PDN: How did you find him?
DC: Through his [West Coast] rep, Copious
Management. Someone there sent me his Web site,
and I could see he’s made a lot of male celebrities look
fantastic, and thought he could make Hugh Laurie look
fantastic, and he did.
I should mention that word of mouth is huge. We’ve
tried many photographers because of great relationships with agents who know our products, our needs
and don’t waste our time.
PDN: Who are some others you’ve worked with?
DC: Andrew Matusik did [the gallery shoot for] Fringe.
Danielle Levitt was one of t wo photographers we hired
for Glee. We worked with Williams + Hirakawa. They
did our big image campaign shoot, where we shoot
our actors [for all Fox shows] out of character. Audrey
Landreth brought them to our attention. She used to
be a photo editor at Entertainment Weekly, and was
freelancing for us.
PDN: When is the best time for photographers to
DC: In mid-May, beginning of June. Last year we
reached out to all the agents, and scheduled meetings
DIANE COOPER: “COME TO
US WITH A STRATEGIC
PITCH. KNOW WHAT SHOWS
WE’VE PICKED UP, WHAT
THE STORY IS ABOUT AND
WHO THE ACTORS ARE.”
with photographers all day for a week. We like when
photographers come in by themselves. A rep does not
need to come in on a meeting.
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PDN: What advice do you have for photographers or
agents who want to work with you?
DC: Come to us with a strategic pitch. Know what
shows we’ve picked up, what the story is about and
who the actors are. Come as strategically prepared as
you can be. Have a really professional Web site that’s
clean and simple to navigate. If you make a presenta-
tion on an iPad, we have eight people, so when photog-
raphers have come in with multiple iPads, that’s been
great. If you bring a traditional portfolio, you should
still bring an iPad, because there’s so much material
you can’t show us with just a portfolio.
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PDN: What mistakes do photographers make when
they pitch you?
DC: The photographers who are going to approach
us for work are fairly established. Make sure you have
a strong body of work that fulfills the checklist. It
doesn’t have to be all from the entertainment world.
It could be music, advertising or editorial work, but
we do like to see that photographers have worked