Photo Blog | Tokyo, Photographer

Andrew Faulk interviewed by Simon Slater for Busan Haps magazine.

Read the full interview about my creative process and artistic outlook as well as my thoughts on stealing ideas here.

The gig is up. For one reason or another, it is literally time to move on. 

If you are like me, you are not the kind of person who can spend a lifetime in one place. A new patch of grass is seldom greener but it is new. In the past fifteen years, I have lived in the mountains of North Carolina, in the historic sections of Prague, in the suburbs of Seoul and in the bustle of Tokyo. Every few years an internal alarm sounds and lets me know that it is time to go.

I am a bit of a nomad. This doesn't mean that I don't experience great amounts of stress and anxiety each time I move. Of course moving is something we all do with hesitation. The task of packing up and shipping your life to a new location is nerve racking to say the least. As a portrait photographer my stress is compounded. Even the thought of moving to a new city makes my mind spin.

Why is moving so daunting for portrait photographers?  

Let's get specific.
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- Your Client List Disappears
In the song Leaving On A Jet Plane, John Denver wrote about a man ready to ramble on. This lad is holding on to the notion that his lover might actually wait for him while he is gone. Now lets suppose you, a professional photographer, are the subject with your bags packed and ready to go. For giggles lets pretend that your clients are the lover being left behind. Do you think, even for second, that your clients are going to wait for you while you are gone? Hell no they aren't. They might smile for you and kiss you goodbye. But trust me, they will let you go and find a new photographer to serve their needs.

Don't believe me? The proof continues to roll into my inbox. Here is a message I got just last night. 

There are countless positive aspects of moving to be excited about but before getting lost in a daydream or looking too far into the future, it is wise to spend some mental energy in the present. Prior to your move, take stock of your current situation by being completely honest with yourself. Think deeply about your current practices as a portrait photographer. What is working? What isn't? Strip all of the b.s. away and touch base with who you really are as a photographer and business owner. 

Use these questions as a guide:
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• ​Am I happy with who I am as a photographer?

To me, the biggest indicator of professional success is the amount of joy you have. I look at happiness as currency. I realize that you cannot pay your mortgage in smiles. But, I am willing to wager that those who are happiest are also the ones who are most likely to get clients and pay the bills. We work harder for the things we love.  So, If you no longer feel passionate about photography or your portrait business, it is the perfect time to make some radical changes.

• Am I happy with my photography brand? 

Is the brand you have adopted the one that fits you best? As the years go by, we naturally change and evolve. If the brand you adopted years ago no longer fits, a move will provide the perfect opportunity to restructure and rebrand. 
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• What do I need to improve upon?

It is easy to put up blinders and assume that you are awesome at all things photography. There is no doubt that you are awesome at many things and you should pat yourself on the back for those. But, the reality is that you have a lot of room for improvement. Take some time before you move to make a list of things you want to improve upon. Those items can serve as goals as you move into your new life.

The internet brings the world into our living rooms. Most of the information you could ever want or need about your new location can be accessed within seconds. Take full advantage of this resource before you take the leap from your current base of operations. You should find out as much information as you can so that you can make informed decisions moving forward.

Here is a sample of questions I wanted answered:

- What does the market look like?
- Is my niche market saturated?
- What is the going rate for various kinds of portrait sessions? 
- What marketing strategies are other professionals using?
- What are types of portrait sessions are being offered?
- Is there any information on shoot locations I can easily access?
- What are the laws regarding photography in the municipality?
- Does anyone in my extended network operate in the area?
- Are there groups of photographers who meet regularly?
- Are there studio rentals available and, if so, at what rate?

If you want to see yourself high in search engine rankings, you have some work to do. Starting the necessary work prior to your move will open up the time for other tasks when you actually do step foot in your new digs. Naturally, your own photography website is the first place to start. 
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Since you have taken the time to reflect about your photography and your business (See #1 above), apply your discoveries to your website. Does your current portfolio reflect the work that you would like to undertake in your new home? Is your "About" page representative of you as a photographer? Look at your website holistically and as objectively as possible. Identify the changes and make the modifications.

