Lifestyle

Scott Van Osdol shoots what he loves —documentary style, commercially. He keeps it simple, clear, and compelling. His work has won more prizes than a case o’ Cracker Jacks: CA, PRINT, HOW, PR Week Campaign of the Year and dozens of local/regional ADDYs. He shoots real people wherever possible. This storytelling impulse goes way back. His first solo exhibit, “Working”, opened at the Texas AFL-CIO Union Hall in 1981. Scott comes by this authenticity thing honestly.

Spencer, based in Austin, Texas, draws on his background as a photojournalist for editorial, non-profit and commercial storytelling. His experience ranges from architecture and food to healthcare and travel through stills, audio and video.

He began cultivating his visual skill set while earning a bachelors in biology. After a brief stint with a portrait studio, Spencer completed his masters degree in photojournalism. He has traveled extensively for work all over Texas and the world for editorial and commercial clients. When he’s not working, he can often be found lurking museums, hunting down craft beers, or hiking as far into a wilderness as his legs will take him. Spencer looks forward to working with you to bring his creative energy and experience together with yours.

Tarick Foteh is a Houston-based commercial photographer and retoucher.

“When I was seven years old, my dad bought my mom a Canon AE-1 35mm camera for her birthday. Luckily for me, the multiple dials, f/stops and shutter speeds were enough to convince her to stick to her Polaroid and the Canon was relegated to a storage closet in our house until I stumbled across it one day and claimed it as my own. I remember riding my bike to Walgreens to buy my first few rolls of film only to realize that I had no Idea what the dials, f/stops and shutter speeds were for either. Since the best way that I learn is through experience, the Canon and I were a great match.

That camera stayed with me through the 9th grade when I was accepted into a magnet school for advanced visual art students. It was then, for only six weeks out of the entire semester that I would enroll in my first and only photography class. Being in a darkroom, processing my own film and printing my own photos meant I was way cooler than the other kids. I Continued to experiment throughout high school and into college where I studied graphic design and advertising at Texas Tech University. Eventually I graduated and became an Art Director for JWT. Although I had a secure job working for one of the top advertising shops, I was always searching for something better, hopping to other ad agencies in Houston, Chicago, and St. Louis.

One day a client that I was working for decided that they no longer wanted to use stock photography in their advertising. I was very excited because at this point I had moved on from experimenting with photography and this was a chance to rekindle my old passion. They had a massive budget and we hired a photographer who knew how to consume that budget very well. I showed him examples of the ways that I wanted the images lit and shot, and he showed up to the first location with a tons of lighting equipment, medium format cameras with digital backs, and all of the out-of-reach toys that a tech junkie such as myself lives for.

All of the excitement surrounding that shoot couldn’t prepare me for the disappointment that I felt once the photographer sent me the images. They were poorly lit, flat looking and left a lot to be desired. That disappointment then transformed itself into a confidence that I’ve never really felt before. For some reason, with a knowledge of photography limited to my experiences with my mom’s old film camera, I felt that I could do better.

Soon, I got the crazy idea to move back to Houston, and back into my old childhood bedroom. I spent all of the money that I had saved on digital cameras, lenses and strobe lighting that I had no idea how to use. That was totally ok because as I said before, I learn by doing. It took a couple of years for me to say “I’m a photographer” whenever someone would ask me what I do. Slowly, people began to hire me and within 3 years, I was shooting still and motion images for a great group of clients. 13 years later, I still reside in Houston, (no longer in my childhood bedroom) and my work frequently takes me nationwide to shoot portraits, products, interiors, and much more. Photography is the one thing that I have never really tried at. I just do it. So, here I am. I still have the Canon AE-1 camera that pushed my life in this direction. Unfortunately, Walgreens no longer sells film.”

Eric W. Pohl is an editorial and commercial photographer and native-Texan with a penchant for travel, food-culture and outdoor subjects.

Originally from Houston, Eric now makes his home in the Texas Hill Country, west of Austin. When not behind the lens or scouting a location, he can be found hiking, grilling and enjoying life with his wife, their son and three dogs. He’s also an outdoor enthusiast, a lover of barbecue and a Texas history junkie.

