flowing towards a cohesive goal. We had three days to shoot five days worth of images. These were technically difficult still lifes with dental parahernalia hanging from thin wires. There were long rounds of tedious light painting with very specific color gelling, along with highly reflective objects and an exacting layout. Jerry not only made sure that we understood what was needed, he even sang songs with us at 1:00 AM when we needed to keep going. His contagious sense of creative joy and his high
level of professionalism and skill helped keep our positive energy flowing, turning an arduous day into a creative and technical photographic coup. I have had the good fortune of working with many people like Jerry.
Jerry is a master at communicating his needs and keeping energy flowing towards a cohesive goal. We had three days to shoot five days worth of images. These were technically difficult still lifes with dental parahernalia hanging from thin wires. There were long rounds of tedious light painting with very specific color gelling, along with highly reflective objects and an exacting layout. Jerry not only made sure that we understood what was needed, he even sang songs with us at 1:00 AM when we needed to keep going. His contagious sense of creative joy and his high
level of professionalism and skill helped keep our positive energy flowing, turning an arduous day into a creative and technical photographic coup. I have had the good fortune of working with many people like Jerry.
COMMUNICATION. Can the art director communicate what he or she needs and what the client’s needs are? Can they describe what they need clearly and without sensory overload? Can they sketch out an idea? Do they share the important information up front or do they parcel it out like the last of a 30 year old single malt scotch? Recently I was on a five-day shoot in Texas photographing hay farmers. I was working with Michele Reinecke, from Dudynck Advertising, an art director whom I met for the first time at the departure gate of the airport. We flew to Texas and spent two days location scouting, interviewing talent, and planning before the day of the shoot. What we found wasn’t always perfect for our needs, but she was able to see the potential in it, and she had the power to make decisions. Her ability to understand her client’s goals and to mold them around the reality we had to deal with made this shoot one of my favorite recent outings, and we produced pictures that made the client smile. Her upbeat
attitude during some long and hard days was inspiring and energizing to the whole project.
attitude during some long and hard days was inspiring and energizing to the whole project.
TRUST. Is there trust between the art director and the photographer? Does the art director ask the photographer to bid on an orange and then expect an entire grove? Did the photographer oversell his or her talents? Does the client like the photographer and not the art director? If there is no trust between them and the rest of the creative team, it is hard to communicate and even harder to know what the client really needs. So how do you make sure that there is good communication and trust on your shoots? It starts with the pre-shoot communication. These questions in the following four areas should be asked:
PURPOSE OF THE PHOTOGRAPHS
What is the purpose of these photographs?
Where and how are they going to be used?
What are the client’s expectations and desires?
What are the art director’s expectations and desires?
What is the purpose of these photographs?
Where and how are they going to be used?
What are the client’s expectations and desires?
What are the art director’s expectations and desires?
BUDGET OF THE SHOOT
What is the proposed budget?
What can be done to save money when your proposed budget is too high?
Does the art director understand the usage rights in the contract?
Does the client understand what they are buying?
What is the proposed budget?
What can be done to save money when your proposed budget is too high?
Does the art director understand the usage rights in the contract?
Does the client understand what they are buying?
LAYOUTS
Is there a tight layout or a loose concept?
Is the layout a starting or an ending point?
How hard was it to sell the end client on the layout?
What are the client’s expectations?
What happens when the photograph matches the layout but looks like yesterday’s leftovers?
What happens if the layout is not achievable?
Is exact color important, or can color be played with to create mood?
Is there a tight layout or a loose concept?
Is the layout a starting or an ending point?
How hard was it to sell the end client on the layout?
What are the client’s expectations?
What happens when the photograph matches the layout but looks like yesterday’s leftovers?
What happens if the layout is not achievable?
Is exact color important, or can color be played with to create mood?
TALENT & PROPS
What props will be needed and who is going to buy them?
What is the prop budget and what happens if it is not enough?
What talent is needed, and who will do the casting?
What props will be needed and who is going to buy them?
What is the prop budget and what happens if it is not enough?
What talent is needed, and who will do the casting?
One of the most difficult things for me to get used to when I switched from being a fine art photographer to a professional commercial photographer was working with somebody looking over my shoulder. This was initially very intimidating and caused me to make many mistakes. Fears and youthful arrogance sometimes prevented me from asking enough questions to really understand what my clients were after. It has taken me years to learn to really listen to my client’s words and to learn when to follow closely the road they put me on, when to read between the lines and when not to follow their path and rather do what I believe is best, to follow my vision. I’d like to say a word about expectations and how they affect the shooting schedule. Most clients want to pack as much photography into a day as possible. I am reminded of a recent shoot in Toronto. No one realized just how difficult this shoot would turn out to be. We started with a very ambitious schedule that we worked like dogs to keep,
plus there were major complications in assembling the merchandise to be photographed, among other things. During the shoot the client turned to me and said, “You know Zave, if you see something cool that isn’t on the shot list, go ahead and shoot it”. I had to ignore this remark because I wasn’t even sure we could get the basic requirements of the shot list done.
plus there were major complications in assembling the merchandise to be photographed, among other things. During the shoot the client turned to me and said, “You know Zave, if you see something cool that isn’t on the shot list, go ahead and shoot it”. I had to ignore this remark because I wasn’t even sure we could get the basic requirements of the shot list done.