Once you have reworked your website into a tool that best represents you, it is time to invest energy into what really matters on a website. As you know, It takes more than a few keywords on a webpage to reach page one. Headers, footers and metadescriptions should all be changed to reflect your new location.  However, those items are just beginning of the work.

​In a world where content remains king (at least for search engines), a big slice of your time should be spent preparing content.  Go ahead and outline (or better yet write) content for the coming months. It is this content that will propel you in rankings.

(As you work, keep in mind that cheap tricks and " black hat" SEO tactics just won't do. The results won't serve you in the longterm and there is a very high chance that Google will penalize any attempt at beating their algorithm. Instead, employ ethical SEO practices for photographers. It is better to put in the hours and do the work properly than to climb out of a hole with Google.)

Changing your current location on your Instagram and Facebook pages will just be a drop of honey in an ocean of vinegar.  However, your social media accounts remain valuable tools. Without exception, you will have company in your new location, other photographers already making a name for themselves. Sure, these industry professionals could be seen as competition. I prefer to think of fellow photographers as colleagues.

In my article Collaboration - 8 Ways To Work With Other Photographers, I outline how photographers can work together to collectively support each other while individually developing their own artistic craft. But  to collaborate you have to engage. Spend some time introducing yourself to other photographers and photography groups via social media. Be polite, honest and, of course, remember that first impressions leave a lasting impact. I have found that photographers are eager to make new friends and to welcome new members into their group and these connections may very well be the beginning of a network,
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I get it. It is difficult to think about finding new business associates and a solid creative team when you don't even know where the grocery store is. Moreover, networks should not be contrived. They should be organic. These new relationships should come stem from camaraderie and be built upon mutual respect. But, you have to start somewhere. You have to start with "hello."

For me, the easiest place to begin was with social media. I had already made the first move by introducing myself  (see #2 above). So, I followed up with a few of those preliminary connections. I extended an olive branch and invited a fellow photographer for a drink. 

At first it will feel a bit like blind dating. Thats okay. If 22% of actual romances start online, surely you can find a mate or two to talk photography with. I urge you to brave. Invite a fellow photographer or creative out for a coffee. What's the worst that can happen? Sure enough, you will click with someone and that someone will become a contact, acquaintance or even a friend.

When you are feeling bold, take it one step further. Go on a photowalk or attend a local photography meet up. Photography clubs and meet-ups are a great way to connect with like-minded people. You already know you have something in common with every attendee. Look at the meet-up like speed dating except with Canons and Nikons instead of bottles of water and a bell.

Do you want to get freaking crazy (insane for those who, like me, are very weary and overwhelmed by unfamiliar social situations). Drop by the offices of a local publication. Even the smallest city has a magazine or newspaper. Whether it is your city's version of Time Out or the mom-and-pop outfit that prints classifieds, stop by and introduce yourself. 

The more willing  you are to put yourself out there, the quicker you will rebuild the network you once enjoyed. 

These days, to be "on the hustle" means to do anything necessary to make money. I like to think of hustling  in a more traditional way. 
Among his many other adages, my father said, "There will always be someone better. Just make sure they don't out work you."  Dad was right. For me, the photographer's hustle is simply good ole fashion hard work. While you slowly rebuild your network and earn paying contracts, there are many, many things to do. 

• Set up a new workspace as quickly as possible 

Within a few days of moving to Tokyo, I had my workstation set up. Creating an sense or normalcy is one of the best things you can do when your world seems like it is upside-down. I realized that the jobs wouldn't pour in. Still, I wanted to get straight to work. Having my workstation set up, I felt comfortable, like I was prepared to take clients. 
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• Gather a sense of place

I remember receiving one of my first inquiries as a photographer in Tokyo. The client asked for me to tell them about "some locations that they might be interested in." Of course my mind was blank. I had failed to even consider shoot locations. Get out of the house and out into your new home. Use every stroll, every outing as a scout for your portrait clients.

