Category Archives: Photo Business

The Dream Job Schedule

The Tuscan village of Pienza

Outdoor Industry Photographer Life

In addition to being professional photographers, I think it’s safe to say we could be considered professional travelers. In February, after plugging many clients needs into the calendar, we saw that to make everything work we would have to be on the go for seven straight weeks. In the last twelve years we’ve done a lot of back to back trips, but this was ridiculous; Tuscany (post), Norway, Chamonix, Sicily, Switzerland, Italy – in two cases we went straight from airports home to swap bags, then dashed to the next location. Planes, airports, and cars served as editing stations, the iPhone the entire communication platform.

In Montura's new Gore ProShell, Kurt Astner climbing his route White Chocolate. Norway

Our trip to Norway was for W.L. Gore (Gore-Tex) and the Italian clothing company Montura. The goal was to photograph professional climber Kurt Astner climbing some new ice routes in bad weather. The trip also included our own fun, both wandering around the Lyngen Alps and lots of backcountry ski days.

Evening walk along the Norwegian Fjords and scoping ski lines on the other side

A day to ourselves with four laps of fun in the Lyngen Alps

From Norway we flew to Munich, drove three hours home, did laundry, slept a few hours and were in the car headed for Chamonix. The Swiss women’s clothing company Wild Roses had hired us to photograph two of their athletes for three days. The job was to document each of their lives as mother’s and very busy mountain athletes. Esther Larios is a Swiss UIAGM Mountain Guide based in Chamonix and a mother of two. American Nina Silitch, also a great friend and mother of two, is one of the world’s top women ski randonee racers, competing & training fulltime on the World Cup circuit while living in Chamonix. With each of them we spent a full day photographing their day to day routine. Then, the third day we headed into the mountains for a fun day of alpine climbing and skiing work.

Esther Larios and Nina Silitch on Chamonix's Midi Plan Traverse

Nina Silitch

Esther Larios and Nina Silitch in Chamonix

During the Chamonix shoot it became apparent it was crunch time. After the third day shooting skiing and climbing, we were back in the car for the 6 hour drive home. Once there, Groundhog Day; laundry, a bit of sleep, an attempt to edit, then our bell was ringing. Great friends Christof and Evi were outside, the car was packed, we were headed to Sicily for a week of sport climbing. Unlike the other trips, Sicily was our own shoot, both for stock and our DolomiteSport story. AAhhh…. relax a bit, get caught up, deliver some jobs, hang with friends and get a bunch of climbing in.

Christof Ursch at the Castle of Aragon, 7b. San Vito lo Capo, Sicily

With Sicily a wrap, we were back home and awaiting the arrival of our friend Ben Grasseschi from the US. Ben was on his way over to spend two weeks with us, ski touring and shooting more work for Gore. We had news for Ben… while he is from Lake Tahoe, where even now, well into April, they are still skiing winter powder, we in Europe had a mostly ski free winter. As photographers, we need blower powder, untracked lines and interesting weather. For Ben, and for much of the winter, we had very little snow and lots of splitter blue sky. We had the ingredients for some fun, but not to get a very specific photoshoot accomplished. Together with Ben and Italian friend Andrea Gabrielli we headed for Switzerland’s Piz Bernina Group for a multi-day ski tour. Then the very day we skied out of the Bernina, we drove to the Ortler Group and skied straight into another hut to give it a go for a few days. More hardpack snow, blue sky and carved up lines, but amongst it all – some turns, some laughs and loads of great food.

Andrea Gabrielli skiing amongst crevasses in the Piz Bernina Group

Looking back to now it was, as has been our entire career, a phenomenal experience. Great memories, lessons learned, new friends and of course lots of photos. The dream job is indeed dreamy.

Follow us on Twitter to see what we do as we do it : @patitucciphoto

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Women’s Adventure Cover and Spreads

We just saw the new Women’s Adventure Magazine for spring 2011. An unusual photo from us is cover along with more work inside as spreads. The cover is unusual only because it is such a tight portrait, not our usual style but one we really enjoy shooting, we are happy to see the new type of usage of our work. Does it work as cover? I think so. And you?

