Q: How did you get started in photography?
A: At age 13 my Uncle Mike showed his amazing Black & White photography to my family on the kitchen table. I fell in love with photography. Announced that night I wanted to be a professional photographer some day.
My degree is in Photojournalism from the University of Missouri in Columbia.
I went freelance and started my own studio on July 7, 1977.
Q: A lot of photographers are shaped by the photographers they assist. Who did you assist that you felt had an impact on the photographer you are today?
A: I really never assisted anyone. But the great portrait photographer Tom Entringer influenced me.
Q: A lot of your work has a unique sense of humor to it. How did you find that voice, was it always there, or is it something that you've developed?
A: My style was sort of there in me... but it definitely has evolved. My many styles shift and change with the marketplace...but have a memory chip of my original style and intent. “Your philosophies create the software of your mind.” I figured humor was a good way to stand out in the marketplace of ideas. It is better to inform and entertain than to just inform. It can create an alliance with the reader.
Q: What are some of the essentials that you always carry in your bag?
A: I shoot all Canon. I love the Canon 1DS Mark III, but I pack and carry the 1D Mark IV for its amazing speed and clean files, too. I also pack a Canon 5D as a backup for capturing large files and its wonderful video capabilities. My favorite lenses are 70mm-200mm, 24mm-105mm, 24mm PC lens, and 80mm 1.2.
I use all Lexar Professional memory cards - usually 8GB and 16GB capacities – and Lexar memory card readers. I pack a Hoodman to view the LCD Screen when on location.
I also downsize my model releases and property releases, and always carry them in my trusty bag. I also carry a small flashlight, and a laser pointer to help identify any imperfections that need fixing from my stylists. It saves me time describing or walking back and forth. I simply point the laser at the problem so she knows what the heck I’m talking about.
Q: We are getting to ready to shoot some portraits in Kansas City as part of our Focus on Passion workshop. How do you approach a project like this?
A: I start by asking all the right questions. Who is this job for? How will they reproduce? Are we using street people or models? What style of mine do you think is right for this project, or we can create a new style if we discuss it. I begin to assemble the puzzle like this.
Q: The workshop is focused on following your passion. What are you passionate about shooting?
A: Focus on what you love to shoot...within reason. For me it is all about problem solving. When I shoot personal work it helps steer my career in the direction that I want to go. If you’re smart you can tweak your career to have the right percentage of studio and location work. People, humor, still life, etc.
I love variety within the realm of my specialties that I have created. I have found that I love working with a good team...not so much solo.
Q: You’ve shot for a lot of iconic brands, including Apple, Coca-Cola, Kodak, Microsoft, Sony, and Sprint. Does working with such well-known clients change the way you approach these assignments?
A: It doesn’t really change my approach much. I like working with any client who pretty much knows what they want. Part of the fun is coming up with an approach that works with the assignment at hand. I try to create a sequential systematic approach that allows my creativity to flourish. I know that sounds like an Oxymoron. Systematic and creative can co-exist.
Q: What is your approach to client relationships, both establishing and maintaining them?
A: I primarily try to bring something to the party, and I try and take the load off of the client. We choose to take on the brunt of pressure so that they feel relieved on they’re end. Then I simply work as hard as I can to nail the style and look. It helps to have great follow thru on the back end. Then the clients come back again.