Eric is a travel writer and author of Houston, Texas: A Photographic Portrait (Twin Lights Publishers, 2014) and Texas Hill Country: A Scenic Journey (Schiffer Publishing, 2017).

Aaron Bates is an Austin-based photographer with a passion for the great outdoors and produces adventure, travel and lifestyle images.

He’s an advocate for conservation and a supporter of our national parks, state parks and all wild places in between. He strives to connect people to the great outdoors and encourages the preservation of what is all of ours through his work. Although much of his work is produced in the wild, he enjoys working with subjects that are more tame. Aaron has worked with Texas Monthly, Texas Parks & Wildlife, Texas Tourism, University of Texas and more. His work has also been featured in the Bullock Texas State History Museum and the Dallas Museum of Art.

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Trove Artist Management is a woman-owned, women-empowering talent agency based in Austin, Texas. We are dedicated to promoting, educating and supporting women and culturally diverse artists and social influencers. Trove represents photographers, makeup artists, hair stylists and other artists working locally and nationally. Our roster has served clients such as Elle Magazine, Aveda, Betsey Johnson, Zac Posen, San Antonio Magazine, Austin Monthly, Modern Salon, Jack Ryan, By George and more.

Dallas-based Jonah Gilmore recently shared a bit about his background and business with us:

Internationally-published photographer Jonah Gilmore grew up in the northwest, and has been shooting professionally since 2002. One of his first endeavors was starting a portrait and wedding studio in rural Eastern Washington State. From Washington he moved to Southern California in 2007, where he expanded his portfolio to include fashion, editorial, lifestyle, and advertising.

In 2011 Jonah moved to the Dallas-Fort Worth area, where he currently resides, shooting lifestyle, advertising and a variety of commercial projects. Over the last 3 years he has been shooting an increasing number of commercial video projects as well under his company Studio Rocket Science.

Jonah’s creativity and flexibility of style in photography generates business in a wide variety of projects. He enjoys shooting everything from fashion & lifestyle to fine art and events. Jonah tailors his work to best suit the style of each of his clients to meet their needs. If he has to label his style he calls it “A.D.D. style” with a chuckle. A style that cannot be boxed into any given type, but rather is molded to every specific project.

He has also recently launched a new lifestyle photography brand in DFW called “Be+You”. Be+You is all about self-expression, having passion, and loving life.

Be+You, Defining Lifestyle Photography in Dallas Texas. Lifestyle & Editorial Photography by www.facebook.com/studiorocketscience Be+You, Defining Lifestyle Photography in Dallas Texas. Lifestyle & Editorial Photography by www.facebook.com/studiorocketscience

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Wynn Myers is a lifestyle photographer born and raised in Austin. Known for her eye for authentic moments, Wynn loves to capture the beauty and joy in the everyday. Wynn’s love of photography began when a friend introduced her to the high school darkroom.

After attending the University of St. Andrews in Scotland, she relocated to New York City, where she worked for fashion designer, Zac Posen, and attended the International Center of Photography. In 2006, Wynn graduated from the Maine Media Workshops’ Professional Certificate Program. Wynn received her BA in Photocommunications, Summa Cum Laude, from St. Edward’s University in Austin.

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Photo by Kristen Wrzesniewski

Photo by Kristen Wrzesniewski

For those of us who started our photo careers in a darkroom 36 frames at a time, it can be daunting trying to navigate digital and social photography as a business model. This is not the case for Kristen Wrzesniewski, a young (but wise beyond her years) photographer based in Austin, Texas. She is simultaneously tackling both social media and medium format film cameras. Kristen owns a beautiful and soulful style that is already recognizable, and she’s only just getting started.

Kristen is not just an excellent photographer, she is also the Marketing Director for Photogroup Austin, an Instagrammer for Lumix, and a blogger for Small Camera Big Picture. She knows where her web traffic comes from and she understands that photography succeeds when it’s about experiences, not just attitude.

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What makes Kristen stand out is how much of what she does feels sincere and very organic. She has over 3000 Instagram followers on her personal account, but she seems concerned only with the creative outlet. She does her double exposures in-camera (“I like to do things the hard way”), and rarely plans out her shoots (“I want to see the soul of the person I’m photographing, show who they are deep inside”). She’s not likely to be out with a crew of stylists in tow, nor is she going to post every frame or even every shoot online.

