Pro Perspectives: Sam JonesBy
MOC staff / Published by
MOC
Sam Jones talks to MAC-On-Campus about how he got his start, what he expects from his assistants, and what he recommends to students who aspire to go pro.
Profession:
- Editorial, advertising, and portrait photographer
Website:
Education:
- California State at Fullerton, 1988-90
MOC: When did you start shooting with the RZ67?
Sam Jones: I took out a loan to buy my first two bodies and all of my lenses. I needed that rectangular format and switching to vertical without rotating the camera is essential to me, because I work very fast and often handhold the camera. I quickly got used to running around with the camera, prism, lens, and motor, and it just fit my style. I wanted quality images without sacrificing speed and versatility. I shoot a lot of film, and am often working with five to seven backs.
MOC: So you shoot film?
SJ: Yes, I still find it to be a great storage medium for the volume that I shoot. I can’t imagine storing that much data digitally. Film is a tangible, artistic medium that works very well for what I shoot.
MOC: Do you shoot digital?
SJ: I rarely get asked about it, mostly because what I do isn’t needed immediately after the shoot. I have more control of my images, color balance, and presentation with film. But I am certainly not opposed to shooting digital if the situation warrants it. It can be a great tool.
MOC: What do you expect when you hire assistants?
SJ: I expect the assistants to be able to handle every situation, from a very stressful, technical shoot to a travel situation where we may shoot for fifteen minutes but if all the gear isn’t
in place and ready we will miss the picture. They have to know the technical aspects of cameras, lighting, meters, and grip equipment, as well as the non-technical aspects, like how to approach a subject, and how to handle tough situations. Sometimes the sets are large, and a larger crew is needed, including hiring grips and electricians from the motion picture world.
MOC: What do you recommend to aspiring photography students?
SJ: Find established photographers who inspire you and study their work. Ask a lot of questions and don’t let your ego get in the way of learning something. You have to shoot a lot of film and not be afraid to make mistakes or try things that may very well fail. I’ve learned more from my failures than from my successes.
MOC: How would you describe your photography?
SJ: I do a mix of editorial and advertising work, a lot of which is personality based. I work a lot on location, and try to create an image that matches the personality of the subject I am shooting. I don’t try to fit my subjects into a particular style, but rather let their style guide me to an appropriate idea. Sometimes the images are intimate and simple, and sometimes they are large-scale concept pieces—whichever best suits the subject.
MOC: How did you get your start in photography?
SJ: I was in college and during my junior year took an advanced photojournalism class. It was taught by a full-time photographer for the L.A. Times who only taught one class per year. He became my mentor and inspired me to pursue photography as a career, and made me believe I could do it.
MOC: How did you cross over to shooting personalities and editorial?
SJ: While still shooting for the AP in L.A. as a photojournalist, I started shooting still photography on film sets, including the Tim Robbins movie Bob Roberts. I was spending time with the DP and learning from him about natural light and big productions. I became intrigued with the possibilities on film sets—the creation of an entire environment and the greater palette that filmmakers had to work with. It made me want to take environmental portraiture further.
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