f/22

This month the f/22 focus is on Christy Janeczko a wedding and portrait photographer from Wisconsin who I met in Missoula, Montana a few years ago.  With a unique style and approach I took the time to ask Christy some questions for this months profile.

Christy, what was it which first got you interested in photography?

Growing up in a tight-knit family at gatherings my Grandfather was the one carrying around the camera.  It was such a beauty, and he always (and still does) take beautiful photographs.  I believe my real interest in photography stemmed from my Grandfather’s photography, but I was also interested at an early age snatching my parent’s cameras and taking pictures of random things around the house and yard (the cat, bottoms of chairs, dolls, etc.)  Of course all of this progressed, as I got older, I took thousands of pictures in high school, I just wish I would have been able to take some courses in high school but they weren’t offered in my district.

Your business first started with portraits, what is it about the portrait which you enjoy photographing?

Portraits are intriguing to me. I think that you really learn a lot about a person or family though photographing them. You see the interaction, the laughter, and the love they have for each other – and it makes me so happy that I have the gift to capture those memories for them.

In addition to portraits you have also started focusing on wedding photography, how did you decide to expand into this area and how does your recent engagement help you in your business?

Expanding into wedding photography was not something I originally planned on doing, but my business slowly opened up and progressed in the direction of engagement and wedding photography. I have to admit, it’s something I love to do. It’s exciting to be capturing the start of a new life together. I have to say that my recent engagement really throws me into the shoes of every client I have – all the jitters, the delight and the fresh look on life ahead. It’s refreshing and eye-opening all at the same time.

How would you describe your style?

I have a bit of photojournalism, a little bit of traditional – but I just hope that my style is more timeless and natural than anything else. I try to shoot in a way that I would want my children’s images, senior pictures or wedding photos to look. I also feel that it’s always evolving, as I grow and change my style continually changes as well.

What photographers do you follow on a regular basis and how has their work helped inspired you?

I follow various photographers on a daily basis, and I love following their blogs. I admit that most of my favorites are photographers that I know from the Rocky Mountain School of Photography – it’s so refreshing to see where they’ve been and where they are now. I also enjoy finding random photographers around the country to see what they’re up to – and what’s popular in different regions.

It is good to take a break from the work which is primarily your business, what type of items do you enjoy to photograph for your personal work?

Ah… personal work. If you know me, you also know that my personal work equals vintage cars. I have a deep affection for the beauty of restored muscle cars. I grew up around them and it’s stayed with me through the years. During the summer on the weekends it’s most likely you’ll find me at a car show – walking around taking images. I also have a deep affection for anything spooky. I love cemeteries, ghost towns and the like. I currently have a collection named “Beautiful Spirits” available for viewing on my website.

In your business is there one item you have learned which you would like to share with the readers who may just be starting out their own photography career?

Shoot, shoot, shoot. The more you shoot, the better. Try different techniques standing in the same spot; bracket your meter, step back, step forward – be creative. It’s all about being comfortable with yourself and your camera. I know when I first picked up my DSLR I was embarrassed to be carrying such a big camera around, but the more you get used to shooting it, carrying around and working with it – the better your images will be. Step outside of the box.

Thank you Christy for taking the time to do this interview.

The following are some examples of Christy’s photography.

Also be sure to check out more of her work at her website:

Wisconsin Photographer Christy Janeczko

See you next month for another f/22 profile.

The f/22 entry for this month has been put on hold due to other commitments at this time.  Look for a new entry in September featuring an up and coming Wisconsin portrait and wedding photographer.  Feel free to check out some past f/22 entries to inspire you for this month.

In April 2008 I went to Chicago for the Strictly Business seminar held by the American Society of Media Photographers.  While waiting for the program to begin on the first night I met New York photographer Ahron Foster.  Since SB2, Ahron has been quite busy with his business in NYC and in the July 24th issue of Rolling Stone a portrait he did of Levon Helm and his daughter Amy is included as part of an article on Levon.  In addition Ahron contributed all of the photography for Levon Helm’s Grammy Award winning album Dirt Farmer as well as his current release Electric Dirt.  Living in a large city as a music photographer, I thought it would be good to have Ahron as the f/22 photographer for the month of July and the following is an interview I did with Ahron recently.

