On the developing the skills that enabled him to work with Sony PlayStation, Monster Energy, Husqvarna, Bosch Global, Fujifilm USA, and why you should always spit out your gum before shooting.<\/p>\n
What Are Must-Carry Items Always in Your Bag?<\/p>\n
I\u2019ve been a Fujifilm ambassador for over four years now and I always have a GFX body<\/a> in my kit, now the GFX100 II<\/a>. Typically, I reach for a prime lens like the GF 80mm f\/1.7<\/a> and an all-around zoom like the GF 32-64mm f\/4<\/a>. When I\u2019m walking around or with the fam, I typically have my X100V<\/a> close by and use it all the time for BTS. Also, gum! I always have gum in my bag to make sure I\u2019m as fresh as can be! Pro Tip: I chew the gum right before going on set and then try to throw it out before we start so I\u2019m not smacking gum by the talent!<\/p>\n Shot for Sony PlayStation, on a Hollywood set, mixing flash and ambient light.<\/p>\n What Is the Most Underrated Photo Skill?<\/p>\n Networking. It might not sound like a photo skill, but if you\u2019re not good at networking and meeting new people, you don\u2019t get to use any of your other photo skills. It will also serve you well on set because networking is all about earning trust and creating rapport, which you need on set with talent, clients, and crew.<\/p>\n What Technique Do You Use Too Often?<\/p>\n Flare and haze. I\u2019m a sucker for some flare and haze; it\u2019s gotten me in trouble before. I do my best to move around and change angles, but when the flare is poppin\u2019, I just can\u2019t help myself. Haze gets a little out of control sometimes, too, but done well, it creates such a cinematic feel that I almost always have it running.<\/p>\n Anderson found bull rider Jordan Halverson online. \u201cI just find people that are interesting to me and reach out on Instagram.\u201d He said he leans on flare too often, but the results are no bull.<\/p>\n What Photo Skill Do You Wish You Were Better At?<\/p>\n Simplicity. Even at the beginning of my career, I was always checking out huge amounts of equipment and hauling it around San Francisco. It seems to be how I see the world, but I have been really working on simplicity lately, trying to tackle problems with natural light or one light when I can. I still love putting up a bunch of lights and making something awesome, but simplicity is a skill I do wish I was better at.<\/p>\n Photographers Are Always Told to Develop a Style or Find a Voice, but There Is Little Advice on How to Find That Voice. What Guidance Can You Offer?<\/p>\n Start with what you know and create often. Many times, the best photographers start creating inside of something they know well: a rock climber, a soccer player, an athlete, a musician, etc. You typically have more access and trust in the arenas that you\u2019ve already been a part of. It can even be as simple as photographing your cycling club that you ride with every weekend. The other advice, which is not new, is to create often. Constantly push yourself to create, assess what you\u2019ve created, and create more. The more you create, the more you\u2019ll see your voice emerging. Listen to it. Listen to your taste as you see it coming to the surface. Be gracious to yourself in this process; it takes a long time and a lot of work, but slowly you\u2019ll emerge, and it\u2019ll be beautiful.<\/p>\n Anderson approached actor and stunt rider Macedonio El\u00edas through Instagram and then experimented, pushing the limits of his dramatic aesthetic.<\/p>\n After a Camera, What Are the Next Three Pieces of Equipment You Would Advise a Photographer to Invest In?<\/p>\n Lighting, modifiers, and grip. When I first started, I would buy a new C-stand after every paid project so that I would have what I needed over time. Now I have almost everything I need to do a medium-to-large-sized production with minimal rental. This allows you to make money off your equipment and to create higher-end personal projects.<\/p>\n Do You Have Anything That Is a Daily Practice or Habit?<\/p>\n I make a cup of coffee (just one cup using a pour-over) and use the \u201cOne Minute Pause\u201d app from Wild at Heart every day. This really helps me to find focus and teaches me to approach the day ahead with my mind and heart centered. I also try to journal most days and go for walks with my wife every day. Typically, we walk between 1\u20132 miles a day and talk; it\u2019s been a huge blessing when things get busy to process and be together while getting some movement and fresh air.<\/p>\n Anderson\u2019s first campaign for Brave Star Selvage, with owner Mik Serfontaine serving as model.<\/p>\n What Art Books Should Every Photographer Own?<\/p>\n I actually don\u2019t own art books because they are so big, and we live in an RV (books are heavy!), but I\u2019ve had a subscription to Vogue for as long as I can remember, and I find it so inspiring. Typically, I will cut out the images that inspire me and put them in a binder, making it easy to have a large dose of inspiration! I\u2019m also a huge fan of going to art museums wherever we are; seeing the masters of lighting and composition at a large scale is incredible.<\/p>\n Where Do You Find Inspiration for an Image?<\/p>\n My main inspiration for most of the images I create is the story. Usually, it\u2019s the story of the person I am photographing, but it can be from anywhere. Once I understand the story, it helps me to imagine how it would look or feel. I\u2019m always trying to figure out how we can create something beautiful while honoring a story. Integrating things like clocks, hands, phones\u2014you name it\u2014to create Easter eggs inside of an image that further the story is something I really love to do.<\/p>\n For this shot of runner Jaide Stepter, Anderson called on inspiration from an Annie Leibovitz shoot with runner Allyson Felix\u2014but don\u2019t overlook museums as a source to stimulate creativity.<\/p>\n If You Were Starting, What Would You Do Differently? Or What Advice Would You Give a Photographer Just Starting Out?<\/p>\n My first piece of advice would be: if you decide to go to school, find a school that has a killer business program and a minor in photography. It took me a while to figure out that photography is only like 10% of what you do as a freelancer; most of it is business. Start networking now. So many people I talked to were waiting until they graduated or until the portfolio was better, but you should be meeting people all the time. It can be assistants, stylists, producers, potential clients, mentors\u2014there are so many people you need to know in order to thrive in this business, and you need to start today, not tomorrow. Finally, be kind. Your ability to get hired consistently has a lot to do with how fun you are to be around. If you get a reputation for being a dick early on, you might as well get a different career.<\/p>\n Aaron Anderson on the other side of the lens.<\/p>\n Bio<\/p>\n Aaron Anderson is a Colorado- and California-based visual storyteller who crafts images with creative, cinematic flair. Since launching Aaron Anderson Visuals in 2009, he\u2019s collaborated with top-tier brands like Sony PlayStation, Monster Energy, and Bosch.<\/p>\n After attending the Academy of Art in San Francisco, Anderson took up retouching at Sugar Digital, where working on images for exacting clients such as Coca-Cola, ESPN, and Google refined his eye and taught him technical precision. His portfolio spans portraiture, sports, lifestyle, and motion.<\/p>\n When he\u2019s not behind the lens, Anderson explores America in an RV with his wife and three kids, always chasing the next great story\u2014or the perfect cup of coffee.<\/p>\n Explore his work at andersonvisuals.com<\/a>\u00a0and on Instagram:\u00a0@aaronandersonvisuals<\/a>.<\/p>\n All photos by permission Aaron Anderson.<\/p>\n