PDN - August 2011

“The lesson, basically, was that in order to stay afloat, you want to do your own thing, develop your own style while maintaining your awareness of what’s new and next,” says Smirnov of working with Cramer.

Lacombe adds, “He also includes me in his professional life as much as he can. It’s not just all about the shoot. For example, he will call up his agent or clients to discuss jobs, and put his phone on speaker so I can hear how things happen on the business side of things. During these phone calls I usually make mental notes of some unfamiliar things that were discussed, and I then review these topics with Jeff.

Hutchens is also concerned with Lacombe’s development. He sometimes asks his assistant to do a first edit of his work, then they discuss the selection. “He always asks to see what I’ve been working on, he goes through my work and critiques it and, on occasion, has passed jobs down to me to challenge my skills and help me further develop my portfolio. We have even set some evenings aside just to review my work together, and discuss which directions I should be taking, where I should try to publish this work and how I should approach some upcoming projects.”

Gene Smirnov on Bill Cramer

Gene Smirnov considers himself “lucky” to have been mentored by Bill Cramer, photographer and founder of the rep firm Wonderful Machine. “I learned a lot about the business of photography. It’s something you can’t learn in school,” says Smirnov, who worked 9 to 5 for two years in the company’s office.

Smirnov explains, “The best thing I learned from him was how to be resilient in this tough economy. And it wasn’t something he taught me, but something I picked up from being around him and his staff. The lesson, basically, was that in order to stay afloat, you want to do your own thing, develop your own style while maintaining your awareness of what’s new and next. It’s extremely important to always stay on course and never give up. Consistency and persistence is an amazing combination.”

Gene Smirnov (above) feels lucky to have been mentored by Bill Cramer.

luke CoppinG on rhea anna

Luke Copping had done a variety of photography jobs –working as an assistant, a stylist, and a product shooter—but felt frustrated and burnt out. He tried taking a secure, salaried job in graphic design. When that didn’t satisfy, he started shooting photos again, and in late 2008, he decided to look up Rhea Anna, the

Luke Copping (left) says working with Rhea Anna (right) re-excited his passion for photography.

photographer he had assisted during summer vacations while he attended the summers while he attended Rochester Institute of Photography. Working with Anna, he says, re-excited his passion for photography.

“One of the first lessons I learned from Rhea was the importance of shooting work for myself and not just to please other people,” says Copping, who now believes photographers have to “show what you want to shoot.” He says Anna taught by her own example the importance of shooting personal work. “She has evolved greatly as an artist and I was lucky enough to see this evolution first hand,” he says.

Working as a digital technician, Copping has enjoyed collaborating with Anna.
“We are always working together to create the imagery that is best for the project.
Though I am now fairly established in my own work I find that she always has valu-
able insights to share with me on my own work and business development too.”
He often asks Anna her opinion on his latest work. “Most importantly I find that
because of her influence I am a much happier and more creative person than I was
in my first foray into this business. In many ways I would not be where I am today
if it wasn’t for her and the guidance and support she has given me over the years.”

“One of the first lessons I learned from Rhea was the importance of shooting for myself and not just to please other people,” says Copping.

Jenn pettheiSer on BruCe WeBer Editorial portrait photographer Jenn Pettheiser worked in the studio of Bruce Weber in 1998 and 1999, and then had a chance to assist on shoots. Not that she played an important role; she says she was fifth assistant. Now that she runs her own studio, she says, “I have never heard of a fifth assistant since then nor could I ever imagine now as a shooter having the need for a fifth.” Still, she says, even though she was just one part of a very large production crew, she learned a lot watching how Weber organized and guided his team.

“All of the while that he was creating beautiful images, he made everyone— assistants, art directors, models and caterers— feel at ease and part of his crew.” After a week of shooting on location, Pettheiser recalls, “Bruce called his assistants in for a pow-wow. He compared what we were doing all over the country making pictures with being on tour in a band playing music. He reminded us that while he might be the lead singer of this great big rock-and-roll band, his music wouldn’t sound too good if the drummer, guitarist or the guy driving the truck with the sound equipment were not performing at his best. Even as a fifth assistant on that shoot, Bruce’s little chat really made me feel part of his team and his words stuck with me.”

COUR TES Y OF JENN PE T THEISER

Portrait photographer Jenn Pettheiser.

Pettheiser, who opened her own business in 2002, says she learned from Weber’s example. “I always try to have my crew realize how important each of their roles is to the shoot that day. My assistants, producer, makeup artist, tech and every person on set help to make me look better. I try to make sure that they know how vital they are to the success of each and every one of our performances.”