YOU ARE NOW!
This man is not only one of the sweetest humans we have ever had the joy of working with. He is talented beyond belief and is one of those people who have a passion for shooting that we at nemo admire and can definitely relate to.
He has been working hard on the Nike 6.0 campaigns, hand in hand with nemo’s art director extraordinaire, Steve Hoskins, who also happens to be the mastermind behind Thee Creamery, the artist mind that drives Sweet Cheeks (Hannah Teter’s panties with a purpose). I hear rumor that Josh has won a category in the Communication Arts Photo contest, as well as, the redbull Illume, and is a finalist in the PDN photo annual!
Keep killing it Josh!
PDN‘s latest issue featured their pick of the top 30 photographers in the world who are under 30 years old, a highly coveted list by Nemo’s photo team. While we love seeing their work splashed across the pages, if a photo is worth a thousand words, often it’s more interesting to hear those words. Digging a bit deeper, this secondary article questions these up-and-comers on some their lessons learned throughout their educations. Here’s some highlights:
Katrina D’Autremont-”You never know what will come from showing someone your work. Very often results are not immediate but if you think about it, the best thing someone can say is that your work stuck with them, and that they still remember you months down the line.”
Bartholomew Cooke-”One of the things I’ve done since graduating is to fervently pursue every opportunity given to me. Even if doing so has not always generated the results I hoped for, it almost always opens new doors and is one of the main reasons I have had some success to date.
Liz Hingley-”I feel it is a process of learning and each stage produces a different kind of work. I don’t feel that experience always produces better work. ”
Rachel Barrett-”Diligence and organization are both crucial. It takes constant effort, on a daily basis: updating, filing, retouching, fine-tuning…the trick is to harness them and make them work for you, not against you.”
To read the rest and get inspired, get the full article on PDN.
Heres a quick interview I conducted digitally with the young and talented Jordan Lutes who happens to be sitting in his posturepedic computering chair about 4 ft to my right…aaah technology. George Orwell called it….who needs to speak when we can just i chat!
But the story is, I snatched up this young man from Cali the day he graduated from Cal Poly and managed to sweet talk him into moving up north to continuously clean up the whirlwind of mess that is left behind as we power through shoot after shoot. He’s been here a few short weeks and I already don’t know what i ever did without him. *shout out to Jordan’s parents….he’s killing it.
So Jordan, first things first, have you ever buried anything?
No. What a creepy question.
Really nothing at all? Weird, i bury stuff all the time.
Of course, i thought everyone did! Ok here’s one every guy has a messed up answer to…Best fireworks story?
Two years ago I was in Pamplona, Spain for the running of the bulls. We figured the festival was small, and were completely overwhelmed when we got off the bus into a chaotic town. We’d had a pretty shit trip so far: no surf, rain everyday, missed our train from Paris, and no word from our contact in Spain. But just as we’d pretty much given up, a giant bang goes off, and an insane fireworks show starts shooting out of the town moat right next to us. The Spanish weren’t too impressed, but we were stoked, it ended up being a crazy night.
*side note: a kid got gored by a bull the day after we ran.
See i called it! Messed up!!!! Wait you actually ran?!
That’s a long story consisting of bulls, booze, no sleep, cops and combat boots. We’ll save that story for a later date.
I can’t wait to hear…next question. What moment in history would you want to shoot, and why?
Can I say dinosaurs? Put me in one of those jeeps from Jurassic park and I’d be happy.
Well, then this question seems to pale in comparison to dinosaurs and Jurassic Park: but who are your favorite photographers and why?
Anyone that can really capture youth in motion. Dewey Nicks and Embry Rucker were the first guys to really get me inspired and amped to get into surf lifestyle, they could really make it all look like a paradise. Neil Krug nails the whole expired film thing. Same goes for Ryan Tatar, dude can tell a story with a single Polaroid better than anyone else. Steve Sherman and Jack English’s black and white portraits were iconic to me- there’s a shot of Donovan that I’ve had taped to my wall since before I could surf.
I concur, all amazing lensmen. Now, on to a more pressing question what’s more important, wind or lettuce?
My two worst enemies. But I guess no wind equals no waves.
Excellent deduction my young friend “All I need are some tasty waves, a cool buzz, and I’m fine.”! Finally the greatest question of them all, how did you learn about Nemo?
