August 21, 2014 0

Ty Milford for Fresh Produce

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Reblog: PDN Photoserve Features Ty Milford for Fresh Produce

Fresh Produce

Ty was featured in a great writeup by PDN Photoserve for his stunning work with Fresh Produce. Check it out on his blog: Photoserve Features – by Ty Milford Photography!

 

July 10, 2014 0

Dallas Portfolio Show 2014

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The Importance of Portfolio Shows

For any rep., it would be difficult to underestimate the importance of getting your photographers’ portfolios in front of creative teams. After all, it is this kind of direct exposure that builds interest in your artists’ work, cultivates and grows existing relationships, and, ultimately, wins jobs. But when it comes to how a rep. should go about getting portfolios seen, not all strategies are equally successful.

At Agency MJ, we’ve found that one of the most consistently effective means of securing portfolio reviews with high return rates has also been one of the oldest in the book: hitting the pavement and taking our work out into the neighborhood, kind of like a politician running a door-to-door campaign strategy. And when you think about, it actually makes a lot of sense. Creative teams, whether at an ad agency, marketing firm, or corporate office, are looking for more than a merely talented photographer. To put it another way, photographers landing large, commercial clients are all going to be talented and skilled in what they do. Creative teams know this, and they wouldn’t express interest in hiring an artist otherwise. What they don’t know, and what they can’t know from a simple, impersonal portfolio viewing, is what a photographer and their rep. are like to work with in practice. 

And how exactly do you give someone an idea of what it’s like to work with you, when you haven’t worked with them before? By meeting them in person, of course! That’s why Agency MJ rep., Mollie Jannasch, recently took to the road to pay a visit to some of our favorite Dallas, TX-based advertising agencies for our 2014 portfolio show. We met with AvreaFoster, Eisenberg and Associates, The Richards Group, Slingshot, and Range! Not only did we have a great time, but we also really appreciated the opportunity to have face-to-face interactions with these agencies. Forging personal connections is what it’s all about!

Pictures from our Dallas Portfolio Show 2014

Outside the offices of Eisenberg and Associates

Outside the offices of Eisenberg and Associates

 

AvreaFoster's beautiful waiting room!

AvreaFoster’s beautiful waiting room!

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Portfolio viewing in action:

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June 18, 2014 0

Ty Milford for Fruit of the Loom

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Fruit of the Loom with Crispin Porter + Bogusky

Agency MJ photographer Ty Milford recently shot a new campaign for Fruit of the Loom with Crispin Porter + Bogusky that’s been running in Times Square. We think it looks fantastic! What do you think?

Ty Milford's Fruit of the Loom campaign in Times Square

Credits

Agency – Crispin Porter Bogusky
Client – Fruit of the Loom
CD – Dave Cook
AD – Austin Ridling
Art Producer – Lillian Sevilla
Photographer – Ty Milford
Producer – Vail Palmer-White at Photo Group
Hair and Make Up Artist – Donna Gast
Wardrobe Stylist – Brandy Snow
Prop/Set Stylist – Patrick Muller

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June 13, 2014 0

Palm Springs Photo Festival 2014

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Palm Springs Photo Festival 2014

The Palm Springs Photo Festival 2014 was a huge success this year! This was Mollie Jannasch’s, owner and artist rep. at Agency MJ, first time attending the festival. Portfolio review events can often be grueling, but thanks to the amazing team behind PSPF, lead by director Jeff Dunas, everything seemed to go off without a hitch. We were thrilled to be involved in this event and appreciated the chance to network and catch-up with other industry professionals, from art buyers and directors, to creative consultants and photo editors, and everyone in between from agencies, editorial teams, and in-house creative offices!

Mollie Jannasch's placard at the 2014 Palm Springs Photo Festival

As a rep, one of the most exciting aspects of photo events like the Palm Springs Photo Festival is the opportunity it provides to review portfolios from up-and-coming photographers, whose work often feels new and forward thinking. We receive and review many portfolios during the course of our work, but sorting the outstanding ones from those that feel underwhelming could – like hunting for precious stones – be a full time job in itself. It is a testament to the Palm Springs Photo Festival portfolio review program, then, that every portfolio we reviewed was well-developed and conveyed a unique sense of style and creative vision. From interiors and lifestyle, to food, entertainment, and even burlesque portraiture, the portfolios at Palm Springs Photo Festival covered a variety of specialties and industry niches. It’s a fantastic resource for reps and the like to get a feel for the pulse and ever changing tastes of this exciting industry we work in!

We had such a great time reviewing these portfolios. Be sure to check out some of the awesome photographers we had the pleasure of meeting, below:

PSPF Review Grid

From top left: Bowen Ross, Shelly Waldman, Sam Comen, Keith Talley, Starla Fortunato, Femi Corazon, Rolf Juario, Shannon Rosan, Victor WangVittoria Zupicich, Reggie Ferraz, Taili Song Roth, Edwin Remsberg, Jennifer Whalen, John Duarte, Michael Becker, Nicole Campbell, Nathan Lindstrom, Melissa Valladares, and Jose Urdaneta.

Here’s to next year!

May 14, 2014 0

Ty Milford: Adidas Originals

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April 25, 2014 0

Ty Milford: Slumberjack

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Ty Milford photographed Sumberjack’s performance hunting gear and packs for their Fall 2014 catalog. Shot in the mountains of northern Colorado.