I want to see the soul of the person I’m photographing, show who they are deep inside.

Kristen is mostly self-taught. She began shooting her friends to relieve summer break boredom in her teens. After high school she put her point-and-shoot aside to study English at Texas State, but eventually came back to photography. She stuck with it despite a film teacher disliking her work enough to discourage her.

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The majority of images in Kristen‘s portfolio (many of which are still of her girlfriends) look like fashion and beauty shots, but she does not identify as fashion photographer. She is not really sure yet how she wants to make her mark, but is resolute that her work has to have meaning.

You mentioned shooting with the Lumix GH3 and GX7. What other cameras or equipment do you work with?

I have also shot with a Nikon D7000 in the past, but am selling it to focus on shooting with smaller cameras. The camera is typically secondary to me. With that said, I’m becoming addicted the GH3. It’s a great tool once you understand how to use it. About 30-40% of my work is film, but I have been shooting mostly digital this year because film can be expensive.

“Texas has a really good feeling to me, everyone is so kind.”

What are your favorite places to shoot in Texas and why?

Anywhere outside! Bastrop State Park is beautiful (and sadly, even more photogenic now). Enchanted Rock is an amazing place to shoot, but anywhere outside will do. I like exploring small Texas towns and talking to people who run small storefronts. Last time I was at Enchanted Rock with a model we went into a small fur and antler shop and the store owner was kind enough to let us shoot with his furs. It was great.

Texas is such a giant vast place, and there are so many different kinds of people and landscapes here. I’d really love to take a road trip all over Texas and just document what I see and the people I meet.

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What is your overall impression of the photography industry/community in Texas as a photographer and studio director?

I think Texans are much more laid back than the rest of the country, in general. (Mostly) everyone I’ve met has been so nice and open. There are a few people who carry an elitist kind of attitude but I don’t let those people get to me because a bad attitude gets you nowhere. I’d like to see more people openly talking about HOW they make their photos – people can be so secretive about this and I don’t know why. I believe even if I tell someone how I did something, they still cannot replicate it because it came from my brain. It’s my vision. I’d like to see more sharing of information in the future but I think that is well on its way. Things are changing in the photography world – we now have so much access to information, and I like it like that.

Who are your mentors?

-Chip Willis (who lives in Ohio) has been a sort of internet mentor to me. I was incredibly inspired by his work for a very long time before we even spoke. He has always been supportive of me, even though sometimes my work looks a lot like his!

-Also, Giulio Sciorio has been a great mentor and teacher. He is a long time pro and an awesome photographer. He specializes in hybrid photography and has shown me the ropes over the past few months. It’s been an amazing learning experience. He’s taught me a lot about the business aspects of photography as well.

-Robert Bradshaw, my boss at Photogroup, has also been a great mentor. He is a wealth of knowledge, and he hired me on even though I had never shot in a studio before and knew absolutely nothing about studio photography. Over the past year he has taken a lot of time to teach me everything he knows and I am incredibly grateful. 

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Are you shooting more studio work now?

I used to shoot only natural light but have taken up studio light in the past year. I like it because I have more control and can manipulate it and make odd shapes and shadows. Honestly, I love them both, just not together.

What’s the best piece of advice you’ve ever been given?

I will have to quote Ira Glass on this one: 

“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”

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When I ask Kristen what inspires her she mentions hip-hop music, old films and Kubric. When I ask about her thoughts on the future, she only mentions plans through May. I think that might just be the secret to her success.

Kristen is represented by Wonderful Machine.

 

 

 

 

 

For the past year I’ve had the pleasure of knowing one of my favorite photographers working today. Wyatt McSpadden is enormously talented and also down to earth.  We met for eggs, coffee, and biscuits one morning and in his Texas accent, Wyatt told me stories of his career.

How did you get your start in photography?
I started out working for an eccentric millionaire in Amarillo, a guy by the name of Stanley Marsh 3.  It was 1971 and I was just one of the hippies that worked out on his ranch estate mowing lawns and doing odd jobs. He always had a photographer around too. I had a Minolta SRT 71 camera and I didn’t know what I was doing but there was all this crazy stuff going on around Amarillo.

