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Rob Van Petten had every intention of becoming a famous rock guitar player. Somewhere along the way....

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Small Talk:

• Living the Creative Life, an Interview with Keith Lane

  OCTOBER 29, 2009

  In August I wrote an article about Keith Lane’s visit to CDIA, and recently Keith was gracious enough to give me a phone interview. We talked for several hours, and he came across as a funny, caring human being with a passion for the creative life. What follows are some of the highlights of what I was able to hastily type down.

  Q. How do you use social networking like Facebook?

  A. Keith Lane: “I used Facebook to discover business opportunities on a global basis for my clients and for myself. Facebook and LinkedIn cover everything I need. LinkedIn is the Taj of social networking, Facebook is the Bates Motel. LinkedIn is primarily about doing business, but you can still be irreverent. I use Facebook as a social outlet and for business as well. If used correctly, it (Facebook) will build content and carve out your personality; your unique personality; your own personal brand. What makes you different. I use Facebook as a sounding board for creative ideas, I don’t play the games. Don’t bore people; don’t tell people what you had for dinner, don’t show shots of your dog 30 times a day. I could care less about Mafia Wars or “What Martini am I?” Be innovative and irreverent. Use it to promote your friends and clients as well. I have a blast on Facebook, but it has also led to a number of new business opportunities. Nobody cares what you had for breakfast, and anybody who cares is as boring as you are.”

  Q. In your presentation, you seemed a little anti-Photoshop. What are your real feelings on what it represents for advertising, photography, and creativity in general?

  A. Keith: “CS4 is a fantastic tool, but you shouldn’t use it as a crutch. Long before PS, you had to get the shot right in camera. If you screwed up, you had to get die transfers and do airbrushing, which was expensive and very time-consuming. I do love what CS4 can do, it’s an incredible digital canvas to bring your ideas to life. I’m a photoshop moron, but I know exactly what I want, how it should look, what the font should be, how it should be leaded and how it should be kerned. I have the creative vision. I know exactly what the end result should look like, sound like, and feel like. I need to collaborate with great photoshop artists. You can have the most expensive equipment, but if you don’t have a great idea, it’s worthless.”

  Q. You talked a lot about the “creative process”. Do you have any habits that foster creativity, like a sketchbook?

  A. Keith: “My ideas start on a pad of paper, a napkin or a receipt out of my wallet. Anything I can write on with my free UPS pen. I keep a notebook in my car, by my bed, that’s my canvas. A receipt out of my wallet. I keep lots of cheap crappy pens because they can run out of ink. One time I had to scratch my ideas into the paper with a dead pen, and I couldn’t read what I had scratched! I had to rub over it with a no. 2 pencil later to read it!”

  Q. Is there any process you go through when you need to come up with creative new ideas?

  A. Keith: “When I’m given an assignment from a client I need to know what makes their product or service unique. They have a lot of competitors whether they know it or not. If you don’t think you have competitors, you’ll be out of business really fast. I do my homework, a lot of research first. Let’s say I get a job from a client, how do I make my product unique? There are a lot of competitors. I research my brains out, about the categories, their competitors. No slogans, I hate that word. It’s not a slogan, it’s your positioning line. Then, I go to the notepad, Then I’ll write 20 lines, 30 lines, to see if it works across all kinds of communication channels, which is absolutely crucial. I carve out a creative strategy using notepad after notepad. Whatever you do digitally has to translate just as effectively in print, broadcast, radio, point of sale and even outdoor. You have to be able to brand seamlessly.”

  Q. What is the relationship between photography and advertising? Do you think that it’s still a sound one, or do new purely digital media threaten photography’s place in modern business?

