I went to the Apple store in Soho last night to hear Robert Tardio and Jeff Mermelstein speak at the APA/NY Image Makers series. Here are some highlights and sound bites from their presentations.
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Robert Tardio
Robert is a commercial still-life photographer with 24 years in the industry who is collaborating on an upcoming book with stylist Lloyd Boston. He talked about “Finding Beauty in Everyday Objects.” Some of Robert’s commercial work:
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On still-life photographers
“We’re a peculiar bunch. We’re compulsive, detail-oriented, and perhaps more comfortable with things than with people.”
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On still-life photography
Unlike with other genres, “events are not unfolding in front of the camera—you are staging events.” I thought it was interesting that he thinks of still lifes as events. It suggests thinking in terms of narrative, even if that narrative is simply a story about forms.
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On the ever-growing legions of amateur photographers
“‘Good enough for the Web’ has become the order of the day,” Robert said. But what separates the pros from the amateurs is “an understanding of the properties and qualities of light.”
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On testing
“It’s a great way to show clients how you’re thinking and what you might do for them.” He showed a series he made in which each frame was shot with one object, one light, and a white background. He also showed a series he did of metal objects (metal being notoriously difficult to light) that he bought at the hardware store. Those tests landed him a shoot for Kwikset, which hired him to photograph locks and their various parts.
Some of Robert’s personal work:
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Someone in the audience asked about how he shows tests to clients, wondering if maybe a client would prefer to see only commissioned work. “Most of my portfolio are tests,” Robert replied. “We very rarely have a client that cares if it’s a test or not.” He added that what you want is for the client to hold up your book, point to an image, and say, “Give us that.”
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Jeff Mermelstein
Jeff is an award-winning street photographer (though he prefers to think of it as photojournalism or straight photography), as well as an advertising photographer. His work has been collected in several books, including Sidewalk and the upcoming Twirl/Run. (At Thirteen/WNET’s site, you can go on a photographic tour of the streets with Jeff. Click here to access it.)
Some of Jeff’s work:
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On his use of color
“I am not consciously interested in mixing or juxtaposing colors,” he said. “I’m much more interested in color being real—because we see in color.”
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On Twirl/Run
The book features photos of women twirling their hair. “Books are the greatest vehicle for still-image makers,” he said. He didn’t set out, whoever, to make photos on the theme of hair twirlers. “I think best by not thinking when I’m working,” he explained. But in reviewing his work, he noticed some twirling images. And then he began looking for more such images on the streets. He now has some 200 twirling photos.
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The “run” part of the book is photos of people, mostly men, running. They’re not athletes or joggers—just regular people rushing to get somewhere—and the photos span 15 years. Like the twirling images, he didn’t plan to photograph runners, but he noticed a preponderance of that sort of image when he was looking back at his work.
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“I’m a big fan of keeping all your files,” said Jeff, who shoots film. “How you see things changes.” He noted that you can look at your work in 6 months, 6 years, 16 years and always see something different, or not see something you had observed before.
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On photographing strangers on the street
Someone in the audience asked Jeff whether he engages with the people he photographs. He seemed to expect the question. His answer, which he encouraged the audience not to take cynically, was, “No. There’s nothing to gain.” He gestured to the screen, where he was showing a photo of a locksmith kneeling on the sidewalk, his forehead pressed to the concrete in prayer. “If this guy looked up and started talking to me, it’s not because he’s into Friedlander.”
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On doing new work
Jeff ended his presentation with new work: basketball-themed imagery shot in Brooklyn. The project was inspired by plans for the would-be Brooklyn Nets (currently the New Jersey Nets) coming to the neighborhood. “There’s no better feeling for a photographer than new work,” he said as he clicked through his images. “It’s also very scary—especially when you’re showing it.”
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Oprah on her all-time favorite Oprah Magazine cover
O: The Oprah Magazine marks its 10th anniversary this year, an occasion that inspired the entertainment juggernaut to reflect on the many variety of ways in which she has been photographed for the cover.
“Winfrey herself has been on the cover of every issue in the magazine’s history,” notes msnbc.com’s The Scoop. “What did it take to get there? One hundred nineteen outfits, 74 hairstyles and two convertibles, for starters.”
The cover Oprah likes best? August 2004. The photographer? Our own Matthew Rolston.
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“Winfrey said that the August 2004 cover ‘may be my all-time favorite cover: on the beach, with Matthew Rolston’s crew following me with heaters,’” reports msnbc.com.
Matthew, incidentally, has photographed Oprah for the cover a whopping 33 times—more than any other photographer.
For more of Oprah’s cover thoughts, check out the May issue of O.
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