I have had other shoots that allow time to play and time to shoot stuff that was not on anybody’s script. For the last two years I have had the pleasure of working with Trevor Feight of Roska Direct. On Trevor’s shoot we always leave time for play. Since he is able to communicate to us the whole strategy behind the campaign we will often spot visual opportunities which will enhance the story. These shots often turn out to be gold. Whenever I can I try not to let my client over-script a shoot so that we have the time and energy to explore the subject visually. Of course this only works well if you have a good understanding of the overall strategy and goals of the ad campaign. Being a guy it can be hard to ask for more direction, for more information. My ego likes to assume that I understand everything from the minute a layout crosses my desk. I am often very wrong. The biggest problems I encounter
occur when I think that I understood the goal of the photo shoot, when I don’t. This usually happens when I assume the layout to be the end point of the shoot and do not press onward to create something special. Or, the exact opposite happens and I use the layout as a jumping off point for my creative vision not knowing how hard it was to sell this exact layout to the client in the first place and the impossibility of any change. When my pre-shoot questions
lead to a firm understanding of what is expected, then I can be better prepared creatively for the shoot.
occur when I think that I understood the goal of the photo shoot, when I don’t. This usually happens when I assume the layout to be the end point of the shoot and do not press onward to create something special. Or, the exact opposite happens and I use the layout as a jumping off point for my creative vision not knowing how hard it was to sell this exact layout to the client in the first place and the impossibility of any change. When my pre-shoot questions
lead to a firm understanding of what is expected, then I can be better prepared creatively for the shoot.
What happens on shooting day when things—when ideas—suddenly change? I remember an interesting food shoot. The concept from the ad agency was weak on paper and looked even worse on the set. We spent the better part of a day trying to salvage the layout. At 4:45 PM, the art director had to leave, and the end client, who had been sitting around looking at old Gourmet and Bon Apetit magazines said, “I don’t like this set up at all, can’t we do something
like this?” as he pointed to a gorgeous spread filled with specialty props and antiques from some set stylists attic. We had no plans, no props bought for this type of shot, but we had a lot of frustrated energy lying around the studio to work with. Realizing that he was on to something, we broke the set down and started from scratch. With material my set stylist happened to have brought in for some test shots, extra props from previous shoots lying around the studio, and ingenuity, we created a beautiful and conceptually appropriate shot. Result: happy photographer, and a very happy client. This worked because it was a client who I personally like and respect plus a creative team that listened to each other. There have been times though when the client suddenly pulled an idea out of the sky and we had to say “no”. The resources or the budget to do what was being asked simply weren’t there. Saying “no” to a
client is very hard for me to do, however there are many times when it is the wisest thing to say. When confronted with doing a project half-way and thus producing results that will not be good for the client, I believe it is better to say “no” and protect your reputation as an image creator and theirs.
like this?” as he pointed to a gorgeous spread filled with specialty props and antiques from some set stylists attic. We had no plans, no props bought for this type of shot, but we had a lot of frustrated energy lying around the studio to work with. Realizing that he was on to something, we broke the set down and started from scratch. With material my set stylist happened to have brought in for some test shots, extra props from previous shoots lying around the studio, and ingenuity, we created a beautiful and conceptually appropriate shot. Result: happy photographer, and a very happy client. This worked because it was a client who I personally like and respect plus a creative team that listened to each other. There have been times though when the client suddenly pulled an idea out of the sky and we had to say “no”. The resources or the budget to do what was being asked simply weren’t there. Saying “no” to a
client is very hard for me to do, however there are many times when it is the wisest thing to say. When confronted with doing a project half-way and thus producing results that will not be good for the client, I believe it is better to say “no” and protect your reputation as an image creator and theirs.
What are the qualities of a good art director? A good art director is talented, empowered and able to communicate their needs. They are a partner in the creative process. Please help out the good ones by learning to ask the right questions and listen for their answers.
Sincerely,
Zave Smith
Wednesday, July 2, 2008
My Daddy Always Said
Floating above America with new work in hand. Did I achieve what I hoped to achieve or are the new images more of a promise than a reality? “Stay open”, I often consul others, “Enter into a dialogue with your work. Your pictures will point and tell you which way. Don’t rush them, don’t judge them to soon or to harshly.”
So easy to say, so hard to do, I feel like a preacher with much sin on my hands.