  A. Keith: “Any Creative director or art director who knows their stuff knows that a unique concept requires a unique photograph, that works in it’s purest sense.. A good art director will always know art. When the stock market crashed the creative industry received an anal probe. Magazines are much thinner now, and when you’ve got no ads, there’s no revenue. This created a domino effect throughout the industry. We in the industry all got slammed. That effected the photography industry, video editors, audio engineers, broadcasting stations. This has been the worst year any of us have ever experienced. What I’ve seen take place is that corporations know that the industry is sucking wind, and they expect creative directors to work for free, pro bono work. In february I got a call from an unnamed corporation, a CEO, let’s call him Chaz, that offered me a new advertising campaign. It was a freezing cold sleety day. My windshield wiper snapped off. I pulled into the building, the wind was blowing 50mph. The parking lot was filled with european cars. I went into this boardroom. Even the women at this place were named Chaz, everyone had the same gray suit. I was soaking wet, freezing. Chaz, the head of the company said “I’m so glad you could make it. Our sales tumbled due to the horrific economy. We’d like to rent your brain for three months. You develop our entire ad campaign and we’ll gladly reimburse you if the economy turns around.” I then pulled an Alec Baldwin from GlenGary Glen Ross. I said “Put your blackberries down.” It was dead silent. “You are a for-profit corporation. I do a lot of pro bono work. You all garner really nice salaries. If you all took 20% pay cuts, you could afford me. Or you could leave everything and come work for me for three months for free and then maybe I’ll pay you. Want to take me up on that offer?” Dead silence. Corporations who are employing this reptilian strategy need to stop doing this to people in the creative industry because it is disgraceful behavior and they should be ashamed of themselves.”

  Q. How do you think the industry has changed since you started out?

  A. Keith: “In the 80’s you could do business with a handshake. You could share information with your competitors who were your buddies after hours. With the digital age, things started to change. People started to get paranoid and nervous, and it only got worse after 9/11.”

  Q. From the presentation, it sounds like you and Rob have had some fun times to say the least. Do you have any other anecdotes? What’s it like to work with Rob?

  A. Keith: “What’s it like to work with Rob? It’s a dream! Its interesting, if you take a look at the great Film directors they always work with the same actors and creative teams. They always surround themselves with great people.Why? Because there’s a comfort level because they know what each other is thinking because they’ve worked together so long. When I did my first job with Rob, we understood where each other was coming from instinctively. We didn’t get in each others way. We collaborated with great immediacy. There are a few photographers I’ve worked with like that. Clint Clemens is one. Take a look at his work. Philip Porcella is another fella to look at. Sometimes as a creative director, a photographer might be better suited for one kind of shot instead of another. Let’s say you need an underwater shot, you’re going to get an underwater photographer. Being able to shoot anything makes a photographer great, What makes Rob great is that he will do anything to get the shot. You gotta get the shot. He hung off a cliff in El Capitan, risking his life to get the shot. He’s fearless, and to be a great photographer you must be fearless. Every assignment I ever worked with Rob, he got the shot. You have to work with a photographer that has the same mindset as you do. You have to take risks and you have to have guts. If you don’t have guts, it’s not going to be magic.”

  A few other memorable quotes from the interview: “How do you treat people? it’s real simple. Treat people like human beings with dignity, humanity, and respect. I abhor bullies, especially adult bullies.” and my personal favorite: “When I first met (CDIA’s) Rick Ashley, he looked exactly like Kenny Loggins, he looked liked a creative guy. However, Rick can’t sing.”

  Keith Lane currently has a lot of irons in the fire, including a new business talk radio show in the works, a cartoon strip with a former Disney Animator, and a teaching position at CDIA.
  by SHAWN READ

   

• Nikon World Magazine features an article in the Spring edition about Rob Van Petten’s fashion shooting with the new Nikon D3X, written by Nikon World Editor Barry Tannenbaum.

  [1]

• By Mary Ann Alwan, May ’09 graduate of the photography program

  An extraordinary event happened over the last couple days in Studio C of CDIA’s Waltham campus. About 100 students and faculty were treated on Wednesday night to an entertaining and inspiring talk by the renowned photographer/artist Michel Tcherevkoff. For three-plus hours, Michel, as he encourages his new CDIA friends to call him, took us on a visual journey of his career’s work. To start, he showed us interesting composites and creations he made for commercial advertising clients early in his career — all done without the help of today’s digital tools. He finished with a showcase of his current, more intricate and Photoshop-assisted artwork featuring flowers which he bends and arranges into fashionable shoes, lingerie, and butterflies.

  For an encore, Michel invited interested students to return to Studio C the following morning for portfolio critiques. Again for three-plus hours, Michel helped about 15 of us look at our own work through the lens of his creative genius. Michel offered up nice helpings of “nice work” and “I like it”, but he also showed each of us, very specifically, how we could have composed better, or lit our subjects better, or waited for better moments.

  Watching Michel give the critiques was so interesting. It gave me a glimpse of what it must be like when he’s working on one of his stunning creations. For starters, he’s clearly tireless — tireless in the way he wanted each one of us to see how we could produce better work, how we can still move forward on photographs we might have thought were finished. Next, being the fine craftsman that he is, Michel encouraged us to seek a higher plane of technique — something I imagine he does with his own work routinely.