What was it which first got you interested in photography?

I grew up in Rochester, NY, the home of Eastman Kodak.  The George Eastman House is a photography museum and I went there frequently as a child.  The collection of cameras and history of capturing images definitely held my interest.  My first camera, at 11 or 12, was a Polaroid.  That instant gratification of seeing what you shot was great for a child and helped me learn about composition and exposure before I even knew about such concepts.

Having a background in theater how does this help you being behind the camera and working with various lighting situations or the other constraints, which would be similar during a shoot as on stage?

I studied at The Atlantic Theater under some great teachers and with some amazing students.  My training as an actor definitely has an influence on my photography.  Most acting training, in one way or another, teaches the actor about finding the truth in the moment. In photography, we are really finding the truth in one single moment.  With the musicians that I work with, I try to capture who they are and what their music says.  That can be found in a simple, honest portrait or in a highly art directed shoot that reveals a playful or a hidden side of an artist.  The main goal is finding a connection with the subject and revealing what you find in a photograph.

Primarily photographing musicians how do you approach a live performance versus a portrait session either in a studio or on location?

First of all, in both situations, if I don’t already know the musicians or their work, I want to at least hear their music and if possible get to know the individuals.  The difference comes in the equipment and preparation.

For a live performance, I pack my cameras and lenses and all my gear.  No lights, maybe an on-camera flash for post show.  I don’t like using flash for live performance or behind the scenes shooting if I don’t have to.  It changes the look and feel of those “fly on the wall” moments that I’m trying to capture.  I show up alone and dive in.  It is guerilla photography.

Studio and location photography is completely different technically.  If you can’t use available light, you’ve got to set up strobes. I come up with art direction or concepts prior to the shoot.  Prop shopping.  Styling. Do we need hair and makeup?  If it is a large scale shoot, I’ll have an assistant.  The musicians’ might have people with them, managers or agents or such.  It can be a hive of activity, a group endeavor with me at the helm.

At a live performance, I try to find the moments.  In the studio, I help to create them.  Well, maybe suggest or steer.

Do you see video becoming a more important part of the music world and will it change your approach at all when photographing?

Of course, MTV changed the way we “listen” to music.  Traditional videos for bands that are with labels are a necessity to sell a product.  For the artist that is independent, self producing or with a smaller label, those high profile, big budget videos aren’t a possibility.  That being said, low budget videos, EPKs, and live performances are great ways to promote yourself on the internet via social networking and video sites.  I have starting making short films created from still images that show performances.  I want to explore this concept some more.  I feel that video and still photography are very different mediums, even though they both capture images.  I don’t think it will change how I shoot, but then again, as a teenager I vowed never to shoot digitally.

Where do you see your photography career moving towards in the future?

I am based in NYC.  I mainly shoot here.  I was at Bonnaroo last year and I go up to Woodstock a handful of times a year.  I’d like to expand nationally to begin with, eventually internationally.  The majority of my clients and my networking base are here in the city and that needs to broaden.  I’m working on marketing right now.  The new ahronfoster.com is up and running and I’m starting a new blog.  The portfolio is printed and ready to go out to magazines.  I’m looking for a photo rep right now.  I’ve been my own agent, rep and manager (when my wife wasn’t available) for the past few years and in order for the business to grow, I need someone else to take the reins so I can focus on shooting.

What photographers do you follow on a regular basis and how has their work helped inspired you?

Danny Clinch is such a great photographer.  His work with musicians is the best.  Talk about honest and in the moment.  Spot on. Kahn & Selesnick create amazing and intricate alternate realities. The Starn Twins, Mike and Doug Starn, are the mad scientists of photography.  Still images, video, sculpture, microscopic cameras; whatever it takes to create their vision.  They not only create technology, they investigate long dead techniques to create new marvels.

Shooting for yourself is an important part of being a photographer as it continues to keep the creativity in place.  Do you have any personal projects you are currently working on with your work and what was the thought process behind selecting these projects?