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The Value of Location Scouting

Photoshoot Pre-Production

The line item “Location Scouting Day” often gets questioned when I send a job estimate to a client. “Nah… it’s beautiful there, just show up the morning of the shoot and we’ll get it all done that day”. This is a really bad idea that is likely to lead to a stressed out photographer and an unhappy client. Without a doubt, one of the most difficult things to explain as a pro photographer is that not all beautiful places make beautiful places for photos – there are an infinite number of variables that influence a shoot location.

Last week’s shoot in Tuscany proved the point. In this case, our client did want us to scout. We had a day to spend driving around and looking for the locations for some very specific images. This particular job required us to shoot four pages for a global advertising catalog as well as a tradeshow booth display. They knew what they wanted in terms of activities – now we had to get it, and most importantly, it had to look very Tuscan.

Photoshoot Day 1: Rain and dark skies. No go.

Photoshoot Day 2: The forecast called for clouds but no rain in the morning, then increasing at noon. Stress was building, we had to get something shot as the deadline was upon us. We decided to go, to be on location with the models and ready. Our scouting day paid off, the morning was clear and we dashed from one location to the next, plugging in exactly what we had looked for by simply working through a checklist to remain efficient. At 11:00 a.m. our skies went dark. The limited time did not allow for variety or fine tuning, but it did let us put our experience to work and get the job done. Thanks to a carefully planned morning and knowledge of what to do and where to go, successful images were made and delivered.

Janine Patitucci location scouting in the Tuscan Hills

 

 

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Smartwool Winter Running Photoshoot

Smartwool has its act together. The product is superb, the creative gang a joy to work with and the brand just plain fun. That little logo of their’s – the happy little guy – that really is their energy. It is a fun brand that is reflected in the staff. As a result, we are happy photographers and like to promote them.

The typical clothing photoshoot scenario is to shoot out of season, meaning that we are sent summer clothing to shoot in the dead of winter. Much to our disliking, this is common timing. With Smartwool, they match the clothing availability with the season it is meant for. And so this winter we were called up for a few shoots; the first being winter road running of their Fall 2011 men’s running products.

The Making of a Photoshoot

From the Creative Team we are given the necessary ingredients, it is our job to put them all together.

Location – A snowy road with some character, near a mountain town.

Weather – Ideally a post storm day, snow on the trees, everything glimmering with a fresh layer of snow.

Model – A real runner, a guy, chiseled, with a boyish, fun look in his eye. He must really love running.

And so it begins. We scout locations, take angles of the sun, walk around to look for shots and consider all the variables that might pop up because they always do. Finally we settle on a little town about 30 minutes from our home.

Next up, the weather. Can’t do much about this, especially this winter where at one point we went 6 weeks without snow. The location is getting a little scrappy. I keep an eye on the web cam to see how it is fairing in the soaring temps. Stress begins to set in as we schedule other shoots around this one, we want it to happen but the weather needs to cooperate, the landscape needs a bit more snow, and on this day both the model, and us, need to be available.

The Model – Kurt Faltner. Through friends we meet a very real runner who happens to live a few houses away. He is the real deal with the current goal of this summer’s Jungfrau Marathon. We meet, give him the clothes to try and say we’ll be in touch. I tell him he’ll get to do intervals on photo day, he’s game.

The day arrives and we commit, call Kurt and all is set. It snowed the day before and the forecast is bluebird. Off we go.

Remember that line about how variables always seem to pop up? This shoot’s unexpected, near monkey wrenching, comes in the form of howling and well below zero winds. Huge plumes of snow engulf us and force us to wait for stiller moments. Frozen fingers, toes, and rapidly dropping battery levels – all part of shooting skiing, but road running? Kurt is doing fine wrapped in his merino wool while Janine and I, dressed for a near the car shoot, are less comfy.

