When Ibarionex Perello first discovered photography at 10, the connection was instantaneous and binding. His lifelong passion has taken him everywhere, from the vibrant streets of Los Angeles to The Huntington Library, Art Museum and Botanical Gardens’ extensive archives.

As a young boy living in South Los Angeles — just a few miles south of the University of Southern California and the Coliseum — Perello attended the Boys and Girls Club of Hollywood. In a fateful turn of events, his counselor took up the task of renovating the club’s abandoned darkroom, bringing in two freelance photojournalists to teach the kids how to process film.

“The moment I saw that print revealed in the developing tray, it was over. It’s all I wanted to do,” Perello said. “I’ve always been fascinated by photography and making pictures — pretty much obsessed exclusively with that all my life.”

While studying English Literature at the University of California, Berkeley, Perello joined the school’s newspaper, writing and taking pictures.

“It was a pivotal moment,” he explained. “It was the first time I discovered I was good at something.

“At that point, I knew that there was a viable way of making a career of doing something that I loved to do. I’ve never been a great planner, but I’ve been very blessed that my whole life has revolved around photography because I can’t imagine what it would be like if it didn’t.”

After graduating, he embarked on a varied career. Initially working at Nikon as a technical representative, he later transitioned to magazine editing for publications like Outdoor Photographer, Digital Photo Pro and Digital Photo Magazine. His passion for photography led him to author half a dozen books on the subject and teach workshops around the world. He has also taught at the Los Angeles Center of Photography and Artcenter College of Design.

Three years ago, he began his current role as a special projects photographer at The Huntington Library, Art Museum and Botanical Gardens.

“At the time, magazine work was drying up,” Perello said. “It was a good time for me to do something different.”

Perello is one of four photographers tasked with documenting The Huntington’s archive, which includes art, books and historical ephemera. Some of the archive’s more notable artifacts include two copies of the Gutenberg Bible and letters from past presidents like Abraham Lincoln and George Washington.

Perello’s work plays a crucial role in preserving and making significant historical documents accessible to researchers worldwide. For example, over the past six months, his main task has been digitizing science fiction writer and Pasadena native Octavia Butler’s notebooks, which are “some of the most requested materials in the collections,” he explained.

Perello is also known for his podcast, “The Candid Frame,” which has been ongoing since 2006. The over 600-episode show focuses on the art and soul of photography. Through his interviews with renowned and emerging photographers, Perello delves into what it means to lead what he calls a “photographic life.”

“Sometimes that involves a photographer who’s a full professional editorial or commercial photographer, and then there are other photographers who are leading normal lives but are still producing exceptional work.” His interviewees hail from across the world and include photographers like Elliott Erwitt and Douglas Kirkland.

The show is Perello’s love letter to the craft and focuses less on technique than on the power of a single snapshot.

“I don’t focus a lot on equipment and gear,” he said. Instead, he hopes “that this show proves to be an important archive of photography and our times. The people I often talk to feel like they want to do something more than just make pretty pictures,” he continued. “There’s an underlying passion to want to say something and communicate something with people through their photographs.”

But more than anything, Perello said he hopes to inspire others to follow their photographic aspirations and grow confident in the power of their singular perspectives, just as he had all those years ago.

“What’s always driven me is that I could create something that would evoke a reaction in someone else — that the way I saw the world was validated. That’s what I felt as a kid,” he said. “That’s been my throughline throughout my career as a photographer, the idea that the way that I see the world is valuable and that it has and can have an impact.”

As photographers, creativity is in our nature. Whether we’re shooting glossy fashion editorials or capturing intimate moments on a couple’s big day, how you dress is important. There are some rules you absolutely must follow – no white at weddings, nothing that limits your movement, and never dress so avant-garde that you might be mistaken for the model. What no one ever asked for or needed (surely?) was a suit designed specifically for photographers to wear on shoots.

Is it rational for me to feel this irritated about a black suit? No, probably not, but am I anyway? Yes, absolutely. In all my years working as a photographer I have never heard of such a ridiculous product, but I have three main issues with Unix Tokyo’s Shooting Suits being sold by Bic Camera in Japan.

