PIX CHAT was one of those ideas I had about interviewing folks here in the photography community in Los Angeles. We did only one back in June (?) of last year on the PIX MySpace blog. So I've decided to relaunch it. I don't have a time frame and will just post as I can get them in. The first one is with Edward Duarte whom I've seen at PIX for years - his subjects and clients have included Jessica Alba, Victoria Beckham to Mandalay Bay Resorts. So I shot him an email....
PIX : Hey Edward. I've seen you around PIX for years now since you were an assistant and now you're a working photographer. Can you tell me a bit about how you decided to be a photographer ?
DUARTE : I didn't pick up a camera till I was 24. While I was going through the design program at Long Beach State a friend recommended I take a photo course. You also have to understand that I was hanging out with some of the best car photographers in the world as well. But ever since I could remember I wanted to be an architect or some kind of designer but I didn't think I had the discipline/talent until I met an art director named John Gothold (who I've shot campaigns with since). Ever since I was 18 I've been involved in the design world from small pre-press houses to world class design studios.
I'm also a closet gearhead. I love switches, cards, and knobs and how different cameras allow you to shoot in a different way.
PIX : So how did you make that transition to full fledge, badge-carrying photographer ? I know for many folks this is a catch-22 situation. What was your first "big" break ?
DUARTE : Two breaks actually....One was when I went to Hawaii for Esquire/Japan and did 5 days shooting lifestyle (food, chefs, architects and interiors). The writer had complete faith in me (even more than I had in myself). The issue even sold out.
Like any small business I had to get a loan open accounts at labs/rental houses. In a matter of five days my whole life changed.
In 2004 I was shooting editorials and my book looked good and I was technically sound but kind of going in circles. Then the Mandalay Bay Annual Report came around. The money and confidence I acquired on that shoot changed everything. If I didn't nail that shoot my career would have been over. To use a gambling term I put everything down on black, I don't assist anymore.
PIX : What do you think makes a good photographer ?
DUARTE : Timing. Strong design background. You really need to understand light ratios and color theory. You have to be FAST and GOOD. People are busy they don't want to sit around for 3 hours and then get a mediocre shot. American photographers are very inefficient. Too much gear and all their shots look the same in other words they overlight. Garish I say!! My favorite shooters are from Italy, France, England, and South America. Mostly South America.
The best/world class photographers have backgrounds in design, architecture or painting/drawing. You have to know how to compose. Why do you think iphoto and flicker or such disasters. The poor art director has to go dig through a lot of crap to find one pebble of a photo.
PIX : I know you recently got a rep and sometimes I hear different views. Although most folks like reps, I know a few who used to have reps and decided later to go on their own. What's your take ? Has being repped helped you ?
DUARTE : I'm a hustler but I need help in the bid department. My rep is the queen of bids and getting all the details down. At first I was like why isn't my book going out?
Now we communicate almost every other day and I keep her in the loop on what I'm shooting. It inspires her and opens new markets.She's edited my site and portfolio. I have a new custom made portfolio that really has taken my work to a whole different level. In the end it's a matter of what YOU want to do. Find someone that you vibe with.
PIX : What do to keep inspired ? What do you do to keep the ol' noggin in shape ?
DUARTE : This job...inspires me. I've been thrown under the photographic bus so many times I'm bullet proof. For example I had to shoot this literally hole in a wall mexican restaurant. After speaking to the owner my assistant and I jumped into kitchen and shot all kinds of great stuff then about an hour later we were shooting the best French restaurant in the city. You can't complain and say, "Well I only shoot couture and not pret-a-porter". That was a joke.
After a shoot I'm spent. I put a lot of mental focus and energy into it. When you do this everyday the noggin and eye get strong (just like muscles).
I also work with a lot of different creatives, actors, actresses, designers, architects, chefs and painters. These people are a BIG influence of what I do and who I am. Julian Schnabel once said that there is a definite language that creative people speak to each other. I agree. Again...composition, light ratios, etc.
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PIX : There's so many folks coming out of photo school these days - with the advent of digital, it looks like everybody and their grandma are photographers. Do you have any tips for those out there ?'
DUARTE : No drugs people!! Well at least not the bad ones...whaaat?
Simple foods, go to bed early get up early and exercise. The best advice I could give to a creative person. Your a product. Your a brand. Do you want a product that is sloppy, inefficient, and lacks style? You need to be sharp. Digital cameras have made the learning curve way easier. Everyday I make creative decisions based on my technical abilities (ie. light ratios, shutter speed, f-stops). Those decisions determine how my images are going to look. Not the camera.
Shooting your goofy friends in their crappy apartments is fine if you want to shoot for "edgy" magazines for the rest of your life.
In a nutshell if you want to become a working photographer. You need to know your craft.
First thing is quit your day job even if you have to starve (I literally did). When that break comes you have to be ready. You can't say, "well I work at so and so and I have wednesdays off". The difference between a pro and amateur is that the pro does it everyday. I read somewhere that you have to spend at least 1/2 of your waking hours dedicated to photography.
PIX : What makes up your work - I know you mention doing annual report and editorial so what's your makeup on the jobs you do ? Is it mostly editorial or advertising or what ?
DUARTE : I shoot really fast so editorial is actually pretty lucrative (sometimes 3
stories in one day). I work with PR firms a lot.
35% editorial
35% direct client/pr
25% commercial work ads etc.
10% stock and syndication
105% that's how much effort I put into this career
90% of my book is editorial or subjects that I've shot for editorial. Editorial is all about access and networking. Not to mention good practice.
PIX : What's your take on the stock world - is it helpful for you ?
DUARTE : I'm getting good at reselling images that I've shot for editorial. It takes time and energy though. I basically say my stock whatever I make is put away for the future (like stock). I dumped about $1,250 to make this beauty CD so far it's made me about $3,000 and/or about $500.00 a month. Not bad. But the shots have to look good. The other day I was driving down a street in L.A. and I saw it on the side of a 3-story building for Wachovia.
PIX : Too cool. Okay Edward, thanks for taking time out to chat.
duartephoto.com
inspiring, for sure!
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