• New clients

Whatever you do, don't sit back and wait for your client list to fill up by itself. In a new environment, everyone you meet is a potential client (and also a potential friend). While I do not believe in overt solicitation, I do believe that you should have your business card at the ready and your elevator pitch polished for the opportunities that naturally present themselves.

• The details

The devil, my friend, is in the details. Cliché, but true. It is the small things that make or break a photographer. Wether it is ensuring that you have contacted Google to change your business location or having business cards with your new phone number made, every small detail should be attended to. Overlooking the details can cause significant issues down the line.

A couple years ago, I was asked by PIK Magazine to submit an article on a photography related topic. Having free choice, I decided to write a brief piece on branding and how photographers should reconsider the need to pigeonhole themselves early on in their career.  

It is very interesting to look back and see where I was as a photographer when I penned this article. While my thoughts on branding and developing a photographic style have evolved over time (more on that later), I think many of my points in The Brand of No Brand are still valid and noteworthy to aspiring professional photographers. 

Before going to university, I had a conversation with my parents about the fundamental aspects of change. Leaving home, my parents explained, was an opportunity to mold and craft a new identity. In a new environment, the preacher’s son can dye his hair pink. Nickolas can decide he wants to be called Beau. The loose girl can become a prude.  Sally can decide to stop hiding her inner nerd. The bully can correct their ways. With fresh surroundings, we are no longer confined to geographic norms or bound by parental expectation.

The conversation with my parents struck me as odd. Personally, college was not a unique opportunity to develop a fresh identity. Seemingly, my inner landscape work took place frequently and I did not need a massive life change such as a move to a university to rethink my identity. To continually modify myself was not an identity crisis but was a set of identity trials that occurred both randomly and repeatedly.

My alterations were not the “change” that my parents were speaking of. It is one thing to foster an inward identity and another to project an identity outwardly. The way we perceive ourselves and the way others perceive us are two separate and independent things.

My parents were not speaking to change but to the creation of a unique, personal brand, an image that we intentionally project. It is this contrived image that we want others to consume and conjure when hearing our name.

The photographic community talks a lot about branding. There is little difference between branding ourselves as photographers and the branding that we engaged in during our formative years. Knowingly or not, when we share our images we are branding ourselves. This fact is one that we should remain conscious of. But our personal branding begins well before we upload our images to 500px, Flickr, Facebook or our websites.

For years now, I have  personally branded myself as a photographer. Wanting others to guzzle this up, I projected the image of a photographer by talking shop, carrying a camera around and actually producing images. Others slowly began to recognize me as an image-maker.  Now that I am successfully labeled as a photographer, the blogs, websites and photo gurus tell me it is time to hone my brand so that I can compete with other photographers.

From the start, many photographers wish to develop a consistent style. This is well and good, especially if those professionals rely upon photography for their bread and butter. While I have great respect for those who choose to brand themselves, I do question the importance of branding for those without professional aspirations. 

What happens when we affix ourselves to a certain brand? Is there a consequence when our personal interests as photographers change? Will we discover ourselves sunken so deep into our own branding that we cannot change our .com address or our processing mixology? Moreover, will our brands be so established (or engrained) that we cannot allow our fluctuating moods to come through in our images?

The importance of professional branding rests solely in our objectives as photographers. The minutia of the brand directly relates to our aspirations in the field. Yet, branding is irrelevant in relation to the quality of our images. 

When it comes to my own work, there are no prescriptions. I do not usually have a vision of a product when I leave for a shoot. I process according to how I feel at that given moment. I try or steal others’ techniques. Obviously, this is just another example of an identity trial. Considering this, how could I actually brand myself as a certain type of photographer?