My first and biggest complaint is that they’ve tried to reinvent a timeless classic. When you get down to the nitty-gritty, it is just a black suit – though it’s made of four-way stretch material (which screams that it’s going to feel cheap) and includes larger pockets for storing an extra lens. The waistband is elasticated for comfort, and the trousers are tapered to fit, but ultimately you are buying a glorified tracksuit. 

It’s also disgustingly expensive for what it is. The jacket alone costs  ¥37,400 (approximately $255 / £200 / AU$390) and the trousers will set you back a further ¥20,900 ($140 / £110 / AU$215) – all for a non-branded suit. In the UK, men can buy a Ted Baker or Boss suit for not a great deal more, and you can be sure that the quality and fit would be far superior. 

You can also buy a plain white t-shirt for ¥11,000 Yen ($75 / £60 / AU$115) and a pair of knit shoes for ¥16,600 ($110 / £85 / AU$165) – which is more than a pair of all-black Converse. 

Last but not least, this suit is ugly – and that’s the cold, hard truth. You might not be the most fashion-savvy photographer, and that’s fine, but no one is so uncreative that they have to resort to a photographer’s uniform. While women have the luxury of choice when it comes to what to wear on photoshoots (think jumpsuits, baggy straight-leg trousers, long sleeve tops) for men a plain colored shirt and slacks are almost always appropriate. 

Most people will already own multiple outfits that would be suitable to wear on a photography job without having to invest in something purpose-made. 

I admit, I am shocked by how much this suit nonsense has riled me up. I am a self-confessed lover of fashion; I love how clothes are a form of expression, I love shooting fashion photography, and I love spending lazy Sunday mornings lost in the glossy pages of Vogue. I also love second-hand slow fashion, so this suit pretty much goes against everything I believe in. 

However, if you still want to see the suit for yourself and happen to be in Japan, the Shooting Suit will be on display on the first floor of the Bic Camera Store in Yurakucho, Tokyo, until March 31.

For more practical clothing items, check out the best gloves for photographers, the best waterproof jackets for photographers, and the best photo vests.

Vogue Philippines taps several creatives to give tips, share advice, and inspire others who are interested in following a similar career path.

Photographer Artu Nepomuceno has shot over 50 magazine covers in the span of a decade-long career–including the cover for Vogue Philippines’ February 2024 issue.

I entered the De La Salle-College of Saint Benilde as a culinary arts student; I didn’t think photography was anything more than a hobby. Long story short, I found myself incredibly lacking in my course and knew as early as then that success was not around the corner if I continued my path. Winning a small photography contest against a bunch of AB-Photo and MMA students led me to believe I had a better chance in the arts building, and so I got my application form to switch to Digital Film; again, I had no faith that there was a career in photography. 

I won’t forget the dinner with my parents and Wowo (that was what we called my grandfather at home) when I told them I wanted to switch courses. I looked to my grandfather and said, “I want to become a filmmaker like you.” He looked at me, dead serious, and said, “Take photography.” As a short tempered teenager, I asked him why, and from there he said the one line that changed my perspective forever: “In order to create a movie of a thousand images, you must be able to create a story in a single image first.” Since then, I have been constantly hunting for stories in single images.

I grew up with my grandfather, Luis Nepomuceno, who was an award winning Filipino filmmaker. He directed iconic films such as Dahil sa Isang Bulaklak and Igorota. His father, Jose Nepomuceno, has been honored as the country’s Father of Philippine Cinema. As a kid, my grandfather taught me how to understand light through daily exercises; from observing how light bounced off different buildings, to seeing the effects of fog, the clouds, or smoke. He used to ask me to find the light source of certain reflections; or even explain to him why there were rays of light on SLEX at certain times of the day. When we didn’t discuss light, we discussed his adventures in the world of cinema. We talked about the tricks he used to do in his movies, or how he would tell a story with very few words. By highschool, Wowo gifted me with my first point and shoot—an introduction to photography. Right before college, I had a pretty strong understanding of the technicalities of the craft.

After finishing my studies in 2012, I found myself shooting gigs, concerts, birthdays, corporate events and what not. After doing that for a little more than a year (and unhappy with the work I was putting out), I decided to take a break and find my footing. My wife Meg, who back then was a friend working in the magazine industry, saw potential in my work and helped me mount a series of test shoots, which then became my portfolio to submit to the different magazines in the country. From there I started scoring small gigs, which then led me to bigger features in different publications, which led me to my first set of covers, which led me to advertorials, and so forth. In no time I had a portfolio with an impressive set of personalities, who then also started getting me to shoot their own businesses. The magazine industry became the greatest calling card I could ever ask for, bringing me to brands and people I could only dream of shooting. I am humbled to have a wonderful list of people I have the opportunity to work with today, and the story is still unfolding.