In 1974, when the art collective Ant Farm started burying Cadillacs in the ground out on Interstate 40, I was documenting that. Every time the design of the tail fin changed, they buried a new Cadillac.  Who ever saw people burying cars in the ground?

This is what I was around and I had a camera and Stanley was buying the film so I was just taking pictures.  I had no agenda.  Through the years the Cadillac Ranch became kind of a phenomenon.  I met famous photographers who flew there to do fashion spreads.

It was really my first documentary photography.  I didn’t think of it like that at the time, but it turns out that’s what it was.

Talk about your longtime collaboration with Texas Monthly.
In 1978 Nancy McMillen, the associate art director of Texas Monthly, called Stanley’s office and asked about shooting him and she wanted a recommendation for a photographer. How could any of us have known just what a fateful call this was? That’s how I met her.  She worked there for 23 years.

Nancy contacted me and of course I was thrilled. All my work had been for local clients, printers, feed yards, small ad agencies – certainly nothing so grand as Texas Monthly. I set up my white background and had Stanley model hats from the enormous collection in his cavernous closet.  And there it was, I had my first pictures in Texas Monthly. A full page! I’ve dragged this old yellowed tear sheet around for 35 years. What a great subject.  He was willing to do anything.

Nancy and I married in 1992, the luckiest day of my life and I’ve somehow managed to keep that Texas Monthly connection alive and well.  That was the first thing I ever did for them, so it has great significance to me. I wouldn’t have had a career if it weren’t for Texas Monthly. At least not the career I’ve had. I’ve been very lucky.

 I wouldn’t have had a career if it weren’t for Texas Monthly.  At least not the career I’ve had.  I’ve been very lucky.

I did marry into the art department, but in a real way it made me step up my game. Nancy is a very discerning art director and photo editor and if I came walking in there with some junk she’d have tossed me out!  I’m sure people talked about it but it really was a situation where you don’t bring your B game!

You probably had more to prove.
And it’s still that way.  It’s amazing to have a relationship with a magazine for 35 years and still be just as eager.

How did it come full circle recently?
Stanley Marsh had been implicated in inappropriate conduct with young boys.  This story came out and Texas Monthly elected to do a major piece about it.  I had photographed Marsh dozens of times, and I had lots and lots of pictures of him in my files.  Some I hadn’t paid much attention to, but I found one that was shockingly appropriate of him for the story, that I’d taken 25 years ago in 1989.

I was looking through my files trying to find pictures of Stanley that Texas Monthly might want to use and there was one that had been published before but it wasn’t the right feel for the story. On the bottom of that strip of four two and a quarter negatives was a negative that looked sort of interesting so I went to Holland to get it scanned. When it came back I thought THIS is the picture that they should run.  But I didn’t show it to them then; I sent the other image thinking that would be piling it on. I didn’t want Stanley to come off looking too bad. As if I had anything to do with that…the article told the tale.

Texas Monthly sent me to Houston to photograph the lawyer who had sued him on behalf of 10 boys.  This guy’s name is Anthony “The Shark” Buzbee and his office is on the 73rd floor of a 75 floor building.  The tallest building in Texas located in downtown Houston, and he’s got half the floor.

My assistant Will Phillips and I left Austin at 6:30 in the morning and drove to Houston, went to his huge office arriving to find the conference rooms full, so we set up a 9’ seamless in his office.  The space was so big we never disturbed him.

Buzbee is super slick and extremely aware of his image. We were in his office for 2 ½ hours but all I was getting out of him was this “I’m Tony Buzbee, I’m fighting for the little guy” expression.  While we were getting set up in his office he was out front talking to his secretary when I overheard a woman say to him, “You look just like Gerard Butler!”

I had spotted a possible setting out front and thought, when we finish in Buzbee’s office I’ll get one more shot, but by the time we were done, I was just beat.  My assistant Will said, “Don’t you want to do this other shot?’ so I set up and was on the ground in his secretary’s office with him standing between the doors.  I’m getting nothing out of him until it suddenly came to me and I said, “Oh Tony, you look just like Gerard Butler!” And this is what I got, which is perfect!