For me, my work with musicians is my personal work.  I was lucky enough for it to become my professional work as well.  I am working on a non-music project with my wife as the model, unimaginatively titled, “The Kaelin Project”.  It started with a mock-up for Levon Helm’s ‘Dirt Framer’ using Kaelin as a stand in for Amy Helm.  It worked so well, we are continuing it as a series.  The images have a sense of longing and solitude, even distance.  I am eager to find time to create more soon, although I believe this will be a life long project.

In your business is there one item you have learned which you would like to share with the readers who may just be starting out their own photography career?

Be prepared.  That is broad, I know.  Be ready for the next project or meeting or that last minute call for a quick shoot.  Make sure your gear is prepped and always ready to go.  Have your portfolio and marketing materials up to date and be able to drop them off or send them at a moment’s notice.  Know your strong points and be aware of your weaknesses.  If you feel you do have an area that needs improvement on, do it today.  Take a class, read a book, assist someone or figure it out.  Just be sure you’re able to bring you’re A game.  If you are prepared and have all the tools you need to get the job done, you will be confident and people will want to work with you.

Ahron also shared some of his work which is on display below, as well as his websites after the images where you may see more of his work.

Thank you Ahron for taking the time as the f/22 photographer and some great insight to your work and business.  To find out more about Ahron and see more of his work you may visit the following websites:

• New York City Music Photographer Ahron R. Foster
• Ahron R. Foster Photography Blog

Be sure to stop back next month for another edition of f/22.

The f/22 profile for this month brings us New York City photographer Caryn Leigh Posnansky. I first met Caryn in Montana a few years ago and have continued to stay in touch with her as we share ideas and help each other out. The following is a brief conversation I had for the f/22 earlier this year.

What was it which first got you interested in photography?

I picked up a camera in high school and I was immediately hooked. I photographed for the my high school yearbook my junior and senior years. I’ve never been a shy person but being behind the camera helped open me up even more. I also love the reactions to my photographs.

Prior to becoming a full-time photographer, you worked as a casting director. With the focus of your photographic work on people, how does this background help you in your photography?

Casting is believing in your eye and believing in your decisions while knowing what your client is wanting. Photography is very similar to this as well. Casting and photography are both so subjective. You can show 20 different people one photograph or one casting candidate and you will get 20 different critiques. While casting, I had to learn to look at the big picture, think about the viewer and the client and trust my gut. While photographing, I have to look at the big picture, take in all the details and then trust my gut. I have found that once you trust yourself and your creativity, others will trust you as well.

Do you have a preference of working in the studio versus being on location for your shoots?

WOW, good question. I like both. I love trying to use natural light when it’s available, even in a studio. The lighting you create in the situation whether it is the natural light or artificial is what will make the photograph.

Some of your work recently was taken on black and white film, versus digital. What is your feeling on the change from film to digital and how this is impacting the photographic world?

I love film, I love printing, I love the work put into making a print. BUT, since we’re living in an “I need it yesterday” world, digital is the way to go especially with my commercial and editorial clients. I will be giving myself a personal assignment using film this year as there’s nothing like the results it provides.

Are there any photographers you follow on a regular basis, and what about their work inspires you?

There are photographers who I love, but I don’t “follow” any on a regular basis. I find new photographers who inspire me daily. Inspiration can come from one photograph that just catches my eye to an entire series. I’m a simple photographer who loves simple photography, but can really be sucked into the complex work of some photographers.

This past year you added some more clients to your portfolio. Being in one of the most competitive areas for photography, do you have any suggestion to the readers and how to grow your business?

Believe in yourself and the power of word of mouth is amazing, and free!!!

That is a great piece of advice especially in today’s fast paced world. By providing high quality results as well as quality customer service the word of mouth advertising is what will grow your business, which is of course free. Thank you Caryn for taking the time to answer the questions and remind us of the importance of caring for your clients.

Be sure to check out more of Caryn’s work on her website Caryn Leigh Photography.

Thanks again Caryn and stop back next month for another f/22 photographer profile.