The Value Of Mentorship

I couldn’t afford interning under a photographer after college, so I jumped straight to work and tried to figure things out on my own. Along the way, I came across some incredible people who I looked to as teachers: Ryan Vergara, Louie Aguinaldo, Gee Plamenco, Brian Bravo, Jason Quibilan were some that kept me in check as I progressed. I drowned myself in online material, subscribing to photography newsletters, watching behind-the-scenes of photographers, looking through magazines and collecting photography books. I was obsessed with western photography—Peter Lindbergh, Avedon, Robert Capa, Annie Leibovitz, and so forth. I wanted to be like them, but in the Philippines. Later on I found myself learning even more through collaborations with Pam Quiñones, Ria Prieto, Bea Ledesma, and so many other forces in the industry.

As late as can be, I recently found a mentor in Sharif Hamza. I had the wonderful opportunity of assisting him when he photographed the maiden cover of Vogue Philippines, and since then have learned a lifetime of knowledge from him and his work ethic.

Empowering The Next Generation

Do the work, keep your head down, and be kind. Photography is a beautiful medium, a craft that breeds wonderful storytelling. But at the end of the day, your choice of using photography as a means to survive means you must do the work. When the good and the great come along the way, ground yourself as the fall is hard if you fly too close to the sun. When the bad comes along, find peace knowing that trauma can’t defeat you. More importantly, respect those before you and absorb the stories they’re willing to tell. Be kind and courteous to everyone—you never know when your presence can hurt someone, or how your kindness can change someone’s life.

Non-philosophical advice: don’t catch GAS (gear acquisition syndrome). Borrow/rent equipment before buying it yourself—be smart about your money. Invest in education more than anything—invest in assisting and in finding a mentor. Build strong portfolios, present it to your friends and family, and after improving it, send it to agencies, magazines, and clients you want to work with. Work with people who need to build their portfolios too, and grow together. Attend workshops, ask questions. Don’t look too far away; the local industry has so much to offer.

With the coverage of football in the United Kingdom growing over recent years, many new up-and-coming creators are emerging.

One young photographer who has burst onto the scene as of late is University of Gloucestershire student Charlotte Murden. In just over two years of watching the sport from behind the lens, the 21 year-old has photographed for multiple teams, from the likes of the Bristol Aztecs and London Warriors to the BUCS University All-Star teams.

Charlotte’s contribution to the Britball scene puts her among the top photographers in the landscape, and she hopes to continue to capture the growth of the game in the UK.

We spoke to Charlotte about her experiences in photographing American football and her hopes for the future.

AFI: How did you get into photography? 

Charlotte: My passion for photography ignited during my school years, when I was offered the opportunity to participate in a county wide photography competition. Successfully winning the competition, I was awarded a voucher prize, allowing me to purchase my first camera. This fueled my passion for photography; leading to my further development of knowledge and skills through A-Level photography and a degree in BA Photography.

AFI: What made you start photographing football? 

Charlotte: In my first year of university, I met the Gloucestershire Gladiators team at the Freshers Fayre, after chatting to them they asked if I would be interested in attending their training sessions, even though I had no prior experience with sports photography. Because of this interaction, I began practicing and learning from Pete Wilson who has been photographing the team for many years. In addition to this, I attended their classroom session to develop my understanding of the game and to anticipate the players movements. This then developed to shooting photos of adult teams such as the Bristol Aztecs where I met other amazing photographers such as Martin Preedy and Alexxander F Chan who have helped me develop. This has led to a passion and love for American Football and the people within its community.

AFI: Is photography a hobby of yours or do you see it becoming a career? 

Charlotte: I aspire to immerse myself in the American football community, contributing my passion and skills to the heartbeat of this industry. 

AFI: What is the part you find the most satisfying about your role? 

Charlotte: I find that the most satisfying part of my role is seeing the joy that people experience when looking at and sharing my photos, in addition to when I perfectly time my shots to capture an intense moment in the game.

