up a production company with a dedicated crew for
commercial video assignments (last year, he shot two
videos for Giorgio Armani, for instance). But usually he
travels and shoots without assistants.
It can be difficult to tell from his blog posts what is
personal work, and what is shot for a client. Most clients
hire him to shoot in his signature style, then distribute
the images on his blog for his own followers, in addition
to providing the images to the client for their website.
For instance, his most recent assignment was a campaign for Esprit called “I Love My City.” Rodic traveled to
New York City, Amsterdam, Paris and Hong Kong during
July and August, spending three days in each city shooting photos and video. “In each city I selected one girl
who was showing me around her city. I was documenting the day I was spending with her,” he says.
Esprit had asked Rodic to suggest models for the
project from his own network of friends and acquaintances in each city. “They were not famous models,
they were more like cool bloggers or pretty girls about
town,” he says.
The images appeared on esprit.com, but also on
Rodic’s blog and website, he says. “Typically clients
want me to post [the pictures] on my own channel—
blogs and social media. [For Esprit] I would post part of
the campaign on my blog and promote it on Twitter,
Facebook and Instagram.”
Rodic did that by posting teasers on Instagram and
Twitter as he was shooting. Later, he used his social-
media networks to direct his followers to a full se-
lection of the day’s photos and videos on esprit.com.
(Most of his fans follow him on mobile devices now,
so the “teaser” strategy, where he posts three or four
iPhone pictures on Instagram and then a lot of images
on his blogs at the end of the day, is designed to keep
the mobile followers engaged.)
Clients sometimes hire him for exclusive use of
the images on their own websites. For nine months
last year, he had an arrangement with Toni&Guy to
provide photographs of people he encountered on
the street “with interesting hair and style.” He didn’t
post the images that he provided to the client on his
own site, except for a few Instagram pictures during
London Fashion Week to promote the brand.
Rodic’s assignment work started with editorial jobs
in 2006, when GQ hired him to cover street style during New York Fashion Week. In 2008, he shot an assignment for The New York Times, followed by Paris and
Milan Fashion Week assignments in 2010 for Italian
Vogue, among other editorial clients. For six months in
2010, he contributed a fashion photography column to
The Observer in London.
Those assignments, and his growing fan base, led to
commercial assignments covering events all over the
world for Lacoste, Absolut vodka, American Apparel,
Volvo and other brands. Rodic no longer does much
editorial work. “They forget that on the streets you
are dependent on the seasons and conditions,” he
says. “They expect you to shoot something summer-y
when it’s still cold. It was complicated for not so much
money. I’d rather keep most of my photos for my own
channels and somehow monetize it on proper clients—commercial projects,” he says.