  The two sessions were not just all about looking at photographs, though. Michel weaved in plenty of excellent advice. Here is what he said that resonated the most with me:
  Seek out purposeful assistantships. How many times have we had someone recommend to us “go be an assistant” upon graduation?

  Michel expanded upon that common advice like no one that I have heard put it before. He suggested that we strategically seek out assistantships with a variety of photographers in a purposeful effort to round out our skill set: a location photographer to learn how to improvise and deal with new situations; a fashion/beauty photographer to learn how to direct and build a relationship with people; a still life photographer to learn the best light; and a photojournalist to learn how to record, not necessarily create.

  Have a 10 year plan. Know where you want to be in 10 years, and evaluate every decision along the way in terms of whether it will better position you to be where you want to be in 10 years.

  Follow your heart. Do something you’re passionate about, even if you don’t see the commercial outlet for it right away. Your passion will show through, and possibilities you may not have thought of may unfold from there.

  If you want to be creative, train your brain to be creative. He tells how he would look at each day’s newspaper headline and challenge himself to say the same thing in pictures.

  Lastly, I will add something I’m taking away from this experience that Michel did not say outright, but his actions in coming to CDIA shouted it: be generous and enthusiastic back to this industry. Michel Tcherevkoff came to CDIA under an interesting set of circumstances. Those of you lucky enough to have Rob Van Petten as your portfolio module teacher know that Rob likes to collect names of favorite photographers from each of his students because he contacts them for portfolio advice which he then shares with the class — that is, if he gets a response. When I suggested Michel Tcherevkoff on my turn in class, Rob and I exchanged a quick look of “longshot”, but he agreed to give it a go. To our surprise, Michel wrote back right away and suggested a conference call with the class in lieu of a written response to Rob’s standard portfolio questions. My class spent an hour on the phone with Michel this past winter, which then evolved into his coming here this week to talk to the whole school. Generous and enthusiastic in sharing what he knows and wanting us to become better photographers — that was the spirit of Michel Tcherevkoff’s initial call with us and this visit.

  Oh, and one more thing — I am also taking away from this experience a new appreciation for all the skills my instructors have taught us over the last 18 months. Listening to Michel give the critiques was, at times, like being back in class. “Take multiple exposures and then blend them together” — that was from Interiors. “Adjust the exposure in Photoshop for your background and mask out your subject” — that’s Photoshop I and II. “Your lighting needs more/less shadow” — that’s Intro to Studio Lighting. All these things that, at times, seemed so basic and a bit tedious are so clearly very important going forward. So “thanks” to all the CDIA teachers, and a big “thanks” to Rob for setting up this very special visit with Michel Tcherevkoff. It was truly a memorable experience.

  [2]

• Boston. MA. – The National Association of Photoshop Professionals (NAPP) has recently awarded Guru Award winners for the east coast Photoshop World Conference & Expo at the Hynes Convention Center, Boston MA.

  The Guru Awards are a special Photoshop competition exclusively for conference attendees of Photoshop World that were created to recognize the innovation and creativity of the attendees. Since 1999, the Guru Awards has become one of the most prestigious and coveted awards in the international digital imaging industry.

  NAPP’s in- house creative selected winners after several rounds of judging and deliberations.

  Guru Awards Winners – Boston, MA 2009

  Artistic /Wnner. Karin Dailey (CDIA ALum – Photography program)

  Photography/ Winner. Vicente Csellas (CDIA Student – Photography Program)

   

• The Spring issue of PDN/edu has an informative article on how 7 photographers discuss what they do personally to contribute to environmental awareness, and reduce their carbon impact.

  The group includes David Bowman, Michael Clark, Jim Reed, Daniel J. Cox, Amanda Marsalis, Rob Van Petten and Doug Menuez. I’m hearing a green trend in their color balance. Doug Menuez said, “Digital is the new green.” That’s from a guy who shoots a lot of black and white. Thanks to Jeanine Fijol and Jill Waterman for compiling these comments.

   

• Thanks to all who attended RVP’s Not All Flash show at the Phoenix Convention Center at Imaging USA. We have had many kind responses and are glad to have been included in the roster of great seminars.

   

© 2010 Rob Van Petten » All rights reserved.
 In Apple Macintosh we trust.

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