Floating above America after a weekend in the Big Easy. Hot, humid, a lot of hurry up and wait. We had four to five portrait sessions scheduled. We have dreams of a book. We have dreams of the big time, we have dreams of making a difference, and we have dreams of a decent cup of coffee and a cool gin and tonic.
Like most self-funded projects, the type of projects you squeeze into an already crazy life. This project about the love and relationships between African American Fathers and their children has been more talked about than worked on. We have dreams but we also have paying clients.
One of our five fell through before we began; the second canceled ten minutes before we were to meet. But the three that we did hook up with worked out just great, I think.
What is it I want to say? What is it I want to show? Are these three portraits interesting, compelling, visual or even worth viewing? Will my partner, Glenda McKinley English, like them or think that I am just another poser?
New works are like babies; we should not judge them to harshly. We need to sit back, enjoy watching them grow. For our children can teach us even more than we can teach them if we learn to listen well.
So easy to say, so hard to do, I feel like a preacher with much sin on my hands.
Floating above America after a weekend in the Big Easy. Hot, humid, a lot of hurry up and wait. We had four to five portrait sessions scheduled. We have dreams of a book. We have dreams of the big time, we have dreams of making a difference, and we have dreams of a decent cup of coffee and a cool gin and tonic.
Like most self-funded projects, the type of projects you squeeze into an already crazy life. This project about the love and relationships between African American Fathers and their children has been more talked about than worked on. We have dreams but we also have paying clients.
One of our five fell through before we began; the second canceled ten minutes before we were to meet. But the three that we did hook up with worked out just great, I think.
What is it I want to say? What is it I want to show? Are these three portraits interesting, compelling, visual or even worth viewing? Will my partner, Glenda McKinley English, like them or think that I am just another poser?
New works are like babies; we should not judge them to harshly. We need to sit back, enjoy watching them grow. For our children can teach us even more than we can teach them if we learn to listen well.
It's Comcastic!
(for the complete collection: Comcast
It’s the building with all the buzz. It is tall, it is green and it is very cool.
Last fall I received a call from an art director who I had lost track of. She had left the agency world, married, divorced, traveled the world and was now working on a project for Comcast. Comcast was just putting the finishing touches on its new world headquarters.
The new Comcast tower is the tallest, newest, greenest and most up to date skyscraper in Philadelphia. She was working on several books and brochures promoting this new tower and wanted me to photograph the building.
“Debbie, while it is great to hear from you I cannot accept this assignment, I have never shot architecture”, I told her.
“I know”, she replied but I really want you to do this project. “
“Have you talked to any architecture photographers?” I asked.
“Yes” she said, “and I still want you to shoot it.”
We went back and forth for a couple of days until she charmed me into saying, “yes”.
The shoot went as most large productions go with its long days, with unexpected hiccups along with unexpected delights. I will never forget hanging out on the rooftop of an adjacent building one wonderful spring evening hoping to photograph the new lighting atop of the Comcast Tower. A technical glitch that day would prevent the lights from coming on for several weeks but we got to enjoy a warm breeze and a cool view. Another time a chance encounter with the chief architect of the buildings interior would gave us a new understanding on the buildings visual treats.
Today as I float above America on a flight from New Orleans back to Philadelphia I realize how enlightening working outside of your normal boundaries can be. I was in New Orleans to start work on a series of portraits that hopefully one day will be a book. And while I was there to capture relationship between fathers and their children I could not help to notice a new found appreciation for the space that my subjects inhabited. It will be interesting to see how the lessons learn while photographing a building will show themselves in my new photographs dealing with one of life’s most intimate relationships.
Sincerely,
Zave Smith
www.zavesmith.com
Last fall I received a call from an art director who I had lost track of. She had left the agency world, married, divorced, traveled the world and was now working on a project for Comcast. Comcast was just putting the finishing touches on its new world headquarters.
The new Comcast tower is the tallest, newest, greenest and most up to date skyscraper in Philadelphia. She was working on several books and brochures promoting this new tower and wanted me to photograph the building.
“Debbie, while it is great to hear from you I cannot accept this assignment, I have never shot architecture”, I told her.
“I know”, she replied but I really want you to do this project. “
“Have you talked to any architecture photographers?” I asked.
“Yes” she said, “and I still want you to shoot it.”
We went back and forth for a couple of days until she charmed me into saying, “yes”.
The shoot went as most large productions go with its long days, with unexpected hiccups along with unexpected delights. I will never forget hanging out on the rooftop of an adjacent building one wonderful spring evening hoping to photograph the new lighting atop of the Comcast Tower. A technical glitch that day would prevent the lights from coming on for several weeks but we got to enjoy a warm breeze and a cool view. Another time a chance encounter with the chief architect of the buildings interior would gave us a new understanding on the buildings visual treats.