When I was living in Missoula during the summer of 2007, I had the pleasure of meeting Marcy James who is a talented photographer with a creative and inspiring vision.  Also during this time, she had her show “No Man’s Land” at Gallery Saintonge which was great to see and experience.  I had the opportunity to ask Marcy some questions about her work and inspiration and have included these below as the f/22 photographer profile for the month of May.

What was it which got you interested in photography?

Hmm. It all started with a yashica mat camera I found at the goodwill. I never thought that i would be able to afford a ‘real’ camera…and the point and shoots….well, they just turned out images generically. They didn’t have enough options. but then I found the yashica and was transfixed by my lack of control and a love for looking down into the waist level finder, and not knowing what was going to come of it. I still have my first image etched into my mind…. I am a meanderer of sorts so the yashica in conjunction with extended time renting videos for a living and thus watching up to four movies a day…well, I guess that somehow sensitized my eyes in a way that made me curious. I found my language in images. I spent so much time trying to express my ideas with words and it just didn’t cut it. Working with images allowed for an open ended conversation, like poetry. No need to be succinct or make logical sense. you can run around in your own logic and others found it to be refreshing.

The name Marcy James is known with the photographic work you have done on Butte, Montana even being mentioned in the book “Butte Trivia“.  What inspired you to concentrate on the town of Butte, especially after growing up in the eastern US and spending time in larger cities?

Oh these are such big questions, Neil. I visited Butte once long ago…I was in search of Evel Kneivel. I didn’t find him that day (that encounter came much later), but I did notice that Butte looked like a place lost in time. Like a museum where time, as I used to say, ‘was left to its own evolution.’ That day remained in my thoughts for years until one afternoon I awoke from a nap with a strong sense that I needed to move there and make a book about that place before it all changed. I knew that it was a time sensitive matter so I moved there within a month. and it has changed. and it continues to inspire me…its resilience, its stark beauty, its authentic and kind people, its land, its buildings, its sad commentary on how American society disposes of important things and places without much consideration. I could photograph that place for a lifetime but I think that I have said all that I need to say there for now. Photography helps me to reflect, process and comment on what it is like for me to live in this time.  I draw from everything around me, the evolution of small towns,  industrious cities, the family farm, the American landscape are all subjects that I connect with and that are in the midst of change that may be irreversible for our history as Americans. It is a big subject and one that I will probably be fascinated with for my lifetime.

With your Butte work you explored some abandoned buildings as well as the city in oft hours. Were there any concerns you had with safety and anything you did before hand to ensure it did not become an issue?

Everything I did in Butte dealt with facing one fear or another. I had a good system though for keeping myself somewhat safe..it was home made but thanks to people who loved me, it worked out really well. and safety did become an issue a few times. I think that the one event that really opened my eyes though, beyond the average dangers that go along with the type of project that I was doing was that the building that I owned and lived in was attacked by arsonists…twice in one week. that really had a lasting impact on me for awhile.

You have done plenty of work with alternative processes.  With darkrooms being phased out at schools and the push more to a digital education as well as from the manufacturers will this impact how you create work in the future?

This does not impact my work in the least. I use whatever tool suits the idea that i am working on…so whether I am using a 4×5 camera, a scanner as a camera, a pinhole camera or my digital video camera…my studio just grows in its potential. I have a wonderfully eclectic tool box. I think that I would be upset if the day came that I was not able to print my own work. I don’t think that I would respond to that well but who knows, lot’s of people have kicked and screamed their way into the digital world…and what a shame it would be to not have access to the immense technology that is available to us now. Personally, I have been wanting to work in 3D for nearly a decade.

I know there is a long list of photographers which you follow.  Could you tell us what photographers inspire you to shoot in your style?

I have been pretty fond of Sarah Moon and Masao Yamamoto lately. I love Annie Leibovitz‘s work. Maggie Taylor and Julianne Kost make me want to master compositing. and I think that most of all, the students that I have had the great pleasure of working with throughout the years have been my most active and influential process-oriented inspirations. I love to watch them explore themselves through their work. I miss that and find reasons to continue to work with them even though I don’t teach anymore.

Lastly, do you have a piece of advice you picked up along the way which helped you with your career that you would like to share with our readers who are interested in moving forward in photography.