Originally from the credits in Afterbang back in like 2002. Eight years later, I’m getting ready to graduate from Cal Poly and saw a piece in PDN about Nemo. Noticed they were shooting a lot of stuff that I liked for a lot of clients that I liked. So I sent Kari Rowe an email, just to see what the studio was all about. A few weeks later I picked up a 5mm hooded wetsuit and got up to Portland to be the new photo intern.
Thanks for the info Jordan! Welcome to Nemo!
I will be waiting for the running of the bulls story!
TG sent me the following rant this morning. He mentioned that when his basement flooded all those years ago, he was able to get compensated for his lost slides. He said this compensation helped him stay afloat while he was starting Nemo Design. Thank god for that money or else I wouldn’t be here! Now, a precedent has been set that a professional photographer’s original slide is only worth $7. Is this for real? The scathing rant below points out that at that price it would be cheaper to compensate an artist then send back the slides?
If you thought that the money you had given to this or that photo trade organization was useful, think again. ASMP, APA, EP, PPA, WHNPA, SA, and all of the other siblings are guilty of the same crime. Silence. Chris Usher has lost his appeal after a seven year battle against Corbis and each of his 12,640 images lost will be compensated for a lousy $7.00 a piece.
This ruling means that from now on, any agency, any magazine, any publisher will never have to worry about losing your photographs, since it will cost them peanuts to pay you back. It will be cheaper for them to trash them then returning them to you.
Also guilty are PDN, supposedly a trade news magazine, and other photography blogs, that are more interested in getting volumes of traffic to please their advertiser rather than report fairly on this industry.
They should all be put on the wall of shame for ignoring one of the longest and possibly important case in modern photography. Chris Usher was maybe crazy to take on the infinite cash Corbis but he did what he thought was a fair battle and lost. Not just because he couldn’t afford a legal team as powerful as the Bill Gates funded Corbis, but also because everyone ignore his battle, probably thinking it was a personal one.
In times where it is even more challenging to be a photographer than ever before, it is sad to see how helpless this industry has become, especially on the photographer’s side. It is sad to see how apathetic everyone is in face of challenges that will surely, one day, affect them too. Finally, it sad to see that, in the face of adversity, a photographer has no friends.
We just received the new issue of PDN, inside they highlight their choice for their favorite 30 new and emerging photographers, 2 highlighted are Studionemo’s friends Cole Barash, and Corey Arnold. Click here to go to PDN’s online gallery featuring work from all 30 featured photographers.
I am so stoked Heather has a write up on line with Photo District News. Its so cool to be included in a prestigious publication like PDN!
In our November Client Meeting we profiled Nemo Design, a Portland, Oregon-based agency that specializes in youth culture and action sports, and counts Nike and Hewlett Packard among it’s clients. Here we speak with Heather Hanrahan, the woman behind StudioNemo, the full-service studio and production company that generates images for Nemo Design and other agencies, about the atmosphere in the studio, what it takes to shoot athletes, and how she finds and hires new photographers.
PDN: Tell me about your background.
Heather Hanrahan: I went to work in the action sports industry in marketing, and I worked for a company called Bonfire Snowboards. I used to produce all of their photo shoots and we did all of their catalogs in-house, so I did all the photography for them, and I would do all the art buying for all the action photographs taken of our riders by freelancers. Then I went back to school to the University of British Columbia, and I got a masters in womens’ studies in the visual arts area—it’s sort of a masters in visual narratives.
Then I came back to Oregon and I worked in film and photography freelance for a while, producing and styling and coordinating, and then I ended up at Nemo through someone who had my position before, she hired me as her replacement.
PDN: Do you have an official job title?
HH: Well, I wear many hats. I think that my official title is photography project manager, but I am the producer and art buyer and studio manager… curator, lunch getter.
PDN: Do you notice any trends in the types of photography your clients are after, or is there a certain visual style that StudioNemo is known for delivering?
HH: There’s not an exact style. I think that we have a lot of variety and it depends on the photographer that we hire. I think that one of the trends that’s going around in youth culture and action sports is using more of a documentary style of photography, capturing athletes in their own environments. We do a lot of athlete shoots here and it’s trying to capture what they do best, either around town [Portland] or in this studio. And the great thing about StudioNemo is the actual environment that the studio is in. We have kids that come in and skateboard up and down the hallways and BMX, it’s really encouraged here and it’s a very fun environment.