If I cannot find a style or genre that continually captures my attention, why should I engage in the hard and active work of branding? Artists evolve and what we show today that “represents us,” will be merely be that... today’s version of us.  

What is important is that we are happy behind the lens. The best brand is for us to be ourselves.  If we love our work, it doesn’t matter what our logo font looks like. It doesn’t matter if there is no common thread or apparent style in the photographs we create. It doesn’t matter how many humans (or cyber bots) “like” our images.

​Considering this, it seems that the inner work I need to do is to concentrate on making images that make me happy instead of projecting a brand that will, more than likely, not suit me in a fortnight. Seeing that I constantly change, I am hereby adopting the brand of no-brand (for now).

What are your thoughts on branding? I would love to hear your reactions in the comments section below.

It is rare to find a career creative who doesn't cultivate a social media presence. Facebook. Twitter. Something. Love it or hate it, the fact remains that a large portion of time is spent using social media to expand our creative reach and photography business.

Our time on social media doesn't stop after we make a post. We scroll the feeds of our friends and family and, just as often, we follow the famous. But why do we follow? ​Is it because we truly care about what others have to say? Do we follow along because it gives us a sense of kinship with celebrities?

There is another, more specific reason to follow. Like other forms of social media, Twitter can be a learning tool.

Like any widely popular industry, the business of photography has its own stars. Paying careful attention to the industry's heavy hitters provides a wealth of information pertinent to photographers. Identifying and analyzing the social media idiosyncrasies of our professional heroes can help us glean industry insight and allow us to have a snapshot of the creative well that famous photographers draw from.

Who do your favorite photographers follow on Twitter? What brain juice do they feed upon as they scroll, scroll, scroll?

David Hobby is a veteran photojournalist. Now, as a photography instructor, he has devoted his time to helping amateur photographers understand light. As the creator of the Strobist, Hobby maintains a blog dedicated to the craft of lighting.

Peruivan Mario Testino has been churning out quality work for nearly four decades. As one of the world's most influential portrait photographers he works with models, celebrities and even royalty.  His fashion work has been featured over and over again in the three V's (Vogue, V Magazine and Vanity Fair). Testino's work doesn't stop there. He remains active as a creative director, editor and museum founder.

Pennsylvania native and Temple University graduate Brooke Shaden is an amazing portrait artist. Starting with self portraiture, Shaden's painterly techniques have brought her a great deal of acclaim in recent years. Her exhibition list is already an arm's length long and is proof of her hard work and determination as an artist. 

Chase Jarvis goes hard with everything he does. He is a photographer, videographer and entrepreneur. For years Chase has been an outspoken champion of creativity, inspiring artists of all kinds to tap into their inner flow. As the founder of Creative Live, Jarvis continues to promote teamwork, community and collaboration.

Though she was born in the late 80's, Zhang Jingna has done more in her three decades than most achieve in a lifetime. A former air rifle shooting champion, Jingna dropped out of LaSalle College of the Arts. Yet, it wasn't long before the young photographer was shooting for Vogue, Elle and Harper's Bazaar. She is currently producing Motherland Chronicles, a highly anticipated, fantasy artbook project. 

With over 100 editorial assignments shot for the New York Times, Mott consistently delivers editorial eye candy for major publications. His commercial clients are some of the most recognizable brands in the world. Shooting any assignment with confidence, Justin is one of the industry's most versatile photographers. He also happens to be the resident pro on History Channel's Photo FaceOff. 

With over a quarter century of experience, Los Angeles based Sue Bryce is an award winning portrait photographer. Because of her exquisite style and uncanny ability to make women look and feel beautiful, she is also a sought after speaker and teacher of photography. As a Canon Explorer of Light, Sue hits the road to help aspiring professionals realize their potential. 