It’s not my advice, but it has guided me well. “choose a job you love, and you will never have to work a day in your life.” Confucius.  In addition…Virginia Woolf taught me that everyone needs to have a room of one’s own. my studio is where my world is wide open…everything is possible there. do you have your own room, Neil?

Excellent question Marcy.  While I do have an area which is somewhat like a room of my own I do think that I need to solidify this location so it is indeed my own room.  This is something which I will be working on in the next couple of months.

The following images are a few which Marcy shared with us…

You may find more of Marcy’s work at the following sites:

• Marcy James
• Marcy James Journal
• Marcy James Facebook Fan Page

Thanks to Marcy for taking the time to be the f/22 profile for May, and look for a new profile in June.

This month our f/22 profile is Amanda Grace who is a photographer in eastern Pennsylvania.  Amanda started as a child and baby photographer and has recently expanded into wedding photography.  I have always been impressed with Amanda’s work as she is able to capture the unique moments from her subjects which is always quite a challenge with young children.  I hope you enjoy my e-mail interview with Amanda.

Amanda, how long have you been photographing and what got you started?

Gosh, I have had a camera in my hand for as long as I can remember.  I progressively learned more and more about photography throughout my life, however I really started getting serious a few years ago. One of the most amazing things about photography is that it is always changing.  I learn something new every time I pick up my camera. I was first introduced formally in high school. My school had a beautiful darkroom and great teacher. I was the kid begging to keep the camera longer than necessary and spending all of my extra time there!!

Prior to becoming a full time photographer, you were working in an educational field. How do you find this background and knowledge helps you with your artistic visions of photographing childhood?

My educational background has helped me tremendously and continues to help me with every shoot. I had been teaching autistic children before deciding to go back to school and pursue photography full time. It has taught me how to “modify” behaviors to get the outcome I need. It has also helped me to be very sensitive and patient. I think a major mistake photographers and parents sometimes make is telling the child what to do instead of letting them be who they are. I allow a lot of flexibility in my session and let the child choose activities in an effort to make them feel that it is about what they want and this helps to bring out their true personality. Children are so honest, every expression comes from a natural reaction to their surroundings. I pride myself on letting a session unfold naturally so that I may capture a personality, not just a smile.

Initially Amanda Grace Images was focusing on photography of babies and children, but has expanded to weddings. How did you decide to expand your business?

I am not sure that I actually made the decision to expand, I don’t recall one clear moment… it just happened. I was helping out another photographer as a second shooter at weddings and I began getting my name out there I guess. I started to receive a lot of inquiries and it has been growing ever since. I did my first advertisement this month and I am really excited about it, it is fun to try new things and stay fresh.

What photographers do you follow on a regular basis, and what about their work inspires you?

I love Annie Liebovitz. I love her work but I love understanding the way she has evolved, her new book “at work” is super inspiring!  It gives me hope and makes me look for that one CHANCE, and it motivates me to be ready when it happens. I also follow my friends, colleagues & past teachers obsessively!  Having a network of “like” professionals to communicate with is one of my biggest assets. I like to think we continually inspire each other, I know a lot of my inspiration comes from them!

How would you describe your style?

This is a tough question because I feel that a good photographer is always evolving. You need to change in order to grow and stay fresh…. but for the purpose of business consistency I would say I have a photo journalistic style. My weddings are not filled with overly posed images. I strive to fade into the background re-creating the day image by image, moment by moment. I need to establish an intimacy with my clients so that I can fully create the emotion and craziness of such an amazing day. This intimacy is established over many months of planning and communicating with them. I fall in love with everyone I photograph at some point. The greatest compliment I can receive at a wedding is that they didn’t even notice me there.  I use a similar approach with children. I approach each session with endless possibilities and I strive to make it as unique as the child I am working with. It is not unusual to see me playing peek a boo or having a tea party in the play room. I need to know the child so that I can capture who they are right now.

Do you have any projects you are planning to do in the future?

In January I made the commitment to never be without my camera, for a whole year. I always have it within reach… just in case. There have been so many times in my life that I find myself somewhere I wish I had my camera. No matter how many times you miss the shot, you never forget it. I have a list in my mind of all the things I should have recorded but did not because I didn’t feel it important enough to always be with my camera.