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April 17, 2014 0

Meeno: Lady Gaga

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Lady Gaga as fallen Phoenix, photographed by Meeno. Official single artwork for “G.U.Y” and opening “ARTPOP” scene from the “G.U.Y.” music video.

Fashion director: Brandon Maxwell
Hair: Frederic Aspiras
Makeup: Laura Dominique

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April 7, 2014 0

James Quantz, Jr.: LasVegas.com

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April 4, 2014 0

Kyle Dreier: Diabetes Forecast Magazine

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Food photography by Kyle Dreier for Diabetes Forecast Magazine.

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March 30, 2014 0

Agency MJ Artist Spotlight: James Quantz, Jr.

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Fun On Set With James Quantz, Jr.Agency MJ artist, James Quantz, Jr. was interviewed about his life as a photographer.

Q: Tell us a bit about your background.
A: I went to a traditional university and double majored in history and business. I then ran a company for a while, doing large-format landscape on the side. I’d stay up until 2:00 AM learning my craft: film, manual, darkroom. I sold the company and went to The Portfolio Center in Atlanta and learned studio lighting, styling and Photoshop. After school I assisted for a couple years and moved into conceptual, stylized photography.

Q: When did you first start taking photos and what did you shoot?
A: Early on I shot golf courses in black and white with a 4×5.

In 2007 I attended a PDN on-the-road seminar series and met with some reviewers from an agency in Atlanta. I had a book of landscapes and portraits and had done a couple out-there composites by playing around with some of the capabilities of Photoshop. Each person at the review was drawn to this work and said I should be doing that. I would think up the craziest scenario and if I could pull it off I knew I could go in that direction.

Q: Lighting and style for different markets?
A: My lighting looks very similar to both sports light and movie posters/key art—campaigns for movie and TV shows: rim, hard lighting, deep shadows and crisp highlights.

I really love films and sporting events. I go to films just to watch the lighting and then bring a cinematic style of lighting to my work and make it as dramatic as I can get away with. This works across both celebrity high-key imagery and sports.

For sports, it is the heroic with the stadium and fans in the background. I’m persistent and this paid off when I got into the door at South Carolina University. This has given me access to top-tier athletes and full creative control.

With a movie, you have a certain plot point and have an epic event. You’re trying to capture that during a still. An action or romantic movie will be a different feel. I’m telling a story with the photo.

Baseball work is softer, but I’m still trying to recreate that epic moment during a game – - the big play. I fantasize about what that might look like. I also like low-key natural light as in the celebrity window-light portrait I recently shot.

I enjoy using humor and details – - when the viewer can go back three and four times to see details they didn’t see the first time. And to build out a landscape that could stand on its own and makes a stronger image when you can bring in characters.

Q: What is your conceptual process?
A: Pre-visualized and a plan of action. It starts with an idea. For the Chelsea Handler piece they wanted something that revolved around travel. So we started with an airport, the Avedon image and luggage from the 50s. Then we played off of the baggage claim area and involved animals and people in an activity to insinuate something going on—another elephant simulating a pose and the other elephant pulling luggage off of the carousel. The elephants were shot at a local zoo. We mixed and matched several elephants to make one.

Q: How important is the technical aspect of your work to you?
A: With my work, it can go wrong if it’s not done absolutely correctly. I learned the zone system and still use this knowledge. I also learned Photoshop very well. A lot of art buyers (about 50%) have said, “This could have really gone wrong if you didn’t pull it off right.”

Q: Collaborative process?
A: If we go back to the athletic work and Chelsea Handler we have a creative call and the idea of what they want to do. They’ll either have it scripted out or an idea to start with and we then toss ideas back and forth. From that point, optimally we put together a background so when we’re on set we have a brief.

We use the background shot on set and drop the subject in when we’re shooting. It gets them motivated and lets them use their imagination while shooting. So there’s verbal and visual interaction.

For the Gamecocks, I had already shot the background in the studio and had print out for them to hold during shoot. We then dropped them into the scene. For athletes it’s easier to show them – the cooler you can make them look the more they are motivated.

It’s the same with celebrities. I have backdrops and drop them in so they can see what is working and what isn’t. Before they leave they see a rough layout of what they are going to look like. They can give their input.

Q: What about retouching?
A: I do all my own retouching.

Q: What’s it like working with you on the set?
A: I try to have fun, joke around, have a good time. People like that and hire me for that as much as being able to deliver visually.

Q: What do you most hear from art buyers/clients about your work?
A: Most people flip through the entire portfolio and seem to enjoy it. It’s different than what a lot of art buyers are presented with.

Q: Do you have repeat clients?
A: Yes, two recently. I’m a big believer in wrap parties and taking everyone out after. If people like to hang out with you, then hopefully they will want to work with you. I take everyone out including the assistants.

Q: How are you using social media?
A: I take photos on shoots, release photos I’m working on during retouching, BTS snaps throughout day, cows for Chelsea Handler. I have a blog and a Behance account. I use HootSuite for sending out to social media channels.

I got hired from Twitter posts to shoot for The Falcons. I shot editorial for Smithsonian off Facebook. Kimberly Clark marketing follows me on Facebook.

Q: What would be your dream career?
A: One week photographing NFL and next week photographing celebrities. That would be the top for me.

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