If you own your own gallery, you are a force. By this definition, Rankin is one to be reckoned with. With covers for Elle, Esquire, GQ and Rolling Stone, Rankin isn't exactly in need of a resume boost. He has published over thirty books and continues to create editorial and advertising campaigns for major brands like Nike and Swatch. He is the cofounder of Dazed and Confused and AnOther magazine. Rankin is actively involved with Women's Aid and Break Through Breast Cancer and has worked with OXFAM in the Democratic Republic of the Congo and Kenya. Basically, the guy is a boss.

Florida boy Scott Kelby is the founder and President of KelbyOne, editor and publisher of Photoshop User Magazine and host of weekly photography talk show The Grid. He is a best selling author with dozen of titles penned. But don't let his impressive resume fool you. Scott Kelby is a regular human who publicly admits that he loves romantic comedies. 

If you didn't hear her distinct British accent, there would be no reason to assume that Lara Jade was not from New York City. Everything about this girl screams fashion. Her work has been featured in Elle Singapore, Hello! Fashion and Harrods. Ms. Jade is also a heavy hitter in the commercial world with clients such as Sony on her list. But her work in the industry doesn't stop when she puts her camera down. Lara hosts portraiture workshops for aspiring professional photographers all across the world. 

Annie Leibovitz is a world renown portrait artist. As a staff photographer for Rolling Stone, she honed her style by documenting the music industry's most celebrated musicians. Having created some of the most iconic celebrity portraits of the 2oth century, Annie doesn't need much of an introduction. 

Stepping back, I can identify four common trends among the photographers I choose to follow. Largely, they are:

As a photographer in Tokyo, it is essential to have a walkabout camera. With crowded sidewalks and trains, there is no space in this city for excessive gear. Space aside, I don't have the desire or the physical strength to shlep my full frame kit across Tokyo day after day. As a photographer on the go, I chose Fujifilm's X-T1 and Fujinon glass as my everyday, around-the-city kit. 

I love almost everything about the Fuji X-T1.  It is nearly perfect for everyday use. Yet, the one central characteristic that I don't love about the camera body is oddly what makes it so appealing. It is just too small. Since recurring strain injuries are very common among photographers, it is hard for me to see how even a photographer with small hands can use any camera in the X-Series line without doing permanent damage.

To make the X-T1 into the ideal camera, I needed a grip that was ergonomically sound and that wouldn't break the bank. After researching my options, I decided on J.B. Camera Designs' Fuji grip, a model that is economically feasible and artistically crafted.

J.B. Moore, owner of J.B. Camera Designs, has an intense love for photography. He also happens to be a skilled woodworker. The combination of these two passions makes Moore the perfect designer to craft and build artisan grips for mirrorless cameras. 

Conscious of highly sustainable and renewable resources, J.B. Designs makes a line of grips out of bamboo, one of the most sustainable and renewable resources on earth. Sustainability is key. But, the material choice is also a smart due to its weight. Being light, the grip doesn't add any significant weight into your camera bag.

Though the grip is lightweight, bamboo is incredibly durable. In fact, this grip is built to spill. J.B. Designs is so confident in their product that they provide a full warranty with every model. The manufacture's confidence in the product makes photographers, in turn,  trust the product. Each and every time I pull my Fuji out of the bag, I am not worried about the grip casing. 

Considering functionality, the grip adds significant bulk to the X-T1. With the extra inch in front of the camera, my sausage fingers are now less likely to press mode and function buttons on the back or the front of the X-T1.  More significant is the way the grip allows me to interact with the Fuji body. The product's natural bamboo texture just feels good in my hands. I have loosened my grip and now the X-T1 fits comfortably in my hands. Finally,  I no longer feel like my camera is going to fall as I shoot. 

The handcrafted grip has a unique look that compliments the classic Fuji black. The contrast between the warm toned bamboo and the dark metal of the Fuji X-T1 body is striking. 