We shot something like 300 pictures and the 297thone was the only one I liked. When I saw that image I thought, I’ll let Texas Monthly use the other picture of Stanley because this pair of images makes them both look notorious. I was very lucky to have Will along with me because even though I was done, he pushed me to do more. That’s part of the photographer-assistant relationship I’m certainly glad to have.

I had these feelings of regret about what had become of Mr. Marsh as well as curiosity about the guy who helped bring him down.  It’s kind of an amazing story for me and it pivots around being in the photography business for a long time. Texas Monthly used an image I took 25 years ago and one I took just 3 weeks ago to support it.  It’s a very rare thing to have a relationship like that with a magazine.

What’s another memorable Texas Monthly story you’ve done?
This was the Bandidos, a motor cycle gang and an important member had passed away so they kept him on ice for longer than they normally would so they could have the funeral for him on Memorial Day weekend and all these Bandidos came in from all over the country.  We set up white seamless at the funeral home in one of the viewing rooms that wasn’t being used. Skip Hollingsworth the writer and I would go out and ask people if we could do a portrait of them.  This was 2-3:00 in the afternoon with all these bad ass bikers and their scary girlfriends or wives. Everything was going fine but as the day went on they started drinking in the funeral home parking lot.  Then the whole vibe changed. By about sun down it was like, let’s get out of here while we still can in one piece!

The next day they had the procession.  I was desperate to find a place to photograph.  It was a Saturday morning on the 410 loop around San Antonio.  Will was with me and across the road there was what looked like a junkyard with a cherry picker with a sign on it that said “Rent Me.”  We woke this guy up and said “I have to have this thing in 20 minutes!”  We paid him $200, and got me up on the cherry picker.  I was shooting medium format film and three minutes later, here they come. What an amazing situation to get into.

Film.  Loading backs.  12 frames.  That’s how you did it.  That’s how I did it.

Besides bikers and eccentric millionaires, you’re also quite known for your love of and documentation of the Texas barbecue culture. When you started out photographing BBQ, did you plan to put the images into a book or did that just happen organically?
When Kreuz moved in 1999 out of what is now the Smitty’s building, my buddies and I were so crushed and sad. I went every day for a week and just shot black and whites.  So that was probably the foundation for the barbecue book.  There were assignments throughout the years where I had probably 1/3 of the pictures for the book before we had a book deal.  It was great fun and it wasn’t like being on assignment where you have to get something.  Nancy did the design so it was a real collaboration for us.

Last week I stumbled upon an old negative of Louie Muellers BBQ (legendary Texas barbecue joint) that I shot when I was still living in Amarillo. It was 1980 and a seed company salesman took us to there for lunch.  I didn’t know anything about Louie Muellers, I didn’t know anything about real barbecue but walked in there and wow, look at this place! This negative has great meaning to me because barbecue has become such a part of my work life.  It makes me glad I haven’t thrown anything away.

Do you still shoot film for your commercial and editorial work?
I don’t unless it’s a personal project. There’s just no demand for it anymore.  Everything needs to happen so fast, plus it’s more expensive.  The BBQ book I did a few years ago was all film shot with RZ67, but I was paying for that out of my own pocket.  It made me very selective about what I shot, unlike shooting digital, where you just shoot too much.  Cause why not?  The problem with that approach is you pay for it in front of the computer.  Another thing about digital is you would shoot a Polaroid and stop but with digital you’re working all your shit out in the camera.  You got 10 frames but it took 70 to get where you wanted to be and you still have to look at it all one way or another.

I’ve got thousands of negatives, many of them pictures of my kids, pictures of my now wife, my ex wife.  And I wonder… but I don’t know, I’ll be dead and gone but those negatives somehow seem more permanent to me than pictures that are stored on a computer or on a cloud.  Somebody will probably look through my negatives- my kids, my wife, but I don’t know who’s going to look through my digital files just as a matter of history and family history.

One of the things I’ve enjoyed the most about Facebook as silly as it is, is that I can put up things you wouldn’t normally see.  Whether it’s old stuff or outtakes or quirky stuff or something from a story.  I’ve got all kinds of pictures, just throw them out there and people can like them or not.  Facebook has sort of changed the meaning of the word “friend” and the meaning of the word “like”.  But still, I love it when people like my photos.  It’s just how needy we are.