In the end we have it, Kurt does his intervals, we fill a few cards and even have some time at sunset to make some portraits. A great shoot.

Back in the car and driving home comes the final confirmation from Kurt that everything went well, “Can I keep all the clothing? I really like it”. He got it, but you’ll have to wait a bit.

To see Smartwool’s cozy merino offerings this season, visit Smartwool and see if you can spot more of our photos on their site.

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PatitucciPhoto Partners with LowePro Camera Bags

Dan Patitucci using LowePro's Top Loader Pro 75 in Chamonix, France

LowePro Camera Bags

Back in December, we posted a story about our fall 2010 Vietnam & Cambodia Photos. One comment that came in asked what camera bags we use while in the field.
To this I responded with an honest, “None”, explaining that at some point we stopped using camera bags and started carrying our gear in whatever was convenient, or in whatever pack we were using for the activity.
It turns out that the folks at LowePro were tuned in to our Blog. Back in the early 2000′s we were actually doing some product testing for them and got to know one another. Suddenly, I had an email from the marketing team and it came in the form of a challenge.
They had seen my comment and offered to provide me with a bag or system of my choice. I was to use it, really use it – and if I liked the benefits I would do a write up. And if I didn’t like it…. this post wouldn’t be here.
My choice was the Top Loader Pro 75 and a 70-200 f2.8 lens tube. My reasoning was that I would be able to have the bag easily accessible and in front of me, as I used to do years ago. If the camera is easy to get to – you shoot more – period.

Now, a month after getting the bag – I am sold… and here is my post as proof. We are happy to report that not only are we rewarding LowePro with a purely positive review – we are also involved again as both product testers and providing design input based on our experience shooting mountain sports in a wide range of conditions and scenarios, as both photographers and athletes.

In the coming 6 weeks, we have a virtually nonstop photoshoot schedule. We’ll be shooting mountain biking in Tuscany, ice climbing & skiing in Norway, ski mountaineering in Chamonix, sport climbing above the Mediterranean in Sicily and then right back to Chamonix for alpine climbing and spring ski touring.

Photos and stories will be posted here from all the projects, or follow us on Twitter for live updates and random fun at @patitucciphoto. And for Mountain Sport fans, follow us on Facebook:DolomiteSport

Questions? Comments? Send them our way.

Also posted in Gear Review | 1 Comment

It’s All About the People

Beginning March 1, we have 6 solid weeks of photoshoots and travel, literally every single day is accounted for. To say we are excited is an understatement. We’re thrilled as both the work and who we are doing it for offer amazing opportunities. But first, some serious effort at one key thing which happens to be our single biggest challenge. I was curious if people had any idea what this issue may be so I threw it out there on our Twitter feed (@patitucciphoto)

“What is the single hardest part of being a professional mountain sport photographer? Guess, anyone?”

Marketing? No. No sleep? No. Weather? No. Keeping up with the athletes? No. All the editing? No.

It’s finding people, the right people. Why is it so hard? They must be the right size, have the skills, the time, the look,the desire, the patience, the fitness, and most importantly, something needs to come out of them, something that makes them special, a feeling that we can reveal in our images. Their personality needs to be as shiny as their skills in the sport we are shooting.

Here in Europe we have an added challenge, one that we would never have considered in the US. Europeans don’t “hang out” and they rarely have jobs which allow them to float. Drop into any American mountain town cafe or outdoor gear shop and you are likely to see countless 20-40 somethings all just kind of being groovy. It is almost like they are waiting for a photographer to walk in and discover all their free time. This is a photographer’s gold mine. But not true in Europe, maybe Chamonix, but certainly in few other places. Here people have jobs, during work days they work, when they have free time, they get out and charge doing what they want to do.

I even threw it out there on Facebook, “Seeking Models for Mountain Sport Shoots in Europe” – sure enough, an endless stream of Americans poured into my Inbox. While I’m happy to have a bulging database of Colorado athletes, it does me little good in the Dolomites, Norway, Tuscany, St. Moritz and Chamonix… our immediate plans. We always have the locations and the desire, now it’s all about the people.