Arriving in a custom printed recyclable bag, the JB Camera Designs Fuji X-T1 grip is appropriately priced (under a hundred dollars) and can be ordered directly from Amazon.
Fuji X-T1 users who are having trouble keeping hold of their camera should treat themselves to this grip today.
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Long before I was a photographer in Tokyo, I was an amateur hunting for my own style in Seoul. I spent many late nights scouring the internet looking for inspiration. New to the addiction of photography, I wanted to see it all. I found the haunting photographs made by the master Antione D'Agata and the cleverly crafted scenes of David LaChapelle. I sat mesmerized by the portraits of Sebastiao Salgado and intrigued by Nan Goldin (The list goes on and on). 

What I didn't know was that my then-home Seoul had a wealth of world class photographers who I was yet to discover. As I stumbled across a Facebook group whose content was provided exclusively by Korea-based photographers, I became shocked at what tremendous talent was literally all around me. One of the photographers with the most impact was the American, John Steele.

For the next months I became very familiar with Steele's work. He seemed to shoot everything. His landscapes and cityscapes were wicked. His infrared work was so unique. The man shot street and even turned his camera on his dog, Holly. John was doing exactly what the internet says not to do. He was passionate about many photographic genres and wasn't afraid to publicly show that he wasn't going to specialize anytime soon. I looked forward to John's regular posts on social media and found myself wondering about what he would post next.  I also wondered if I would ever meet the man behind the lens. 

To my delight, I had the opportunity to meet John at a watering hole before a group exhibition that we both had a piece in.  With numerous other personalities in the mix, I found John to be humble, intelligent and soft spoken. Though he had a radiant smile, I could tell that John wasn't a bar man. I could also tell that he wasn't a man for crowds. 

After that chance meeting, I met John on several occasions. But, more often than our meetings, I heard other photographers mentioning John Steele. They spoke of the Virginian as if he was a myth, almost whispering his name. I wanted to know why. 
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I know that you bought a Canon Elph in 1999. Was there a photographer in any sense of the word prior to 99?

No, not at all, and there wasn’t until the last few years. Although I didn’t have a camera prior to that point, I have always been very observant about what’s going on around me, a perfectionist, and someone who knows what they like. I think all of these traits have been instrumental in shaping who I am as a photographer.

Interesting that you mention the word perfectionist as a descriptor. I find that my need to achieve the “ideal” limits me creatively in that I, at times, cultivate something akin to tunnel vision.  Do you think that this trait holds you back at all with your photography or does it propel you?

I think at first it frustrated me because I didn’t really know what I was looking for. Once I started to figure that out, photography got more fun. I don’t think it’s hindered my creativity because I do like imperfections in frames but I like to be in control and know why I like those imperfections. I think the perfectionist part ties weirdly into my love for minimal subjects and compositions. Those scenes are so hard to find and everything has to be just right in those situations in order to really pull it off. ​

What are your first memories surrounding photography? Your first subjects?

My first memories are pretty fuzzy as the camera was just an accessory I would bring out to the convenience stores when my friends and I would go out for drinks after work in Korea. I vaguely remember enjoying taking pictures of the convenience store owner, a Mr. Kim I believe, standing next to friends of mine. Nothing substantial happened with the camera until fairly recently. ​

Anyone who has followed your work has seen your use of infrared. As you describe on your website, the techniques involved with infrared are quite interesting. How did you stumble upon and fall in love with infrared photography?

I was introduced and fell in love with infrared photography through the surreal work of David Keochkerian. The first time I saw it I didn’t understand it, I didn’t know what it was, I just knew I wanted to create something like that. So I spent some time learning the technique, and there is quite a bit to know to do it well. The eerie, mysterious, surreal mood really fits well with the subjects I like to shoot - water, clouds, reflections, trees, old creepy barns, houses and countryside scenes. Yea.
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Your lens is frequently turned on Holly, your faithful canine travel companion. How does her companionship make you a better photographer?