Today as I float above America on a flight from New Orleans back to Philadelphia I realize how enlightening working outside of your normal boundaries can be. I was in New Orleans to start work on a series of portraits that hopefully one day will be a book. And while I was there to capture relationship between fathers and their children I could not help to notice a new found appreciation for the space that my subjects inhabited. It will be interesting to see how the lessons learn while photographing a building will show themselves in my new photographs dealing with one of life’s most intimate relationships.
Sincerely,
Zave Smith
www.zavesmith.com
Being The President
While the studio’s income is two-thirds commercial assignment and one-third stock a few years ago I became involved in the Stock Artists Alliance (SAA). These involvements lead to me becoming SAA President this January. This highly paid ($0.00 per year) position has given me a unique glimpse of photo politics at its best.
The Stock Artist Alliance (www.stockartistsalliance.com) is an international trade organization whose mission is to be an advocate for photographers who sell stock imagery either directly or via stock libraries. The cool thing is I am now on a first name bases with many of the leaders in the stock industry. The bad thing is my early mornings and evenings are now taken up writing memos and returning emails from this same group. The funny thing is that people now think that I am an “expert”.
You can become an expert by being very knowledgeable about a subject. You can also become an expert by being able to write a good persuasive sentence. Academics are the former, politicians are usually the latter. Business owners are a bit of both but know how to monetize their knowledge. I can write an amusing argument.
The world of advertising and photography are going through huge changes. While during the 1990s and the early part of this decade intellectual property sold for a premium while producers of commodities like steel, corn and oil suffered through a price depression. Suddenly in the last two years this price relationship has flipped and our world has returned to the historically more common situation where ideas are cheap and goods are dear. When consumers are spending $4.00 a gallon for gas, they have less money for books or magazines. Plus, the Internet has made it all too easy not only to share ideas but also to steal them. Trying to understand how photographers can survive and thrive in this world is part of the mission of organizations like SAA.
I believe that for commercial photographers a few very talented people will rise to the top and earn good money. A few more photographers who have learned to produce a high volume of decent images very inexpensively will also earn their keep. The vast majority of photographers who have average talent in both image creation and business systems will find a career in photography to be very difficult way to earn a living. This paradigm currently holds true for most creative endeavors. I have always strived to be the premium producer. My business model has always been to work as high up the pyramid as my talent allows.
The world of a free lance anything can be isolating at times. Becoming active in professional organizations is one way to get yourself out of your bubble. While there are times, when your spouse is sleeping and you are still at your laptop trying to convince a corporate bigwig that changing subsection “C” of the latest contract is good for the world, that volunteer work can feel overwhelming. It is interesting how the word, “commitment” can be so motivating.
So now you know why there are a fewer posts on the blog each month. Its not that I am writing less, I am writing more. It is five in the morning; time to return another email.
Sincerely,
Zave Smith
www.zavesmith.com
Thirty Years Ago
(for a complete collection: Flashes
Sincerely,
Zave Smith
Ranger Finder Magazine
Link to a downloadable PDF in Rangefinder: Rangefinder
Zave Smith: Nurturing a Passion for Photography
By Michelle Perkins
Zave Smith, a commercial photographer based in Philadelphia, PA, has been in the
business for over twenty years—long enough to see a variety of stylistic revolutions,
countless changes in the market, and incredible advances in technology. What has
remained constant, however, is the importance of creativity and personal vision in his
long-term success as a photographer. Without this, says Zave, you’re always chasing the
latest fashion—and always lagging behind. “It’s like playing pin the tail on the donkey,”
he laughs, “but not only are you blindfolded, the donkey is also moving.”
Even on a good day, staying your own course in a world of opinionated clients,
viewers, and peers can be a challenge. For people who make their careers in photography,
the situation is significantly exacerbated by the need to remain fresh and innovative over
the course of several decades. “For those of us who have walked life’s road a bit and built
our professional identity on earlier successes, we have a vested interested in keeping our
reputation,” says Zave. “The crowds yell out to us—sing ‘Satisfaction’ again. How do we
stop each creative answer from being in the same key? Bank accounts, credit cards, kids
in school, and a reputation to keep intact. How do we stop thinking about the soles of our
shoes?” Zave has a few answers.
BE FEARLESS
How do some artists remain as innovative and creative at sixty as they were at twenty?
They do it by not being afraid. “Fear is the emotion that stops us in our tracks,” says
Zave. “Fear freezes the mind and builds walls around the soul. The bumps and scars of a
creative life teach us to be careful, but being careful is the death of creativity.”