What have you learned along the way which has been a valuable lesson in your business?

I have learned that consistency is the most important key to running a successful business. Clients must always get what they expect from you and more. Make friends with your “competition” and create a level of respect with them. I believe that although you may be trying to do the same thing you do it very differently. I know my clients will choose me for my style and therefore competition doesn’t exist. They are no longer competition but colleagues, friends and mentors.

A photographer that i had the pleasure of learning so much from, Neil Chaput de Santoinge, gave me a great piece of advice. He said that a Good Photographer never keeps secrets and is always willing to teach someone else how they created an image. This meant a lot to me because I feel that teaching is one of the best ways to keep learning. I spend many hours a month with another wedding photographer just learning from each other and playing with new ideas. And most importantly, always be honest to yourself and your clients.

Thank you Amanda for taking the time to be the f/22 photographer this month.  The following images are a sample of Amanda’s work, more of which can be seen at her website.

Be sure to check out more of Amanda’s work at Amanda Grace Images.

For the November f/22 photographer profile, I had someone lined up however due to circumstances outside our control we are unable to bring you a profile this month.  Check back in December for another f/22 profile.

This month for the f/22 profile we head west to the Bay Area and talk to Annie Florin a child and baby photographer in San Francisco.  I have known Annie for over a year now and have watched from a distance as her business has grown.  A couple of weeks ago when I was in San Francisco I met with her on afternoon and caught up, and this past weekend asked if she would be the f/22 profile for this month.  I would like to thank Annie for taking time from her busy schedule and being the f/22 profile photographer this month.

What was it which got you interested in photography?

I’d have to say that overall my strongest influence was my father.  From as early as I can remember he was using SLRs and taking photographs of anything and everything.  Photographs, his and others’, were always on the walls. I can remember dozens of trips to the photo lab and being so excited to look at the black and white proof sheets he got back. Of course, it was also a running joke in our family that if we were out and about and didn’t know where our Dad was, it was safe to assume he got held up photographing something. Through him I was introduced to the idea of how powerful a photograph of a child can be for a parent. My parents divorced when I was very young and every summer my older sister and I would spend a month with my Dad in Chicago. Throughout this whole month he would take hundreds of portraits of my sister and me. As a kid I was annoyed at having to hold still for so long. As a photographer and now a parent, I understand he was trying to capture the moments as best he could so he’d have those images to sustain him during the periods we were apart.

Switching from a hobby of photography to a career is a tough decision since photography is a competitive field, what drove you to make this decision.

Honestly, I didn’t feel I had much choice. Throughout college and my years of teaching, I struggled to find a career that really felt like a good fit. I loved teaching but knew it wasn’t my “forever career”. You know that scene in “Office Space” when Peter ponders the question “what would you do if you had a million dollars?”. Well my answer to that was always an easy one: photography.  I wasn’t sure what my focus would be except I knew that it needed to really matter to me.  So it was sort of a blind leap of faith (rather than a solidly laid plan) that I left my teaching position and began my own education by attending the Rocky Mountain School of Photography, and merging my love of children with my passion for photography just unfolded naturally.

Living in San Francisco and being a photographer using natural light for the images, do you find it difficult on those days which produce blue skies?

Actually the sunny days don’t throw me too much. They’re challenging, sure, but I’ve become adept at working around the harsh sunlight. A summer in Montana will do that for you!  I know how to seek out shade and lately I’ve started experimenting with techniques which use sun flare and backlighting.

The real challenge for me in San Francisco is the persistent grey, foggy days. While they’re  ideal for outdoor shoots (soft-box in the sky!), they make indoor shooting tough. I like for my sessions to include some time in client’s home because I think it gives a context to the images, an intimacy that the outdoor lacks. But it often means that I’m shooting at higher than ideal ISOs which is what recently led me to upgrade to the Canon 5D.

Your primary focus is baby and child photography and as you were a teacher prior to the career change, how do you feel it shows during your shoots as well as with your work?

