I could offer you a great story about a kid from Brooklyn who succeeds in earning university scholarships to The Cooper Union for the Advancement of Science and Art in 1985 or how the University of Michigan Recruited me to be a Graduate Fellow.
But let's be honest; who wants to read all that when choosing a photographer? No one.
Clients want excellence. They want results. They want to come in under budget. And they want to work with artists who bring something fresh to the table.
There. I said it. Photographs inspire people. Powerful photographs move millions to action. So much of what we know of other cultures, foreign places, and world events were gleaned through images. Photos made by intrepid arists who often risked life and limb to share their views. It was photographs of the Vietnam War that forced Americans to see the grim realities of war. It was photographs of Princess Diana that made people question privacy laws and the media regarding paparazzi. It was the iconic photograph of the Little Rock Nine walking to a newly desegregated Central High School that made the world question the ideas of race and stutus in America.
It's best to go with a well-known family name like Dixon. Then you want to see a print portfolio. Anything looks good online.
Iterations of my website have been online since 2000. While I always maintain a site, please note that my best work is reserved for personal interviews."
I began photographing in 1980 when my sister-in-law returned home from Germany and loaned me her camera during Christmas. I was hooked. I had a new one by Valentine's Day.
We are nothing without editors. It's too easy to love everything we do. I grew up in an era where we shot film and color slides. The demands for perfection were very high and unforgiving.
I use Bootstrap, HTML%, CSS3 and Wordpress for a variety of sites and presentations. It's a new digital world.
I have worked for many excellent companies in my 39 years behind the lens. Here are a few images.
The person we hired for the assignment had a great portfolio but now we are starting to think they weren't his images. We need a re-shoot quickly but the budget is mostly spent. Can you save us?
Freddy Fast One
Young Art Director
We have to take the lowest bid when seeking a vendor. We may not get the best person but our hands are tied.
We have a pretty good working relationship with the photographers we use. We don't need to look at any new portfolios."
Isaac "I've Seen it All" MacClutchsky
Acct. Rep, Closed Mind Ad Agency
In 1991, after finishing my graduate studies at the University of Michigan, Ann Arbor, I needed to create a photographic identity for myself. I had applied to be a member of the famous Magnum Photo Agency in Paris but was relectant to join a coopertive where the more seasoned members got "first dibs" on the best assignments. I had signed on with a few photography stock agencies but never felt I could keep tabs on the sales of my images and for how much they received. In the late 80s I was primarily shooting with a used Leica M2 because it was an old-fashioned camera that didn't scare off potential subjects. I wanted to be as invisible possible, unassuming, and not impose
myself on the scenes from daily life from which I derrived so much pleasure. This photograph by Andreas Feininger, 1951 of photojournalist Dennis Stock, struck me as exactly the visual metaphor I needed to convey my philosophy. Photographers see the world through two lenses; one, given to us at birth, and the second, adopted by choice. When you photograph with a Leica, you typically use your right eye to frame the image while simultaneously using your left eye to see a wider view of the scene at large. This allows one to better anticipate the unfolding action; what the famed French photographer Henri Cartier-Bresson would coin as "the decisive moment."
I am a New York photographer presently based in Dakar, Sénégal and always ready to travel.
+221 77 3902 480
+1 917 674 0897