You read there have been more pictures taken last year than in the whole history of photography…but where are they?

I still get the same tingle when I see a picture in print that I did when I first saw a picture- something of mine

For almost a year of my life the future was very uncertain.  Of course it still is…but for other reasons.  I’m back in a place where I’m going to pretend I’m gonna live forever like we all do.  It’s also like okay…I’m 60…how did I get here?  What am I going to do?  And I’m just going to keep doing what I’m doing.  Try to stay healthy.  Photography’s a physical business, but I still love doing it and I think that’s the bottom line for me that I still get the same tingle when I see a picture in print that I did when I first saw a picture, something of mine.

When you were diagnosed with life threatening cancer the Austin photo community and Dan Winters rallied around you with a print auction to raise money to help with your medical bills.  Can you talk about that?  Did you know Dan before the event?
That was probably the most magical night of my life. Nancy and I had been down for the first week of radiation treatments, then drove back to Austin on a Friday, went home and changed clothes and went down to Charla Woods’ studio.  We were absolutely blown away.  It was astonishing.  I had met Dan before, I wouldn’t say that I knew him but I knew his work.  He’s one of those I-wish-I-had-shot-that guys. The work he had donated, the people who participated, it was an astonishing collection of great, great photography.  Perfectly hung like everything that Dan does.  He’s someone who achieves a certain level of perfection in everything that he does, whether it’s minor or major.  But this…it was totally unexpected and an unbelievable night.  They sold everything on the wall.  It was a very meaningful experience and we still have this deep feeling of gratitude for what he did and for all the people who came and participated.

A friend of ours, Kathy Marcus, had started letting people know about my cancer.  If  you’re self employed, health insurance is a real challenge.  We were insured but with a $10,000 deductable and expenses unknown.  So Kathy got the ball rolling and Dan got wind of it and he started putting it together.  He didn’t ask us if we wanted him to, he just started putting it together and Nancy and I talked about it, gosh, is this right?  And then we thought, don’t be crazy!  If Dan Winters wants to do this, by God who’s going to stop him!  It was truly one of the most magical experiences of my life and in the midst of the crummiest of times it really was an amazing thing.

I’m going to stick around so I can use this damn camera, whatever it takes!

Do you have a favorite item in your camera bag or anything unusual?
I do love the D800.  I’m a real late adopter in the digital stuff and I waited until Nikon came out with a full sized chip.  Last year I shot that Willie Nelson cover for Texas Monthly so I rented the D800 and the files were so amazing that I thought well …what the hell.  Plus at the time I was six months out of treatment and I thought I’m going to get this camera because I’m going to stick around.  I’m going to stick around so I can use this damn camera, whatever it takes!  I do love that camera and a lot of time it’s overkill file size, so I don’t use it for everything, but when something really great happens it’s so fun to have it on that camera.

In a way it means I’m sort of pre-judging a job.  Is this worthy of the D800 for the full treatment? And there’s a practical side to that too.  If it’s not going to go that big then why shoot a 36MP 104MP TIFF file so you get extra churn time on the computer.  But if it’s something really great…I did this story for Texas Monthly back in September and I took my son Stuart with me to assist and to shoot too (cowboy stuff) so I had my D800 and I rented a D800.  We stumbled upon this (sky and riders) and this image will go up the size of a billboard.  You can shoot these in the dark.

What have you learned from being in this business for so long?
You’re scrambling around trying to find work and it’s not any different for me.  Part of the learning curve whether your 60 or 30, we’re all scrapping for the same gigs in one way or another.  When I was 30 I thought, “When I’m 60 it will be different.  I’ll have this reputation and this stable of clients.” But that’s not how it is.  The scramble never stops.

Really?
I don’t think so.  It certainly does for some people. I don’t have a rep, I’ve never had a rep. I never thought my work was the kind that a rep would handle. I don’t know why that is.  My work is kind of quirky and doesn’t fit into a hard category. But that’s just how it is. You can think of a couple photographers in town that don’t have to scramble and then you can think of a thousand that do. So that’s where most of us are.