​Haha, the famous one. Well, I think her being around helps me to tell the story of the day or trip that we go on. Incorporating her into some of the pictures of the places we go makes it a much more enjoyable viewing experience. Additionally as anyone who knows me can attest I am not always the best at talking to people I don’t know well, and she is the best icebreaker in the world. People always want to play with her or pet her and that naturally leads to conversations and photo opportunities. ​

When members of Korea’s photography community speak of you, there is a veneration in their tone. You have basically hit myth status in that others perceive you to be as elusive as a snow leopard. How do you react to that?

This is the first I’ve heard of this, so I am reacting on the fly. It feels great to be honest, and the respect is wholeheartedly returned by me. Everyday I see mind-blowing work on various social media that inspires me to go out and to keep getting better, so thank you guys!

Will your photos outlive you?

​Yes, without a doubt. I mean I think everyone hopes for that. I do think that I will be remembered as a photographer, but I also think it will become increasingly more unlikely for photos to outlive photographers. I don’t know, I won’t be here anymore so I can only worry about things I can control. ​

TIME, The Wall Street Journal, CNN and The Guardian learned long ago just how capable Justin Mott is. The award-winning photographer has a wealth of experience with press editors and on commission for organizations such as the United Nations, The Bill and Melinda Gates Foundation and well, the United States Government. It is a wonder why it took the History Channel so long to understand that Mott is the perfect resident photographer for their reality series Photo Face-Off (PFO).

With editors begging for his work and massive commercial contracts on his plate, it is doubtful that Mott gets any sleep. Compounded by his booming wedding business and continuing stint on the "small screen" with PFO, Justin and his Mott Visuals team are cultivating the resume necessary to become a household name.

I connected with Justin to talk about competition, camaraderie and his career just as Season Two of Photo Face-Off is set to premiere.

Photo Face-Off is the only competitive reality series with photography at its core. How does the show reflect or relate to the current climate of professional photography?
To win in PFO you have to be a well rounded photographer and to make a living in photography these days you really have to be versatile.

How have you changed as a photographer since becoming Photo Face-Off's resident pro?
I definitely haven’t changed my style or who I am, but the show has reminded me how much I love the communal sharing part of photography. PFO has connected me with so many photography enthusiasts and I love talking and sharing ideas about photography. As a professional I moved away from that and the show has brought me back. In fact, I’m starting a whole website dedicated to photography tips so stay tuned.

One catch phrase for Season Two of Photo Face-Off is, “Anything for the shot.” Can you think of a specific instance in your career that exemplifies this philosophy? Is the shot the only thing that matters?
This is tricky because every situation is different. When it comes to tragedy or a sensitive topic, I try to find that balance of getting the shot and being graceful and respectful. I want to earn the space between myself and my subject.

There are moments of PFO that are relaxed, even jovial amongst the competitors. Competition aside, how does the show promote the larger photographic community?
I think when people see me lose it makes them more confident in their skills and, for them, it closes the gap between professional and amateur. What I love about the show is that it sparks a debate on what makes a good photograph. An audience will have an entirely different view on which photos should win and why. I love that dialog on and off the show.

Since the beginning of your career you have been heavily involved in photojournalism, meeting hundreds of deadlines for editors at the New York Times, Newsweek and the International Herald Tribune. You continue to prove on Photo Face-off that you work well under pressure. How does a timeline influence a photographer’s final product?
I love the pressure. It makes me feel alive as a photographer. PFO challenges are exaggerated circumstances but not too far off from some assignments. I’ve had 10 minutes with a billionaire CEO and I had to produce something special. What I do is get something safe out of the way but always leave some time to try something special.

Editorial, travel, commercial, wedding. You shoot it all yet maintain a consistent style in all of your work. Can you elaborate on your process in maintaining focus for your brand? Do you feel that your style continues to evolve as your brand continues to gain steam?
I’m really proud that my style of photography is consistent across all my brands. My roots as a photographer are in documentary and photojournalism and that’s where I learned to be a storyteller. I’ve brought that style to the commercial market and I like to think we offer our clients a 
unique vision and product.