PDN: After you and your client have agreed on a photographer, how much input does the photographer have creatively?
HH: I think the photographer actually has quite a bit of input. The art directors that I’ve always worked with are big on collaborating with the photographer to come up with better solutions to get the grander scheme of the idea. I think we give our photogphers a lot of creative here. There’s a lot of trust put in them, and the art directors don’t micro-manage, they step off when need be. I think it brings a lot to the photography if the photographer is invested in what he’s doing and is not just a hired gun.
PDN: When you are thinking of hiring a photographer, how do you evaluate whether they are someone who will be able to contribute creatively rather than just execute?
HH: There’s something on [the Web site of] MS Logan, they have this “Two Minutes With” feature, and I really like that. I think that is the best thing I’ve seen from any artist representative, is showing their photographer and their personality. When I pick a photographer it’s partly for the photography, but it’s partly for how they can interact with the client and how they interact with athletes. A lot of the time we shoot athletes here rather than just models, and it’s being able to take those kids that are used to mountain biking all the time, and if you have a studio shoot, being able to draw personality out of them and make it so they’re not bored. I think that’s really important, I look for that. I look for personality a lot.
PDN: How do you prefer hearing from photographers?
HH: I like promo cards. I’m not really interested in getting a “Hi my name is” e-mail, but if they wow me with something interesting that catches my eye, a little package or whatever. There’s a photographer that I became friends with because he stopped into Nemo to show his book, and then he started sending me little video clips of his shoots. He does these funny personal shoots, like he went to India and traveled 2000 km in a little electric car and took photographs, and so he would make these little videos and e-mail them to me and I thought they were just hilarious. He definitely got my interest and I always think of him when a job comes up that’s right for him.
PDN: Beyond looking at what comes to you, what do you do to seek out new photographers to work with?
HH: I’m constantly searching blogs, I love the I Heart Photo blog, and I do use Le Book, and I’m always looking at the New York Times Magazine, they use some amazing photographers. I’m looking at all sorts of different magazines and different media. I have certain reps whose esthetic I’m drawn to and I look at their stuff.
PDN: How many new photographers would you say that you use per year?
HH: I probably bring in about five new photographers.
PDN: What are your biggest needs in terms of style and specialty?
HH: We need everything. I definitely think that Nemo, not only their design but also on the photography side, caters to a younger generation, a generation that’s interested in sports and in music culture, and interested in not only entertainment, but also the environment and politics. That’s what’s great about being in Portland, Oregon, is that we’re so much more than just youth culture, we’re definitely invested in a different type of lifestyle.
PDN: Can you think of a photographer that you recently started working with and what stood out to you about them?
HH: I really enjoy working with Josh Letchworth. He has this almost Buddhist quality to him, because he’s just so calm and happy at all times. He’s just one of those people that’s great to be around, and like I said about shooters, their personality really is everything, and he brings that to the table.
PDN: So it’s a given that the work needs to be excellent, but beyond that personality is what sets people apart for you?
HH: One of my favorite photographers is Cass Bird, and I feel like her photography is so great because her personality is so great. I think they go hand-in-hand, I don’t think they’re separate. I think that if you’re a curmudgeon it’s going to show in your work.
PDN: How much of your work comes from Nemo Design versus outside agencies?
HH: We’re always trying to get work from other agencies, but most of my work right now comes from Nemo Design. If it’s not exactly through Nemo Design it’s through our mutual clients.
PDN: What are the biggest challenges for you and the studio on any given day?
HH: What to have for lunch. That’s always a big one. I guess my biggest challenge as a studio within an agency is getting other agencies to feel comfortable coming in. It really shouldn’t be an issue. They’re bringing their work in on other turf and there’s definitely some trepidation, and I think it’s unwarranted. Nemo Design is a great company and their not interested in taking other people’s work away from them, and I think that Nemo Productions is open to so much more than just what Nemo Design does.
1875 SE Belmont Street
Portland, OR 97124
I was checking out the PDN blog this morning and was really sad to see not one, but TWO articles about celebrity baby photos- the ubiquitous Brad and Angelina twins and Jessica Alba’s baby. I guess it spurns the question of whether a blog should adhere to any standards? Of course it depends on the blog, but a blog linked to a respectable photography publication looses points in my book for even discussing paparazzi crap. Am I wrong?