Zack Arias - Photography Q&A: Real Questions. Real Answers.

Real Questions. Real Answers.

Zack Arias

PHOTOGRAPHY Q&A

REAL QUESTIONS. REAL ANSWERS.

Zack Arias

New Riders
1301 Sansome Street
San Francisco, CA 94111
415/675-5100
Find us on the Web at www.newriders.com
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New Riders is an imprint of Peachpit, a division of Pearson Education

Copyright 2013 by Zack Arias
All photography Zack Arias except where noted

Editor: Ted Waitt
Production Editor: Lisa Brazieal
Cover and Interior Design: Charlene Charles-Will
Layout and Composition: Kim Scott, Bumpy Design
Copyeditor: Meghan Arias
Indexer: James Minkin

Notice of Rights

All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission reprints and excerpts, contact .

Notice of Liability

The information in this book is distributed on an As Is basis without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it.

Trademarks

Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book.

ISBN-13 978-0-321-92950-1
ISBN-10 0-321-92950-0

9 8 7 6 5 4 3 2 1

Printed and bound in the United States of America

This book is dedicated to my wife, Meghan, and our four boys: Caleb, Phoenix, Joshua, and Hawke Danger. Thank you for putting up with this weird job that I have. Meghan, I cant do what I do without you. I love you more than dust loves sensors.

Id like to thank all of you crazy-ass photographers who hang out with me online and in real life. Together weve made a pretty amazing community of people who share, laugh, troll, criticize, and make fun of me, ourselves, and this industry and craft that we love. Theres no other job in the world Id rather have.

I also need to thank my editor, Ted Waitt, for believing in me a long, long, long time before anything with this project started. You have been a solid friend in this industry, Ted. Thank you. Id also like to thank Charlene Charles-Will for her great work designing this book, and Lisa Brazieal for making sure it looked great coming off the presses.

Marc ClimieYou pulled me out of a ditch, and Ill always be grateful.

Kevin AbeytaThanks, man. For everything.

Many, many, many people have helped me and continue to help me along the way. I cannot publish this book without giving personal shoutouts to: Mr. & Mrs. Carnes, Kim Harkins, Steve Schaefer, Sherri Finch, Michael Weeman, The 7:30 Club, Erik Dixon, Dan Depew, Hassel Weems, Joe McNally, David Hobby, Chris Hurtt, Mohamed Somji, Hala Salhi, Scott Kelby, Brad Moore, RC Concepcion, Jason Groupp, Jeremy Cowart, David duChemin, Andrew Thomas Lee, David Jay, Steve Schwartz at B&H, Mark Anderson, David Nightingale, Craig Swanson, Chase Jarvis, Mark Adams, Dan Milnor, Michael Schwarz, Phil Skinner, Matthew & Lani Martz, Rhonda Dixon, Amanda Dyson, Emily Sistrunk, The Carters Crew, David E. Jackson, Cary Norton, Syl Arena, and Joey L. To my family: Bob & Carey Lynn, Caitlin, Erin & Randy, Brett, Corey, Mom, Chris & Andrea, Mitch & Ginger, Elaine, and my late father, Martin Arias.

Dad, you gave me my first camera and set me on this path a long time ago. Thanks. I miss you.

Q:HI SACHA. THANKS FOR TAKING MY QUESTION, AND THANKS FOR WRITING THIS FOREWORD. AS A SENIOR PHOTO EDITOR AT ROLLING STONE, YOU MUST SEE A LOT OF WORK FROM PHOTOGRAPHERS. IM A FAIRLY NEW PHOTOGRAPHER IN THE EDITORIAL WORLD, AND IM WONDERING WHAT CATCHES YOUR ATTENTION ENOUGH TO PICK UP THE PHONE AND CALL A PHOTOGRAPHER YOU HAVENT WORKED WITH BEFORE. IS IT THE QUALITY OF THE WORK? IS IT A GUT INSTINCT? YOUR NECK CAN BE ON THE LINE WHEN WORKING WITH SOMEONE NEW. HOW DO YOU KNOW WHO IS OR WHO IS NOT GOING TO WORK WELL WITH YOU?

A: Zack,

Knowing what this book isand its aim to demystify for beginning photographers certain aspects of what it means to be a working photographerI really should have expected this very question. I hope I can do it justice.

Most publications have a list of preferred photographers who do regular work for them, and breaking into that lineup is not an easy thing to do. That being said, picture editors like myself are always looking at photography and for new (or new to them) talent. I try to stay engaged in this process as much as I can by checking out emailed and printed promos, photo books, magazines, blogs, and zines, as well as attending portfolio reviews, gallery shows, etc.

So, by the time Ive picked up the phone to make that call to someone new to shoot for Rolling Stone (or even just for a meeting), more often than not I have probably been looking at their work for a whilebasically stalking them. I might have been checking out their Tumblr, Instagram, blog, and/or web site from time to time; looking at their latest shoots; or discussing them with coworkers and photo editors at other magazines. It isnt always about seeing one amazing shot. It can help to see someones progression over time. That way, I get a better sense of their personal style, how they handled a particular situation, and what kind of subjects they seem to best connect with. Watching their body of work evolve also helps to get to know them better, to get a sense of the kind of person they are.

More to your question...so what is it that makes me pay attention in the first place? You asked, Is it the quality of the work? Is it a gut instinct? Both are true.

Im surrounded by photographymy parents are both photographers, my twin sister is a visual artist, my wife is also a photo editor, I shoot a bit, and every day I work with photographers young and oldso Im frequently fascinated with the processes they employ, the tools they use (cameras, lenses, film stock), how a shoot went, whatever. I totally nerd out on that. However, when I see an image that hits me hard and really connects with me, its as if all those details fall away and theyre the last thing I consider...if I consider them at all. The greatness of an image is in the intangibles.

I have my own tastes, which may differ from those of my coworkers, and since one of our tasks is to consider how someones work could be applied within the pages of Rolling Stone, some discussion may occur around the office about someone being the right fit for the magazine and/or for a particular assignment.

If you are thinking about submitting work to us, I think its a great idea to be as familiar as possible with Rolling Stone (this would apply to any publication youd like to work for). Know the different sections and the style of work used in each, the photographers that are employed and how. If you consider your work to be a good fit, then hit us up.