CONTROL YOUR ENVIRONMENT
Controlling your mind can be difficult, especially when it comes to conquering those
knee-jerk fear reactions. Controlling your environment, says Zave, is actually much
easier. “Nothing influences me like the people who surround me,” he says. “Positive,
energized, and giving people fill my inner circle. Whiners, braggers, and the selfish are
kept at bay. On the set, I want to free my mind to focus on what is in front of my camera
and not worry about what is happening behind it. One in a while, during a shoot I look
around and the number of people behind me startles me. I have forgotten that they are
there. I can do this because I know that they are paying attention to their areas of
responsibility, freeing me to concentrate on mine.”
Zave has also learned to streamline his studio environment so that areas not
directly involved in picture making take up less of his time. This helps him avoid
spending undue amounts of time on minutiae.
DO THE WORK
Potentially creative moments arise all the time, not just during sessions—but if you’re
holding the television remote instead of your camera, chances are you’ll miss them.
“One of the pleasures of being a photographer is that our creative life is not client
dependent,” says Zave. “For example, my shooting schedule does not vary that greatly
between the times when the studio is busy with clients and those times in between. I am
constantly shooting and exploring my visual world.”
FIND A FRESH DIRECTION
“I am a big believer in the power of the trashcan,” says Zave. “Even good ideas, if they
are not working toward my current goals, need to be put aside.” If something is not
working, Zave suggests getting up and walking away from the problem at hand. This can
free you to seek out the answers by using a different approach, getting past the one that
has you stuck. “The pressure to make the day’s numbers can give a lot of energy to a set,
but I believe that this numbers game can lead to making pictures that show instead of say
something,” he says. “Chasing numbers forces us to see with our head instead of our
eyes.”
FOCUS ON EMOTIONS
“For me, inspiration can come from a model. I will meet someone at a casting and find
their look, and more importantly their personality, captivating,” says Zave. “I will then
develop shooting scripts around what intrigues me about them. The script ideas often
come from my day-to-day life. I then set the scene and let the talent act it out. It is during
this acting that I seem to catch the spark of life.”
Zave has another handy tip for catching this spark: he has his subjects “play the
scene” from several different points of view. “If I am after a romantic couple, I will also
have the couple act as if they are angry, mad, contemplative, or bored. By swinging back
and forth through different emotions, they will often reach a truer sense of their feelings.
Most of our emotions have many shades, many sides—they are complicated. Powerful
photography has that sense of the complicated nature of our emotional lives.”
WORK IS SLOW? TIME TO GROW.
It’s the nature of the photography business: there are busy times and slow times. While
the busy times provide a clear sense purpose, the slow times can be breeding grounds for
self doubt—a real creativity crusher. “These are the times when you recall the parental
voices echoing something about going to medical school like your cousin,” says Zave.
What’s important to remember, he notes, is that we get to choose which games we
will play. “Instead of listening to all those dark tapes in the back of your mind, ask ‘What
if?’” he says. “What if I called on a company I never talked to before? What if I offered
different services to my present client base?”
Zave pursues other creativity-affirming options, as well. “One of my favorite
activities is to take elements from a recent assignment and re-explore them to see what
other visual possibilities might be there,” he says.
“I have found that each of my slow periods has forced me to re-examine what I do
and how I do it,” he adds. “Each slow period has enabled me to grow and reach to the
next level of my career. Sounds strange, but I would not be as successful as I am if I had
always been busy. These times of unrestricted, undefined exploration are sometimes just
the thing we need to recharge our creative juices.”
FIND YOUR PASSION
Photographers often strive to be “perfect,” but Zave says that finding your passion is
much more important than complex lighting or flawless posing. “It wasn’t until I gave
myself permission to let my personal passions enter my professional work that my career
truly blossomed,” he says. On a shoot, Zave notes that it’s easy to get so focused on what
the client is saying that you lose sight of why you were hired in the first place: for what
your visual sense can bring to the expression of their concept. “My most successful
shoots,” he says, “are those where I listen to myself as much as to the client. A true
collaboration.”
To see more of Zave Smith’s images, and to check out his blog (which is full of
inspiring reflections on photography), visit www.zavesmith.com.
Michelle Perkins is a professional writer, photographer, and digital-imaging specialist. She
has written for PC Photo and is the author of numerous books, including Professional
Portrait Lighting: Techniques and Images from Master Photographers (Amherst Media, 2006)
and Professional Portrait Posing: Techniques and Images from Master Photographers (Amherst
Media, 2007).
business for over twenty years—long enough to see a variety of stylistic revolutions,
countless changes in the market, and incredible advances in technology. What has
remained constant, however, is the importance of creativity and personal vision in his
long-term success as a photographer. Without this, says Zave, you’re always chasing the
latest fashion—and always lagging behind. “It’s like playing pin the tail on the donkey,”
he laughs, “but not only are you blindfolded, the donkey is also moving.”