AFI: Tell us a bit about your typical game day. 

Charlotte: In anticipation of a game, I prepare my equipment and research the team that I am shooting images for so that I am fully equipped for the task.  

Upon arrival at the sports venue, I kick off my coverage by capturing images of the players during warmups, which allows me to get a sense of their movement and how they play as a team. When the game starts, I maneuver myself into positions that optimize my equipment and will allow me to capture the plays in an effective way.  

Post game, I start the extensive editing process of thousands of images and then share them to the teams, in addition to posting them on my social media.

Kwanzambi Beni hurdling a Portsmouth defender. Image courtesy of Charlotte Murden.
” data-medium-file=”https://www.americanfootballinternational.com/wp-content/uploads/JKwanz1.jpg” data-large-file=”https://www.americanfootballinternational.com/wp-content/uploads/JKwanz1.jpg” class=” wp-image-173393″ src=”https://www.americanfootballinternational.com/wp-content/uploads/JKwanz1.jpg” alt width=”961″ height=”599″>

Kwanzambi Beni hurdling a Portsmouth defender.

AFI: What are some of your most memorable experiences? 

Charlotte: 

– Being a part of the 2023 Student GB All Stars game  

– My first ever match with the Gloucestershire Gladiators 

– Bristol Aztecs win over London Warriors 

– Working with a supportive community of teams, photographers and coaches. 

AFI: What have been some of your favorite teams to work with? 

Charlotte: 

– Bristol Aztecs  

– Bournemouth Bobcats  

– Gloucestershire Gladiators

In our continuing series about the photographers who diligently cover our game throughout Europe, we have arrived in Great Britain. We have also posted interviews with Sweden’s, Stefan Akander and Jonas Domfors as well as Germany’s Sarah Philipp, Finland’s Jari Turunen, Italy’s Gioli Busi, Lola Morales from Spain, Denmark’s Mikkel Bo Rasmussen and Michael Freitag also from Germany,  Austria’s Peter Kramberger and Hannes Jirgal as well as Sergio Brunetti from Switzerland.

In the vibrant city of Tucson, Arizona, a tale of artistic revival unfolds as Palmira Miro Gutierrez, a seasoned photographer, breathes new life into the historic art of wet-plate collodion photography. This mid-1800s technique, known for producing monochromatic images with imperfect edges and profound expressions, finds a contemporary home in Gutierrez’s dedicated hands.

Collodion Photography: A Historical Perspective

The wet-plate collodion process is a relic of photography’s nascent years, a complex technique involving several meticulous steps. It begins with coating a tin plate with collodion, a flammable and quick-drying solution, before making it light-sensitive through a silver nitrate bath. The plate is then exposed in a camera and developed in a darkroom, culminating in a distinctive image that is sealed with varnish for preservation.

Since Gutierrez learned this method through the Western Photographic Historical Society, they have skillfully employed it, producing around 100 wet-plate photos with vintage cameras from the early 1900s and 1950s. The result is a collection of images steeped in history, each bearing the signature imperfections and serious expressions characteristic of this photographic technique.

Portraits of Reality and Raw Beauty

Gutierrez’s work transcends the conventional picturesque scenes often associated with photography. They are particularly drawn to industrial landscapes and graffiti, influenced by their photography roots in Detroit, Michigan. However, their primary focus is portraiture. Here, they aim to capture the raw beauty of their subjects, weaving compelling narratives through their lens. Gutierrez’s portrait sessions are thorough, involving mood boards and multiple tin-type photos, each telling a unique story.

Photography as an Expression of Identity

Beyond being a creative outlet, Gutierrez’s work serves as a tangible, concrete expression of their identity. It mirrors their journey from a strict upbringing in a traditional Mexican household, through struggles with substance abuse, to embracing their queer heritage. The images they capture are deeply personal, often featuring friends whose stories resonate with their own. As Gutierrez continues to seek inspiration from their community and the desert, they are planning to showcase their wet-plate photographs in an upcoming show focused on intimacy and sensuality.

With an unyielding commitment to their art, Gutierrez is also exploring opportunities to apply for residencies and grants. Their work, a modern testament to a historical photographic technique, continues to reflect reality and raw beauty, offering a unique perspective on the world around us.

