As a digital pioneer, I was an early adopter in the high-resolution digital revolution. I shoot using state-of-the-art 12.3 mega-pixel, full-frame Canon 5D cameras, 580EX flashes, and crystal-clear L glass. My studio is equipped with enough Macintosh firepower to keep Steve Jobs in German cars for years. I use old school Norman lighting and beautiful natural light. I know Photoshop like Stephen Hawking knows the cosmos...
4. Tell us about the time when you first got started in photography.
I received my photography education while serving in the United States Marine Corps - prior to that I was a certified tom boy and unharnessed talent. For the past three decades I've traveled extensively, covering and participating in noteworthy events such as the 1985 Women's Tour de France (I rode for the US National Cycling Team), the 2001 Australian Paddleboard World Championships, and the 2003 World Record setting Women's Full Moon Paddle from Cuba to Key West.
5. In your opinion, what does it take to become successful in this industry?
Passion, talent, follow-through and the ability to play well with others.
6. What was your biggest challenge coming into this industry?
Competing against people who work for nothing, after all, who can compete with free? I tell younger photographers to never work for a by-line alone. If a magazine is going to print, they have advertising dollars to spend - so at least have them give you a half page ad if you're doing a week's worth of work. I try to instill a sense of value in my work with my clients. With over 30 years of experience, I know how to get the shot with a minimum of headaches - having fun the whole time.
7. What are the best perks as a Photographer?
Travel, adventure, great subjects, and the opportunity to meet and collaborate with other talented people - from art directors to athletes, celebrities, kids, and wild animals (which some might classify in the same species).
8. How do you plan for your shooting sessions?
It depends on the assignment. For architecture - timing is critical. Morning and sunset light only lasts for 10-15 minutes, so scoping out the site beforehand is necessary. Bring a good book while you wait for the golden moment and take plenty of test shots to study your compositions. For food - you have to work quickly. I try not to fuss too much. I trust the chef in creating a well plated and presented dish - all I need is a naturally lit location, some candles, flowers and a 50mm 1.2 lens. Et voila!
9. How would you describe your work to first time viewers?
The majority of my portfolio is focused on architecture and food - both distinctive disciplines. For food - shallow depth of fields create painterly images, with a truly appetizing appeal. With architecture - precise, but edgy angles with lots of sparkle and crisp compositions.
10. Do you shoot to what your heart tells you or do you go through a complex check list in your mind when you produce your work? Describe the feeling/check list.
I'm half and half - when I'm hired to do an architectural shoot, I produce a shot list for the client, but always opened to inspiration when I'm on location.
11. From your experience, what subjects gives you the greatest satisfaction? Any examples?
Taking photos of my 84 year old father and my 1.5 year old mutt. They are the most honest beings I know.
12. From your experience, what subjects are the hardest to work with? Any examples?
Self-conscious young people. An overly ambitious soccer mom hired me to photograph her son for some head shots. He was a good looking young man but with no interest in becoming a model. I'll leave fashion to the rest of y'all.
13. What is your philosophy when it comes to your work?
Do what you say you'll do, show up when you say you will, deliver the highest quality product on time (and on budget) - o, and have fun - you're doing what you love. As a female professional, I've also overcome my issues about discussing costs. I have rates and fees for all my services. Never be loosey-goosey about your costs. If you don't value your work, no one else will either.
14. Describe who/what inspires you, tell us why?
I'm continually inspired by fellow photographers, artists, nature, beauty in urban settings, skill, craftsmanship, babies, animals, and people who exhibit kindness and compassion. With that, a shoot always comes together.
15. What do you do when those creative juices just seems to evade you. How do you "get creative"?
I jump on my bike and rip a ride through Florida Canyon and clear my head, but I take my Canon G9 just in case.
16. Tell us about a time when inspiration just hits you, and you felt the insatiable urge to create. What did you do with that energy?
When does it stop?
17. What have you discovered about yourself through photography?
I'm a frustrated painter - but the camera is just a different brush. I'm grateful for my gift of being able to create beautiful imagery from an innate ability to see things differently.
18. Whose work do you admire the most? Why?
I love Annie Leibovitz. Her highly stylized tableaus are always compelling, if not intriguing. Her last body of work however, is the antithesis of her renown, highly crafted style. She offered an intimate look into her famously reclusive life with partner Susan Sontag. I think she is one of the most iconoclastic artists of our time. http://en.menschenfuermenschen.com
19. Do you have any advice for those who are just getting in to stock photography?
Remember to catalog and key word everything in your work flow - saves tons of time so you can get out and shoot more.