Even on a good day, staying your own course in a world of opinionated clients,
viewers, and peers can be a challenge. For people who make their careers in photography,
the situation is significantly exacerbated by the need to remain fresh and innovative over
the course of several decades. “For those of us who have walked life’s road a bit and built
our professional identity on earlier successes, we have a vested interested in keeping our
reputation,” says Zave. “The crowds yell out to us—sing ‘Satisfaction’ again. How do we
stop each creative answer from being in the same key? Bank accounts, credit cards, kids
in school, and a reputation to keep intact. How do we stop thinking about the soles of our
shoes?” Zave has a few answers.
BE FEARLESS
How do some artists remain as innovative and creative at sixty as they were at twenty?
They do it by not being afraid. “Fear is the emotion that stops us in our tracks,” says
Zave. “Fear freezes the mind and builds walls around the soul. The bumps and scars of a
creative life teach us to be careful, but being careful is the death of creativity.”
CONTROL YOUR ENVIRONMENT
Controlling your mind can be difficult, especially when it comes to conquering those
knee-jerk fear reactions. Controlling your environment, says Zave, is actually much
easier. “Nothing influences me like the people who surround me,” he says. “Positive,
energized, and giving people fill my inner circle. Whiners, braggers, and the selfish are
kept at bay. On the set, I want to free my mind to focus on what is in front of my camera
and not worry about what is happening behind it. One in a while, during a shoot I look
around and the number of people behind me startles me. I have forgotten that they are
there. I can do this because I know that they are paying attention to their areas of
responsibility, freeing me to concentrate on mine.”
Zave has also learned to streamline his studio environment so that areas not
directly involved in picture making take up less of his time. This helps him avoid
spending undue amounts of time on minutiae.
DO THE WORK
Potentially creative moments arise all the time, not just during sessions—but if you’re
holding the television remote instead of your camera, chances are you’ll miss them.
“One of the pleasures of being a photographer is that our creative life is not client
dependent,” says Zave. “For example, my shooting schedule does not vary that greatly
between the times when the studio is busy with clients and those times in between. I am
constantly shooting and exploring my visual world.”
FIND A FRESH DIRECTION
“I am a big believer in the power of the trashcan,” says Zave. “Even good ideas, if they
are not working toward my current goals, need to be put aside.” If something is not
working, Zave suggests getting up and walking away from the problem at hand. This can
free you to seek out the answers by using a different approach, getting past the one that
has you stuck. “The pressure to make the day’s numbers can give a lot of energy to a set,
but I believe that this numbers game can lead to making pictures that show instead of say
something,” he says. “Chasing numbers forces us to see with our head instead of our
eyes.”
FOCUS ON EMOTIONS
“For me, inspiration can come from a model. I will meet someone at a casting and find
their look, and more importantly their personality, captivating,” says Zave. “I will then
develop shooting scripts around what intrigues me about them. The script ideas often
come from my day-to-day life. I then set the scene and let the talent act it out. It is during
this acting that I seem to catch the spark of life.”
Zave has another handy tip for catching this spark: he has his subjects “play the
scene” from several different points of view. “If I am after a romantic couple, I will also
have the couple act as if they are angry, mad, contemplative, or bored. By swinging back
and forth through different emotions, they will often reach a truer sense of their feelings.
Most of our emotions have many shades, many sides—they are complicated. Powerful
photography has that sense of the complicated nature of our emotional lives.”
WORK IS SLOW? TIME TO GROW.
It’s the nature of the photography business: there are busy times and slow times. While
the busy times provide a clear sense purpose, the slow times can be breeding grounds for
self doubt—a real creativity crusher. “These are the times when you recall the parental
voices echoing something about going to medical school like your cousin,” says Zave.
What’s important to remember, he notes, is that we get to choose which games we
will play. “Instead of listening to all those dark tapes in the back of your mind, ask ‘What
if?’” he says. “What if I called on a company I never talked to before? What if I offered
different services to my present client base?”
Zave pursues other creativity-affirming options, as well. “One of my favorite
activities is to take elements from a recent assignment and re-explore them to see what
other visual possibilities might be there,” he says.
“I have found that each of my slow periods has forced me to re-examine what I do
and how I do it,” he adds. “Each slow period has enabled me to grow and reach to the
next level of my career. Sounds strange, but I would not be as successful as I am if I had
always been busy. These times of unrestricted, undefined exploration are sometimes just
the thing we need to recharge our creative juices.”
FIND YOUR PASSION
Photographers often strive to be “perfect,” but Zave says that finding your passion is
much more important than complex lighting or flawless posing. “It wasn’t until I gave
myself permission to let my personal passions enter my professional work that my career
truly blossomed,” he says. On a shoot, Zave notes that it’s easy to get so focused on what
the client is saying that you lose sight of why you were hired in the first place: for what
your visual sense can bring to the expression of their concept. “My most successful
shoots,” he says, “are those where I listen to myself as much as to the client. A true
collaboration.”
To see more of Zave Smith’s images, and to check out his blog (which is full of
inspiring reflections on photography), visit www.zavesmith.com.