Photoplay Photography kicks off 2024 with a line-up expansion to introduce acclaimed photographer and visual artist Tim Georgeson and esteemed portrait photographer Hugh Stewart to their stellar roster.

Tim Georgeson works with film, photography, musical design and environmental storytelling. His art-based work captures the intricacies of contemporary life with creative insight into the human condition. Notably, his ground-breaking collaborations with Australian Indigenous artists showcase his commitment to complex storytelling.

Tim’s commercial work spans directing and photography, with major campaigns for brands such as The Guardian, James Boags, Fila, Converse, and Apple. His extensive exhibition history is celebrated internationally with acclaim from the likes of World Press Photo and Leica Camera Awards, and his work is held in prestigious collections including Australian National Portrait Gallery, the Australian Museum and Bundanon Trust Art Museum.

Hugh Stewart’s portfolio is a treasure trove of A-listers: Cate Blanchett, Leonardo DiCaprio, Nicole Kidman, Sarah Snook, and the late Barry Humphries, while his editorial credits include publications Vogue, Vanity Fair, and Rolling Stone. Hugh is a key collaborator with Baz Luhrmann, working on Romeo and Juliet, The Great Gatsby, and Elvis, and his commercial work includes iconic imagery for Tourism Australia, RM Williams, Westfield and Sony. 

Hugh’s portraits hang in the National Portrait Galleries in London and Canberra. His highly successful Pop-Up Portrait Gallery in Woollahra and Bangalow allows anyone the experience of sitting for one of the local greats of photographic portraiture.

Alison Lydiard, EP at Photoplay Photography is proud to expand the Photoplay roster with such outstanding talent. “Alongside the highly regarded group of photographers we represent at Photoplay Photography, we are very pleased that Tim and Hugh have joined the likes of artist Vicki Lee, Dutch photographer Jouk Oosterhof and LA-based artist Sarah Bahbah to consolidate our artistic credentials in the commercial context. They’re a perfect mix of creativity and inspiration and add tremendous depth and experience to our roster.”

Insta: @photoplayphoto 

On Christmas last year, Palmira Miro Gutierrez transported their elaborate vintage camera setup to some train tracks in Tucson.

It’s not something they typically do — transporting a large and heavy vintage camera — but they were feeling inspired to capture images of the local industrial scene just as they did many years ago in one (yes, one) of their hometowns.

When they first picked up a camera over 20 years ago in Detroit, Michigan, Gutierrez took pictures of everything you could think of — family, friends and surroundings. But even then, Gutierrez knew they never wanted to be the photographer who took photos of “ducks in a pond” or “rose gardens in your grandmother’s backyard,” they said.

Instead, Gutierrez wanted to take photos that captured reality, all while highlighting its raw beauty.

“I would look around and it’d be abandoned buildings and cars that had been set on fire,” they said. “I just took pictures of what I knew. … I was going into abandoned train stations and taking pictures of all the graffiti. That was my reality.”

Fast forward nearly 25 years and on a typical weekend, you’ll now find Gutierrez in their converted carport-turned-sunroom-turned-home-photography-studio in midtown Tucson, where they practice the art of wet-plate collodion photography. 

The historical photographic practice was first utilized in the mid-1800s and is recognizable today by its monochromatic finish, imperfect edges and often serious expressions in portraits.

The process of creating these vintage-looking photographs takes equal parts creativity, science and patience.

The process begins by pouring collodion, a syrup-like liquid consisting of nitrocellulose in ether and alcohol, on a tin plate. Gutierrez uses tin for plating trophies and will manually cut the correct size from a sheet of the material.

After coating the tin plate, it goes into a silver bath for a few minutes where it will become light sensitive. After pulling the plate out of the bath, it’s placed into a film holder that’s been retrofitted for the tin. It’s then placed inside the camera and exposed for around three seconds. This part of the process is when you take the photograph, Gutierrez says. 

After going to the darkroom, the plate is removed from the camera, covered with a developer and gently moved around. Once an image begins to appear, Gutierrez gently washes the developer off with water.

“Then you use a fixer, which is like that famous footage of people swirling the bath around and then the image (appears). And after that, just wash it in water to stop that process,” Gutierrez said. “Even then, the plate is wet, so it’s very sensitive. You have to varnish it to seal it and protect it from any elements once it leaves your studio.”