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PatitucciPhoto Outdoor Industry Photography

Recent Clips

It is always rewarding to see prominent uses of our work, these are two fun examples. Above is an image we made last fall while visiting the US with Italian friend Kurt Astner. Our two month long climbing road trip was meant to take us back to our roots shooting the same subject matter that was our intro to the world of outdoor industry photography 15 years ago. In the early days we shot climbing, loads of it, and had two covers of Climbing Magazine in the early 2000′s. These were likely our first big clips. Now, 10 years later, we are happy to say we are just as thrilled to see the result of lots of effort get used.

The second use is just plain BIG. Last week was the ISPO Trade Show in Munich, Germany. There, Janine and I charged around the show connecting appointments and continually running into PatitucciPhoto images as booth displays. But none were so big as the Jack Wolfskin panels wrapping their impressive booth. This seems to prove that the Canon 5d can go to at least 5 meters tall.

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The Value of Professional Photography

I write this for anyone coming to us wanting a free photo for their business, advertisement, magazine or website. This is becoming a daily request and I hope my words here will serve as explanation about what it is to be a photographer.

As a photographer who created the image you desire, I am helping you make a profit. Why shouldn’t I be compensated? After all it is my business to make brands look good and desirable. By asking for a free image, aren’t you also asking me to stop what I am doing, locate the photo and transfer it to you, all things that cost me money and occupy my valuable time. For nothing, but to make you money.

What goes into making professional photos?

Investment: We are professional photographers, this did not come overnight but after a lifetime investment.

Expenses: A professional photography business has significant expenses which include; new digital cameras each year, pro quality lenses, at least one new computer a year, software, server expenses to store all the digital files, talent fees, endless travel costs, numerous types of insurance, utilities, etc, etc, etc…

Time: Our time is spent not just pushing that little button, but as countless hours editing, processing, storing, backing up, learning, and problem solving in our office.

Risk: In making images we risk our gear, our time, and often our lives. We dangle from ropes thousands of feet off the ground, linger in avalanche terrain, travel amongst crevasses and know that to get the extreme, we need to be a little extreme ourselves.

Once we have the results of all this we make it available as something that brings value to what someone else is doing. We want nothing more than to make quality work that brings value and recognition to what our clients are trying to do. Our good clients understand this. They understand that a memorable, stunning, emotional image makes them stand out amongst the competition. And, they are willing to compensate us for this quality, both monetarily and through support as professionals. A relationship is built that benefits everyone.

Meanwhile, there are those who want us to provide what we create, with all the associated costs we incur, risks we take and time we spend – for free. Or in some cases, a fee they feel is “fair” for what they see as just a “picture”.  The same picture that they believe will turn into a monetary profit.

What is a photo worth?

Today, both video and still images are saturating our daily lives. Movies become trend setters, images become icons. Who doesn’t know Apple’s graphic iPod ads? The legendary Marlboro ads? Or, in our world of the outdoor industry, the Patagonia catalogs?

Recently I browsed through numerous outdoor magazines and industry websites. My goal was to study what my natural method of looking at content would be. I believe that what I naturally do is probably, more or less, what others do. When looking at print I flip the pages until something catches my eye, typically a good photo or notable phrase. Once I reach the end I am either finished or perhaps I saved a story I want to return to.

But, when I went through the same magazine again, very slowly, and looked at each ad and story to see what I missed, I realized I never even noticed many of the ads, be they 1/4 or full page. The reason was that there was nothing to notice, terrible photos do not make one stop in this age of short attention spans. So if a company runs an expensive ad in a magazine, or the magazine itself runs a story, why not make it stand out?

Nowhere is the above example more true than on the web. Have a bad website or busy/ boring interface? Click, gone.

The reality of, “You get what you pay for”, is what I hope will allow us to continue as professionals. Perhaps rather than trying to obtain for free what may be the single most important link to an audience, many companies ought to work with, rather than against, the creative people trying to help bring value to their brand.

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