Michelle Perkins is a professional writer, photographer, and digital-imaging specialist. She
has written for PC Photo and is the author of numerous books, including Professional
Portrait Lighting: Techniques and Images from Master Photographers (Amherst Media, 2006)
and Professional Portrait Posing: Techniques and Images from Master Photographers (Amherst
Media, 2007).
On The Corner of Lafayette, State of Louisiana....
(to see a complete collection: African American Trail
Two weeks ago, on a rainy and cold December day in Philadelphia, I received a call from Glenda McKinley English of GMC Advertising, asking if I could come to Louisiana for a six-day photo shoot the next week. Since several large productions that we were involved with were entering their holiday break period, my schedule was open and the warm weather and adventure beckoned me.
This assignment was outside of my usual lifestyle productions. With only the help of a wonderful account executive named Randy Reves and two bags of camera gear I set out to create a collection of images for the Louisiana Department of Tourism. Because of the tight schedule I only had one hour in each location to create a story. One hour to discover the visual poem that would describe each locations reason for being. One hour to create a photograph that would beckon somebody off their comfortable sofa and motivate them to drive across Louisiana to discover their past. One hour to create a photograph that in a millisecond captures a viewer’s imagination and calls to them, to take a longer look.
When we arrived at each location the first question I had to ask was what was the significance of this place, why was it on the tour? Next I would have to find a visual way to answer that question. I would explore each location from as many angles as possible in order to find the poetry inside its story. Most of these sites were in buildings that were never designed to be museums. Several sites were in small homes, one was in an auditorium, and another museum was retrofitted into a bank building. These buildings presented a challenge to the curators and to me since they were not designed for visual presentations. The name of the game for me became distillation.
One such fine place was in Donalsville, Louisiana. Here there is a small home that a several retired African American Women have turned into a museum that celebrates their community’s heritage from Africa, to slavery, from reconstruction, to segregation, and on to the civil rights movement. This gem was one of 32 Heritage sites spread over 1,400 miles that we photographed during this photo safari marathon week.
Louisiana is a very flat with lots of water in the southern half. The terrain does not vary that much from mile to mile along the interstates or even along the two lane blacktops that link small town to rural hamlet. I spent a great deal of time trying to find views of 200-year-old buildings without showing the 21’s century paraphernalia that engulfs these historic structures. I have often felt that you could travel to all fifty states and take the same photograph; it would be of the strip mall along the highway. While Louisiana offered its share of 21-century visual blandness it also offered many sites that were unique, historic and beautiful.
After 5 days of driving and carrying equipment around, I woke up with a splitting headache in the middle of the night in New Orleans. I had left my Advil in Randy’s car so I ventured out along Bourbon Street searching for an open store. The street was still buzzing with its middle of the night partiers, drunks, crazies and middle age voyeurs when I saw the guy with the sign that advertised “BIG ASSED BEERS!” next to the guy with the “Cross” and the promise of holy salvation. I knew then that all would be well with this world.
Louisiana is a poor state and since hurricane Katrina many of the sites we visited are struggling with the issue of financing their preservation and restoration. Yet even without finical resources the people who run these historic sites are doing an amazing job of preservation and education. Their dedication was truly the most inspiring aspect of this journey.
Sincerely,
Zave Smith
www.zavesmith.com
This assignment was outside of my usual lifestyle productions. With only the help of a wonderful account executive named Randy Reves and two bags of camera gear I set out to create a collection of images for the Louisiana Department of Tourism. Because of the tight schedule I only had one hour in each location to create a story. One hour to discover the visual poem that would describe each locations reason for being. One hour to create a photograph that would beckon somebody off their comfortable sofa and motivate them to drive across Louisiana to discover their past. One hour to create a photograph that in a millisecond captures a viewer’s imagination and calls to them, to take a longer look.
When we arrived at each location the first question I had to ask was what was the significance of this place, why was it on the tour? Next I would have to find a visual way to answer that question. I would explore each location from as many angles as possible in order to find the poetry inside its story. Most of these sites were in buildings that were never designed to be museums. Several sites were in small homes, one was in an auditorium, and another museum was retrofitted into a bank building. These buildings presented a challenge to the curators and to me since they were not designed for visual presentations. The name of the game for me became distillation.
One such fine place was in Donalsville, Louisiana. Here there is a small home that a several retired African American Women have turned into a museum that celebrates their community’s heritage from Africa, to slavery, from reconstruction, to segregation, and on to the civil rights movement. This gem was one of 32 Heritage sites spread over 1,400 miles that we photographed during this photo safari marathon week.
