http://loulesko.com

In the fifteenth century if you called yourself an explorer you got three ships, a chest full of gold and a kiss on the cheek from a hot queen named Isabella.  It is a profession I’ve always wanted to pursue. Sadly, none of the queens in contemporary times are as financially daring, and the University of Southern California failed to see the merits of explorer as an academic program.  So I pursued an English degree to bolster my photography career.  My parents have been scratching their heads too.  Now I get to travel, shoot pictures and write for a living.

Behind every person who makes a living being creative, is a sane, patient partner and a savvy bartender.  My partner is Danielle Mercury, the stunning girl next to me.  Our savvy bartender is Maurice.   He’s the one in the background opening another bottle of champagne.  Bless his heart.

I am a regular contributor to the following fabulous publications:
National Geographic Assignment Blog
PhotoCine News
Digital Photo Pro Magazine
Resolve Blog
Insight Blog

Journalistic ethics:
It’s become de rigueur to state your code of ethics if you have one. Because I write for the National Geographic Society I adhere to their editorial code of ethics.

When and how did you become interested in photography?

When I was eighteen years old, a friend of mine had some modeling test pictures done and I took her to the photography studio to pick them up. I thought what he did looked like fun so I picked up my dad’s old Nikon F2 and some vintage flood lights and shot a few pictures. They were dreadful, but I didn’t know that. I back taped two enlargements into a school folder and traipsed into the Grimme agency in San Francisco. The assistant at the front desk took my images back to the booking room and I heard an explosion of laughter. The assistant came back out and very diplomatically told me I wasn’t right for the agency. When I got into the elevator to leave, the only thing I was thinking was; they laughed, they must like me. I started shooting girls from a modeling school on the floor below the agency until one day, six months later, the elevator was broken and I had to walk up the steps.

Micheal DeMartini, one of the agents, was in the stairwell and asked me who I was and what I was doing. I showed him my now proper portfolio and he exclaimed that the photography wasn’t tragic, but the girls in the photographs were. When I told him they were from the agencies’ modeling school he said, “puh leeze, that place exists for our party fund. Come with me.” He took me up to the agency on the sixth floor and started me shooting proper models. I’d bring back film to show him and he would roll it up, throw it at me and say, “if I want good I’ll talk to 90% of the photographers out there. If you shoot for me you shoot brilliantly, or you don’t shoot at all.” That’s how my education started.

What gear do you mainly use?

I never think in terms of gear, I think in terms of image and then rent the gear that matches the vision I’m trying to execute. That said, my favorite assignment camera was my Nikon.

What inspires you?

Oh boy. Inspiration is everywhere. But it is easy to get into a daily routine which can rob you of inspiration. When I notice that I’m in creative funk, I get on a plane some place. Any place that I’m not used to, or that I’ve never been before. Southwest and other airlines have these super special weekend fares that they’ll alert you to where you can pay less than a hundred bucks for travel and sleep on a couch or at a cheap hotel at your destination. Or, you can get in a car and drive 200 miles in any direction, the mere adventure of motion can shake the funk and inspire ideas, and it doesn’t have to cost a lot. In fact, if you think about, a cheap travel weekend can be the same price as dinner and a movie.

What is your favorite genre?

I love telling stories visually. Whether I’m capturing a story on assignment or fabricating one for a fashion or commercial client, I am an ardent fan of subtlety. In this regard, I’m influenced heavily by the tradition of storytelling throughout the history of humanity. Joseph Campbell was an author I relied on a great deal to form my perspective.

Many times photographers find themselves with a full schedule of paying gigs, and end up with little time for doing the work they truly love. Do you struggle with finding time for your personal work?

Sometimes I do, but for the most part there are always lulls in work and that’s when you do your own work. Also, this month marks the 20 year anniversary of my first photojournalism assignment which was in the former Soviet Union. I’m releasing an e-book about my first week in the USSR. Writing that was definitely my own project and I’ve been taking Saturdays off of my schedule to write that. It will be released on valentines day along with the never before released photos from that period of my life.

What’s new these days? Any upcoming shows or projects?

I’m excited about my e-book. The working title is 1989: from fashion to photojournalism – but I think that title might get changed after the copy edit. I’m also excited about my new venture with Michael Britt and Tom Stratton – PhotoCine News at photocinenews.com

What is one thing you feel makes your style or your work unique?

Hah. Tough question. That’s like asking your current lover if you’re better in bed than the previous lover. The answer is always the same; not better, not worse, just different. My friend Andrea has always said my work is lonely. I guess I’ll go with that. And, I love shooting in natural light.

If you could photograph anyone, dead or alive, who would it be and why?

Probably no one dead darling, a bit frightening on the set and you’d have to call a mortician in to do makeup. Alive, two people come to mind; Anna Wintour, the editor of Vogue magazine, because I admire her uncompromising vision. Kate Winslet, because she is an extraordinary actor and singularly unique beauty.

What is your post production process?

I like Photo Mechanic, it’s fast and nimble and the definitive tool for editing a shoot. My friend Josh Anon over at Pixar is riding me hard to adopt Aperture, but I like to choose my images quickly and then bring them into Photoshop for the tweaks. If I’m not involved in the post process, then I like to let the images go to the client and let them have at it after first glancing if there is anything I want for myself. Also, I’m a horrible photo editor, so after I do my initial run through of deleting the crap, I mark what I like and then ask someone who is better at editing than me for their opinion.

What’s your dream photo field trip?

The obvious answer is to go back to Russia and revisit my steps from twenty years ago. But if I were to choose a place I’ve never been, I would say an essay that contrasts the extremely rural Japan with Tokyo. Also, I have a huge affinity for the American South, that will be something I shoot soon.

If you had unlimited resources to purchase any type of camera, what would it be and why?

This is kind of related to the gear question. I’m gear agnostic, I choose the gear that I feel will best execute my vision, so I guess I would rather have an unlimited rental budget.

Who are your favorite shooters and why?

On the fashion side, I have been heavily influenced by Peter Lindbergh, on the journalism side I love Mike Yamashita who I get to work with at the National Geographic Assignment blog.

Tell us about a shining moment in your career thus far

Oh man. I feel very fortunate and lucky to have had a pretty good string of epic moments over the years, but I think I’m most excited that I’ve been able to broaden the scope of what I do to pay the bills to include writing and new media while keeping everything in the creative area.

Samples of Lou Lesko’s Work