I found Shane's work online while wandering around the web one day and found out he was based here in Los Angeles so I shot him some questions about who he was and about his project.
In a nut shell, I started getting serious about photography at the University of Missouri, Columbia where I recieved a bachelor degree in photojournalism. It was there, that my love of the documentarian form and portraiture began, studying Eugene Richards, Mary Ellen Mark, Dorthea Lange, Henri Carier Bresson etc.
After Graduation in 1991, I decided to forego the low pay of local journalism and go directly to being a low paying bus boy in Kansas City while I went to my internship...a 40 hr/week non paying immersion into Commercial photography for Nick Vedros. I got my introduction to production and big set photography there in his renovated fire station working with associate photographers and staff of 9 or so, Ron Berg being one of the associates.
PIX : Can you tell me more about the internship ? How long did you intern for ? What did you do for them ?
I interned for around 6 months I think...I did basic assistant stuff...Nick and the other two photographers allowed me on to there shoots to assist. I learned about strobe equipment...at the time they used Broncolor and comets and using hasselblads.
There were big sets and portraits when Nick was shooting...the first apple lap top ads etc. He used to paint with light with Aaron Jones hose master and even rig a pulley on the studio stand to move the camera...all this before photoshop...I remember a funny looking guy looking like an accountant wearing goggles and clutching a briefcase looking like he was being launched off a rollercoaster.
I use to do the usual, clean up, help with promo poster mailings, aid in the set builders shop sometimes, get lunch, etc. He also gave me assignments..still life lighting etc. He taught me some of my first lighting techniques, as I graduated well versed in chasing down a story but very little about the studio...only a couple of assignments.
PIX : How long was it before you decided to make that big move to California ?
About a year of so after that half year internship ended, I packed up the car and left my girlfriend, dog, family etc. and pointed the car toward L.A. probably for the weather.
My first real job was as an assistant for Jay Silverman...that lasted for 6 months and then reluctantly went freelance as an assistant. I worked for dozens of commercial photographers in Los Angeles as well as New York, San Francisco etc. in about 1994, I began and Robinsons May in House photo studio...at first as an assistant and soon thereafter, as one of the two photographers.
We shot all of the daily newspaper ads and "fashion" catalogs...There, I met some of the best hair and make up people in the business and got a glimpse at the photo world through their eyes...I quit about 4 1/2 years later to re enter freelance...(about 11 years ago) I had difficulty getting into the freelance catalog world and went back to assisting...hundreds of photographers, fashion, catalog, celebrity and advertising...I assembled clients here and there as well as continue assisting for the next decade.
PIX : And you're here now ! So how did you find yourself doing this series ?
The series on Rockabilly is one that I have been photographing off and on for a couple of years...living in the South Bay, I stumbled upon a small boutique rockabilly shop in El Segundo named GASOLINE, on a random Saturday. They had a small art gallery in the back and hosted a classic rockabilly car show and event in the street out front. Since, I had been photographing a series on small town America on my return trips to the midwest...even a television pilot pitch (www.BiginSmallPlaces.com) this pompadour styled, tatoo covered group of classic car owners intrigued my Americana sensibilities.
I didn't shoot much that first day.. I raced home for my camera and in less than and hour I had what I thought were 3-4 great portraits. I spoke with the shop owner and began to attend other events, car shows, tatto conventions with rockabilly sponsorship, I have been in contact with about a dozen different car clubs around L.A. and have barely scratched the surface of the rockabilly scene. It has a lot of breadth and related groups such as burlesque, tattoos, pyschobilly, taco billy, vargas type pin up and low brow art etc. I am focusing first on the car guys and girls and the machines...through portraiture. the rest may turn into other projects down the line.
My immediate goal is to shoot intimate settings and panoramic heroic car art and get it designed by my designer for publishing. I don't have a publisher yet and am shooting for full distribution and a large format hard cover delivery of this project which I have named American Greaser.
PIX : Is this like a vacation from other work that you do ?
The rockabilly is great fun. I get a glimpse into a large counter culture of which I am not a part. It is essentially a relationship building exercise like any other form of portraiture. People want to be seen and they are proud of their style and their cars. It fits perfectly with my Americana genre. It is not really a vacation as much as a challenge...I am constantly searching to find new ways to portray the subject without being in the car and being limited by crowded backgrounds etc.
Next is some one on one shooting or rather one with the car club away from the crowds and shows. It is more fun than some photography for money, but I love making a living at photography and am grateful for every job that comes my way...especially now.
PIX : Oh, I know, especially right now. And have you had any exhibitions for your series yet and in the future ?
I have not exhibited any of the work for American greaser yet...a small sample is on behance network and was showcased last week I have it on my site, but the gallery experience is planned for when the book is published. I will have a show one way or another regardless of publishing.
PIX : Okay, keep us up to date on that. And finally, any advice for folks out there wanting to get into the industry ?
My advice to people starting out is to keep going even if it seems slow or people discourage you. Let people know you are a photographer, market to them and follow up regularly. Intend what it is that you desire and take steps every single day to achieve them. Little by little.
There are great photographers never seen and lousy wealty ones. You want to been seen. So write down your objectives and set a time line. Follow it and re-adjust if necessary. You are the only one who cares about you as much as you. The rest will follow when they see results.
seelikeshane.com/greaser.html
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