Louisiana is a very flat with lots of water in the southern half. The terrain does not vary that much from mile to mile along the interstates or even along the two lane blacktops that link small town to rural hamlet. I spent a great deal of time trying to find views of 200-year-old buildings without showing the 21’s century paraphernalia that engulfs these historic structures. I have often felt that you could travel to all fifty states and take the same photograph; it would be of the strip mall along the highway. While Louisiana offered its share of 21-century visual blandness it also offered many sites that were unique, historic and beautiful.
After 5 days of driving and carrying equipment around, I woke up with a splitting headache in the middle of the night in New Orleans. I had left my Advil in Randy’s car so I ventured out along Bourbon Street searching for an open store. The street was still buzzing with its middle of the night partiers, drunks, crazies and middle age voyeurs when I saw the guy with the sign that advertised “BIG ASSED BEERS!” next to the guy with the “Cross” and the promise of holy salvation. I knew then that all would be well with this world.
Louisiana is a poor state and since hurricane Katrina many of the sites we visited are struggling with the issue of financing their preservation and restoration. Yet even without finical resources the people who run these historic sites are doing an amazing job of preservation and education. Their dedication was truly the most inspiring aspect of this journey.
Sincerely,
Zave Smith
www.zavesmith.com
Better Living Through Chemistry
Once in a while a project becomes much larger, much more interesting and more difficult than you imagined when the layouts first come across your desk. Recently we had such a project for a chemical company. The creative brief sounded simple. Three pictures. The first one would be of two kids sitting in front of a pool putting sunscreen on each other. The second image was a picture of a father and son playing with a toy car. The third photograph would be of a family of four watching a home movie in their backyard. There was nothing here that we had not done many times before.
Once again the devil was in the details. The pool house had to be a very upscale home, architecturally interesting, with a pool, a privacy fence, nice landscaping and non-while vinyl siding. The father and son and the family watching the movie turned out to be both period pieces, the first one had to look like it was shot in the 1960s’ and the second one like it came out of the 1950s’.
Once in a while a project becomes much larger, much more interesting and more difficult than you imagined when the layouts first come across your desk. Recently we had such a project. The creative brief sounded simple. Three pictures. The first one would be of two kids sitting in front of a pool putting sunscreen on each other. The second image was a picture of a father and son playing with a toy car. The third photograph would be of a family of four watching a home movie in their backyard. There was nothing here that we had not done many times before.
Once again the devil was in the details. The pool house had to be a very upscale home, architecturally interesting, with a pool, a privacy fence, nice landscaping and non-while vinyl siding. The father and son and the family watching the movie turned out to be both period pieces, the first one had to look like it was shot in the 1960s’ and the second one like it came out of the 1950s’.
Once again changes that the client made after production began added some more challenges. For example, after the three shots were cast, the demographics of the models changed and the whole project had to be re-cast. Many questions arose like do we style the father and son has if it was the early or late 1960s’? How upscale were these families?
With styling issues, the details matter. I believe that even when an object is out of focus and in the background it has to be authentic or the shot looses something. My producer stylist, Deborah Holljes, had to scour the whole country in order to fine the clothing that we need.
Luckily I work with an amazing crew and in spite of all these issues plus that added pleasure of working with little kids on shots that need very specific angles and gestures that shoot came off very smoothly.
Enjoy!
Sincerely,
Zave Smith
www.zavesmith.com
Once again the devil was in the details. The pool house had to be a very upscale home, architecturally interesting, with a pool, a privacy fence, nice landscaping and non-while vinyl siding. The father and son and the family watching the movie turned out to be both period pieces, the first one had to look like it was shot in the 1960s’ and the second one like it came out of the 1950s’.
Once in a while a project becomes much larger, much more interesting and more difficult than you imagined when the layouts first come across your desk. Recently we had such a project. The creative brief sounded simple. Three pictures. The first one would be of two kids sitting in front of a pool putting sunscreen on each other. The second image was a picture of a father and son playing with a toy car. The third photograph would be of a family of four watching a home movie in their backyard. There was nothing here that we had not done many times before.
Once again the devil was in the details. The pool house had to be a very upscale home, architecturally interesting, with a pool, a privacy fence, nice landscaping and non-while vinyl siding. The father and son and the family watching the movie turned out to be both period pieces, the first one had to look like it was shot in the 1960s’ and the second one like it came out of the 1950s’.
Once again changes that the client made after production began added some more challenges. For example, after the three shots were cast, the demographics of the models changed and the whole project had to be re-cast. Many questions arose like do we style the father and son has if it was the early or late 1960s’? How upscale were these families?
With styling issues, the details matter. I believe that even when an object is out of focus and in the background it has to be authentic or the shot looses something. My producer stylist, Deborah Holljes, had to scour the whole country in order to fine the clothing that we need.
Luckily I work with an amazing crew and in spite of all these issues plus that added pleasure of working with little kids on shots that need very specific angles and gestures that shoot came off very smoothly.
Enjoy!
Sincerely,
Zave Smith
www.zavesmith.com
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