With an increasing list of high profile clients, how do you balance a client’s expectations with your personal style and aesthetic?
For every client it’s a hard balance, but if you communicate properly before the shoot it can be truly special. I am extremely proud of the visual mood we’ve created with clients such as Intercontinental Resorts because it was a collaborative process. Sometimes clients want something brand new and 
sometimes they want something more safe. For every shoot it’s all about communication. Even when a client wants to play it safe, I still try to sneak in a couple more artistic shots as options and sell them on it later.

If photography is a tool to help shape human perception, how is Mott Visuals molding the way we see things?
I’m always trying to come up with new ideas in my work, not just in my style but in what I deliver to a client. Something we are doing now which is really catching on is additional to our traditional photography shoots. I’m doing “Social Media” shoots. These are typically two days of shooting only with a camera phone and only toning with Instagram. I shoot everything from the perspective of a guest and it’s more about the experience then it is about room shoot and the resort features.

You are faithfully involved with Asia’s Canon PhotoMarathons, meet with fellow photographers and have a slew of shooters under your wing at Mott Visuals. Why do you feel it is important to nurture other photographers who could one day be your competitors?
I feel competitions brings out the best in me. My closest friends are photographers in the same market and without them pushing me, I probably wouldn’t have grown as much as a photographer. I also believe in sharing business ideas because no one did that for me when I was a young  photographer.

You once stated that shooting a good picture is akin to solving a problem or a puzzle. Speak to the importance of perseverance and grit in photography.
Every single assignment and every image is a puzzle you have to figure out. Where is your light source? Where do you want your subject? Where should you be? What lens? There are so many factors to a great image but i love that challenge of figuring it out and when I finally do... I absolutely love that 
feeling. I know a lot of photographers who walk into an assignment, get their “go to” shot and then just leave. I like to push myself beyond that. I like to think, "What am I missing? How can I do this differently?"

If art is theft, as Picasso once said, who have you stolen from?
I don’t steal, I borrow. James Nachtwey.

If you could travel in time to give yourself, the amateur photographer, three pieces of advice, what would you say?
Learn the business side of photography right away. Get on Instagram early. Use Rogaine.

Ernst Haas claimed that, “There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.” What are your limitations?
Time is my biggest limitation, I want to explore and photograph everything but I still have to run my business and set aside time for my personal life.

I have cultivated an immense admiration for the art of wedding photography. To capture "the day" takes special talent. Precision, quick reflexes and technical perfection are needed to archive the most important moments in a couple's life. Any photographer with these propensities would command my respect, though they would not necessarily inspire me. Erika and Lanny of Two Mann Studios (TMS) have more than the necessary skill set. They have vision, an inherent attribute that elevates the pair from photographers to artists. 

Without fail, the Manns capture stunning documentary work on the wedding day. However my interest in TMS is solidified by the shots that are captured far from the alter with a retracted zoom. TMS pairs their subjects with fitting scenery, showing other photographers (and clients alike) that there is just as much impact with wide portraiture as there is tight. To highlight a couple within a massive environmental scene proves that the Two Mann duo can perceive something larger, more Gestalt in the union of their clients.

Through TMS's blog, one can easily identify why the photographic team is, and will continue to be in high demand. Slowly scrolling their blog feels like a gallery walk, confirming that it isn't just potential clients who should pay attention to their work. Fellow photographers will truly benefit from a deep study of Erika and Lanny's ability to feature their subjects within a greater context. Even with practice, I would be surprised if other shooters could readily match the apparent vision that the Mann's possess. 

Want to learn Two Mann's secrets? Study their work at Twomann.com. Better yet, learn directly from the Mann's during their Balls Out! Workshop Series.