Gutierrez describes the process of wet-plate collodion photography as a rush — and a little stressful.

“It feels very intense,” they said. “It feels euphoric, like love or something. I’m just focused on them (the subject). And it’s just me and them. And then that wears off and I’m like, ‘OK, what did I actually do?’ You’re kinda like, ‘Oh my God, I did it. What just happened?’ As a nonprofessional, I think that’s impressive.”

Gutierrez became eager to learn about this form of photography after they had a wet-plate portrait taken of them. That portrait led Gutierrez to join the Western Photographic Historical Society, where they learned how to take wet-plate collodion photos with the group. Since joining last April, Gutierrez has taken around 100 photos using the photographic technique with cameras from the early 1900s and 1950s.

As a lifelong art and photo enthusiast, Gutierrez had been stuck in a creative rut and was happy to pick up a new photography skill.

“I was actually really sad that I had not pursued it (photography),” they said. “When I hit my late 30s, I was mourning. I’m like, ‘Why didn’t I do it? What was wrong with me?’ … And then digital came out and I wasn’t interested. In my bones, I couldn’t get into it. When I tried to do it, I would challenge myself and be like, ‘You’re only allowed to take one picture. And if you get it, you get it. If you don’t, you don’t,’ just to challenge myself.”

Originally, Gutierrez wanted to just take landscape photos but enjoyed taking wet-plate photos of their friends so much that they decided to primarily focus on portraiture — but not the traditional portrait that may immediately come to mind, with its stiff poses and watercolor backdrops.

#tucson-subscription-modal, #tucson-subscription-modal p, #tucson-subscription-modal ul {
font-size: 14px !important;
font-family: -apple-system,BlinkMacSystemFont,”Segoe UI”,Helvetica,Arial,sans-serif,”Apple Color Emoji”,”Segoe UI Emoji”,”Segoe UI Symbol”;
}

.modal-backdrop.in {
filter: alpha(opacity=90);
opacity: .9;
background-color: #fff;
}
#tucson-subscription-modal .modal-content {
box-shadow: 0px 7px 15px 1px rgba(0, 0, 0, 0.12);
border: 1px solid rgba(0, 0, 0, 0.03);
border-radius: 2px;
}

#tucson-subscription-modal .wall-header {
background-color: var(–lee-blox-masthead-color);
padding: 15px 20px;
margin: -15px -15px 20px -15px;
}
#tucson-subscription-modal .wall-header div {
display: inline;
}
#tucson-subscription-modal .modal-top .logo img {
max-height: 50px;
max-width: 220px;
}
#tucson-subscription-modal .modal-top .return-home {
margin-right: 15px;
}
#tucson-subscription-modal .modal-top .return-home a {
color: rgba(255,255,255,.7);
border-bottom: 1px solid rgba(255,255,255,.2);
text-decoration: none;
font-size: .9em;
padding-bottom: 1px;
}
#tucson-subscription-modal .modal-top .return-home a:hover {
opacity: .8;
}
#tucson-subscription-modal .modal-top .title {
font-size: 22px;
line-height: 24px;
margin-bottom: 20px;
font-weight: bold;
text-align: center;
}

#tucson-subscription-modal .modal-top .sub-login .btn { opacity: 1; border:0 }
#tucson-subscription-modal .modal-top .sub-login .btn:hover { opacity: .8; }

#tucson-subscription-modal a.text-link { color: #222; }
#tucson-subscription-modal .br {
border-top: 1px solid #eee;
margin: 15px auto 15px auto;
max-width: 250px;
box-shadow: 0 1px 0px 1px rgba(0, 0, 0, 0.02);
}
@media (min-width: 992px) {
#tucson-subscription-modal {
width: 650px;
}
}
@media (max-width: 991px) {
#tucson-subscription-modal .wall-header {
text-align: center;
}
#tucson-subscription-modal .wall-header {
float: none !important;
display: block;
}
#tucson-subscription-modal .modal-top .pull-right {
float: none !important;
display: block;
margin-top: 15px;
}
}

/* Swiped from lee-subscription-list-v2.css. */
.tucson-subscription-list .packages {
opacity:0;
transition: opacity .5s;
}