Well, I taught special education working with young children with severe emotional and behavioral problems so my experience in knowing how to shape behavior for a desired result comes in pretty handy! Also knowing what kinds of behaviors and attitudes are developmentally appropriate makes me more sensitive and flexible during shoots and more aware of what expressions are essential to capture for certain ages.

I think it can also reassure parents that I’m comfortable with their kids and don’t have any expectations of “perfectly behaved kids”.

In terms of the images that I capture, I think having taught the kids I did has influenced the type of expressions I’m drawn to photographing. I tend to bring out more curious, thoughtful and intimate expressions as opposed to the goofy or smiley ones. It’s something that I have to remind myself to work on during shoots so that I’m getting a good balance of images, some of the classically smiling little one and some of the contemplative child.

Earlier this year your husband and yourself welcomed your son into the world, how has this changed your business?

Oh boy has he changed things! Like all major life changes, there’s the good and the “challenges”.  The amazing part of becoming a mother is a new appreciation for the value of photographs.  The moments of babyhood are so fleeting and the littlest look, the slightest curl of hair or the way a baby holds his pinkie, are so important to have captured.

Being a mother has also opened a lot of doors for me in that it’s introduced me to “The Mommy World”. Moms talk. A lot. To each other, to kids, to teachers, to friends, to family, to me!  Meeting people first as a mother, then as a photographer really helps clients feel they can relate to me and trust me.

As for the challenges the basic issue is just a shortage of uninterrupted time to devote to my work. There are days it’s overwhelming to juggle and balance the two roles but having to do so has definitely taught me to be more productive with the little bursts of time I do get.

The last few months of the year are probably quite busy for you, are there any items you have available for your clients this year to make it a special holiday season?

I’m really excited for the holidays this year because I’ve teamed up with Minted.com to offer a fantastic selection of holiday cards. They have such fresh and modern designs and the quality of the printing and paper is unmatched by any other company I’ve worked with. Not to mention they are also a San Francisco-based company!

This year I’ve put together a variety of holiday card sessions and packages, giving my clients several options. One exclusive offering is mini-sessions. Ordinarily I don’t do this but at this time of year, people are busy and goal-oriented about their holiday tasks. They want to get their photos and their cards and be done. They don’t necessarily want a 2 hour session or to sort through hundreds of possible holiday

card designs. So I’ve simplified the process for them by bundling mini-sessions and packages of holiday cards.

Outside of the baby and child photography which you concentrate on for your business, are there any other areas you enjoy exploring with your camera for personal projects or do you find that it focuses on your son?

I can tell by your question that you’ve been checking my Flickr page! What? 50 pictures in a row of the same baby isn’t riveting artwork? Ha! It’s true that I take a lot of pictures of Jack. Partly that’s because he’s a great little subject and just as cute as can be (right? RIGHT?!) but also because my days are pretty much consumed with caring for him minute by minute. My photography often reflects what is present and valued in my life at any given time. Before becoming a mother, it was often my dog or San Francisco. During pregnancy, it was chocolate cake. No kidding. Now it’s Jack.

I do miss having the free time to go out shooting as a way of exploring the city. I find that when I have my camera in my hands, I’m braver, more confident and more open to the world. It gives me the opportunity

to capture the essence of the urban environment – the beautifully ugly and the grandiose. I’m hoping that as we settle in more as a family, I’ll find a way to do more of this again.

It has been quite an exciting twelve months for you with the quickly growing business as well as everything else.  Is there anything in particular you learned during this timeframe which you would like to share with the readers?

It’s definitely been a life-changing year in many ways but professionally speaking the thing I’ve really come to learn this year is about creating and maintaining a community of peers. The fellow photographers

I met during my training at Rocky Mountain School of Photography have come to be not just my friends but my colleagues. Through them I get inspiration, learn about business practices and continue to stay in the loop on technology and workflow. Doing freelance work and being self-employed can be somewhat isolating so you have to really seek out a professional community and fortunately our profession is so compatible with creating internet communities.

You may see more of Annie’s work at the following sites:

Annie Florin Photography – San Francisco Baby and Child Photographer

Flashes of Life Blog – Annie Florin

Annie Florin Flickr

Look for another f/22 profile in November.