.tucson-featured-subscription,
.tucson-subscription-list .promotion,
.tucson-subscription-list .has-promotion .price,
.tucson-subscription-list .special-title,
.tucson-subscription-list .banner,
.tucson-subscription-list .label-tag { display: none; }
.tucson-subscription-list .has-promotion .promotion,
.tucson-subscription-list .has-special-title .special-title,
.tucson-subscription-list .has-banner .banner,
.tucson-subscription-list .has-label .label-tag { display: inline-block; }

/* single package */
#tucson-subscription-modal.packages_1 .btn {
border-radius: 20px;
font-weight: normal;
}
.tucson-subscription-list .single-package { padding: 10px 20px 20px 20px; }
.tucson-subscription-list .single-package .html-col { margin-top: 20px; }
.tucson-subscription-list .single-package .html .text-muted { color: #777; }
.tucson-subscription-list .single-package .html p,
.tucson-subscription-list .single-package .html .tnt-check { float: left; }
.tucson-subscription-list .single-package .html p {
clear: left;
margin-bottom: 15px;
padding-left: 10px;
}
.tucson-subscription-list .single-package .html .tnt-check {
font-size: 22px;
margin-right: 10px;
color: #2a5caa;
}
.tucson-subscription-list .single-package .offer-inner .price,
.tucson-subscription-list .single-package .offer-inner .promotion {
font-size: 26px;
font-weight: bold;
}
.tucson-subscription-list .single-package .offer-inner { width: 100%; }
.tucson-subscription-list .single-package .offer-inner .btn-block {
max-width: 80%;
margin: auto;
padding: 12px;
font-weight: bold!important;
margin: 15px auto;
font-size: 16px;
}
.tucson-subscription-list .single-package .offer-inner .tagline,
.tucson-subscription-list .single-package .offer-inner .special-title { color: #888; }
@media (min-width: 992px) {
.tucson-subscription-list .single-package { padding: 10px 30px 20px 30px; }
.tucson-subscription-list .single-package .html-col { margin-top: 0; border-right: 1px solid #ccc; }
.tucson-subscription-list .single-package.row {
display: -webkit-box;
display: -ms-flexbox;
display: flex;
flex-flow: row-reverse;
}
.tucson-subscription-list.single .single-package.row .col-md-6 {
display: flex;
float: none;
align-items: center;
}
}

“I wanted to be able to tell a story because that’s who I am. I tell stories and I share stories, so that’s what I want when I photograph my friends,” Gutierrez said. “I want them to see them how I see them, and even just the magical aspect of who they really are and how I see them. And that’s been the rewarding part.”

Prior to each two-hour session, Gutierrez puts together a mood board filled with inspiration, themes and positions that best represent the subject and honor their culture. Unlike other tin-type photo services that often only do 1-3 tins, Gutierrez does seven. Photo sessions start at $125 and customers receive digital files of the photos as well.

“I like this approach because it’s the slowest approach and nothing is in a hurry,” Gutierrez said of the whole process. “It feels right. It just feels like second nature.”

‘It just feels like something so concrete, something so tangible’

Gutierrez grew up in two places — Detroit, Michigan and Jalisco, Mexico — often spending days at a time driving with relatives between the two places.

“Four days with six people in a (Mercury) Grand Marquis,” Gutierrez said, laughing as they recounted the journey.

Both of these places had a profound impact on Gutierrez’s upbringing and the way they created art.

As a child, Gutierrez remembers lying on their stomach, drawing while their mom would look over and say, “Oh, I’ve always wanted to draw like that.”

Growing up, Gutierrez used art as a way to cope with everyday life, including being bullied at school. 

Art became a huge part of their life, thanks to their first art mentor Marcia Freedman, who eventually helped display Gutierrez’s art in a group show at the Detroit Institute of Arts.

However, it wasn’t until Gutierrez was a teenager when they began to delve into photography, after receiving their first camera from Detroit photographer Michelle Andonian.

After growing up in a very traditional and religious Mexican household, Gutierrez, who is queer, decided to head west at 17.

“The rule was, no one leaves the house till they get married,” Gutierrez said. “And I was like, ‘I’m gonna be here forever.’ In our culture, that means you have to take care of your parents if you’re the last one out. You have to take care of them forever.”

When Gutierrez arrived in Tucson over 20 years ago, they had issues with substance abuse but wanted to get clean. So, Gutierrez found work, began therapy and started to spend time with organizations like BICAS which provided safe and sober environments.

Since calling Tucson home, Gutierrez has found community, inspiration and even more ways to create and share their art including a show in April that showcases their wet-plate photos.

“It’s going to be about intimacy and sensuality,” they said. “So, it’s a lot of my friends and there’s going to be some nudes. And also there’s a homage to people and who they are and removing that weird stigma about sexuality. Being queer, I’m proud of it and it’s the most certain thing in my life.”

But Gutierrez isn’t stopping with the show in April. They plan to apply for residencies and grants, and continue to find inspiration throughout the desert and community while creating wet-plate photos.

“I think it has a historical bond because of the style of the camera and the method and the result,” Gutierrez said. “It feels like something special is happening. I think we all felt that in the ’80s with Polaroids because it was so instant and it was just so vintage-looking. But with this one not being on paper but on tin, it just feels like something so concrete, something so tangible.”

Starting your own business in college is not an easy task, as it requires a lot of time, effort, and passion. However, college is also a great place to find support from your friends and figure out what you want to do after graduation. In this article, I will spotlight a UMass student who picked up a camera three years ago and found what she wants to do for the rest of her life!

Junior Sophia Trischitta started her own photography business when she was a senior in high school. During her COVID-19 high school graduation era, Trischitta decided to pick up the professional camera she owned and take senior photos for herself and her friends. After posting about it on social media, Trischitta got multiple inquiries to take photos for more students, thus @sophialynnephoto was born.

On her new Instagram account where she showcased all of the photos she took, Trischitta was able to gain new followers and potential customers. She began by charging a small amount for the raw photos straight off her camera, until she did some research on other photographers in the area. “I saw that people charge way more, upload the photos to online galleries, and make a full living off of it. That’s when I realized that this was something that I wanted to do full time,” she said. Ever since cultivating her photoshoots into a professional, interactive experience, Trischitta has been building her brand and gaining countless customers, especially in the UMass community.

Trischitta now has her own website where she publishes photography samples, blog posts, prices, and the different services she offers. She also has a virtual gallery where she uploads the photos from each shoot to be available for customers online, perfect for large groups who want to access their images. She has done many photoshoots for UMass students and registered school organizations such as graduation pictures, greek life formals, and LinkedIn headshots. “I posted a lot on social media promoting myself for grad pics and a lot of my bookings were from friends of friends or Women in Business seniors,” she said. Last spring, Trischitta ended up shooting a whopping 81 students for graduation photos!

When she is not working in the UMass area, Trischitta photographs anything from weddings to charity events to high school senior portraits. As a New England native, she enjoys doing photoshoots in places like Cape Cod, Maine, and New Hampshire. “I do most of my shoots in Gloucester at the beaches, and then I was able to bring my camera all the way to Greece this past summer and snap a few pics,” she said.

Since picking up a camera and starting her business, Trischitta has done around 250 photoshoots. When asked what has been her favorite photoshoot to date, she described a 1980s-inspired creative session that featured two of her best friends. “I collaborated with a makeup and hair artist who did all of that for me and it was a studio photoshoot with disco balls, hula hoops, records, and other props,” Trischitta said. “I was able to get really creative with the poses and outfits.”

Aside from her main business, Sophia Lynne Photo, Trischitta also has her own photography and lifestyle-based podcast, aptly named Caught on Camera. She posts weekly episodes that stream on Spotify and Apple Podcasts where she discusses photography tips, how to run a small business, work-life balance, and much more! Trischitta often has friends as guests on her podcast where she talks to them about hot topics and insight from their lives. “I’ve interviewed people about implementing the gym into your life, dealing with heartbreak, college vs. high school life, unpopular opinions, and more,” she said. While busy college life can occasionally get in the way of recording consistent episodes, Trischitta plans to continue her podcast and is excited to see where it takes her in the future.

As Trischitta makes her mark in the photography industry, she hopes to inspire others to follow their passions and pursue a career they love. “My biggest piece of advice is to just run with your passion regardless of what people say or think,” she said. “Trust the process because it’s not going to be easy right away and it will take some time.”

Can’t get enough of HC UMass Amherst? Be sure to follow us on Instagram, listen to us on Spotify, like us on Facebook, and read our latest Tweets!