Q&A #28: Gabriel Öberg


Gabriel shares his journey as a composer: How playing around with looping software grew his interest in creating his own music, not letting his lack of mixing/mastering skills keep him from finishing projects, and the importance of playing live.

Leigh Lim: Hi Gabriel, thanks for taking the time to do a Q&A! While on your Instagram feed, I noticed that the posts are mostly videos. Do you find that posting them ensures you don’t procrastinate?

Gabriel Öberg: Hey Leigh! No problem, it’s always rewarding and fun sharing your process to hopefully help and inspire others! I mainly upload videos because it’s essentially what my music is designed for Plus, I personally think videos are more enjoyable to watch than photos.


LL: Why do you think you do the things you do?

GO: Well, the simple answer is because I love what I do. Being able to find a way to make a living out of what you love is a dream for most people. Having that as a driving force gives me more than enough motivation to keep going, no matter how tough and exhausting it is at times.

LL: Can you give a quick summary in terms of how you got to where you are as a composer?

GO: it started when I was a kid and got a demo of Ejay, which is a very simple program where you just drag and drop loops. That sparked my interest and eventually, I got into more advanced programs. From that point to where I am now, all my skills and knowledge come from just sitting and creating songs digitally. So, to sum it all up, creating music all the time is how I got to where I am as a composer.


(Editor’s note: A link of Ejay has not been provided as the site has tested positive for malware)




LL: Would you say that it was the looping software that got you into piano?

GO: Maybe not the looping software. But definitely music software piqued my interest, it all started with drawing midi notes to make a melody, which made me want to learn the piano and eventually guitar as well.


LL: Do you have specific books that you keep within reach that you regularly refer to?

GO: Not really. I do have “Oblique Strategies” that I use sometimes if I get stuck for whatever reason. The tips there are slightly abstract, but it can help to shift your perspective on things that helps me often. For more specific problems I’d say just use Google or YouTube. There is a lot of really great and helpful content all around us.

LL: Are you referring to the card deck from Brian Eno? (I’m keen to hear about a specific card from the deck that helped you tackle what you were stuck on. And yes…if you can include how web searches have helped you get unstuck and how you ended up deciding to purchase the deck!)

GO: Yes, exactly! The more abstract ones have helped me the most, when I’ve been completely stuck and need a new perspective. One good example is “convert a melodic element into a rhythmic element”. Or “what wouldn’t you do?”. Things that can put a spin on your entire approach can always be helpful. Regarding YouTube searches, I have no good examples. I just use that for a specific problem, like how a certain synth is made, etc.



LL: Were there any challenges that come to mind during your learning process?

GO: I’ve always struggled with mixing and mastering, probably because it’s on the technical side and I am not a technical person. And, since I am an all in one producer, it’s hard to keep track of everything sometimes since I do everything at once.

LL: Do you find the ‘everything at once’ approach gets things moving for you compared to doing things linearly?

GO: It’s the workflow I’ve developed over the years. I would not recommend it to anyone though. I think it’s better to have a linear workflow. A creation phase, then a mixing and mastering phase. It’s a bit chaotic doing all of those at once, but it works for me since I rarely have a clear vision for a track to begin with. It all shifts and changes while I’m working.

LL: If you were to put together a ‘learning plan’ or practice pack for someone who has never composed anything before, so they could have the capacity to create at your level and skill. What would it look like?

GO: That’s a very tough question. I do think that everyone has to go through that hard journey, to find out if they really like it. But regarding music, there are so many paths. But if I were to decide, it would start very simple. I’d share a lot of music, with different mixing styles, compositions, genres and emotions and work on an individual level from there.

LL: Artists are known to be very protective for their work. What would you say to someone who can’t seem to let go, and share their ideas/work — while it is in progress?


GO: What I’ve learned from being in this business, which I think can be translated into all of the music business is that you have to take some distance away from what you’re making. It’s just a song. You’ll make so many more songs in your lifetime. Stop being selfish and afraid of being judged, and share your unfinished (and finished) work to the world is what I would say to them. Everyone will have a different opinion on your songs, every single time. All of us are struggling with doubt when it comes to our work, you’re not alone.



LL: How important was it to have someone help you learn a specific technique?

GO: I’m completely self-taught when it comes to music. I did have a teacher that inspired me in different ways but it didn’t really change my overall thoughts on music. What he did, though, was introducing me to Sigur Ros, a band that everyone in the entire world should check out!


LL: In what way would you say you are self taught?

GO: I just jumped into a program with both feet and learned that way. By just experimenting and creating. Eventually, I got pretty good at it and could make my very own song. So all my learning came from just listening to a lot of music and loving creating. If you love doing something, you will learn about it automatically.

LL: Would you say it was discipline that got you to where you are as a composer?

GO: As I said before, it was only really the love for music that made me who I am today. The discipline came out of that love, no matter how hard it’s been. Sometimes I’ve thought of giving up, but I can’t stay away.

LL: Is there a specific time of day you enjoy working?

GO: Early morning or late at night is where I get things going.



LL: Have you been always mindful of ergonomics when you sculpt your compositions?

GO: Honestly, not at all. Never even crossed my mind.

LL: How much do you plan before you start a project?

GO: I rarely ever plan anything, I usually come up with an idea on the spot, which turns into a song.

LL: What usually is the sign you look for that will give you the signal that it’ll be the take/version you like?

GO: It’s always about the song. If something I record isn’t perfect, but it fits for the song, then I’ll go with it. If a certain take makes your song a lot better, no matter the imperfections, then use it. There’s always a certain point when your track can be 1, 2, 3, 4 or 5% better, that’s the point where you have to let go. Let someone else listen, listen to it in a weird speaker. Realize it’s just a song and move on. It’s never, ever going to be perfect, neither for you or for anyone else.


LL: How long would you say it takes, for you to complete a recording?

GO: I usually have a track done in a regular workday (so 6-8 hours), but it depends on the scale of the song and arrangement required. Some tracks take longer, some I have finished in 1 hour.

LL: How would you describe your creations?

GO: I’d describe my creations as heavily emotional, dynamic songs. The core of my songs is always to convey a clear emotion, and mostly I tend to do the melancholic or the euphoric ones.

LL: What are some misconceptions you find about you as a composer?

GO: Well, I guess it’s the misconceptions that everyone makes about the things they don’t understand: The enormous amount of time and the energy that goes into it all.

LL: Are you learning something specific at the moment?

GO: I’m always learning. Right now I’m looking more into the dynamics and placements of orchestral strings, as well as mixing.



LL: Can you share three approaches you take that helped you become a better artist?

GO: Distance yourself from your work, do not take what you do too seriously. Be curious about everything regarding music, it will help you. And finally, don’t forget why you do what you do.

LL: What’s your go-to set-up?

GO: Reason (my DAW) and my Nektar Panorama Keyboard is my setup when I’m creating a song from scratch.

LL: Did it take awhile for you to settle on the kind of set-up that you like?

GO: Not really. I’ve always been based on software

LL: So, your current MIDI controller, that’s something that you didn’t really have to research?

GO: Well, I did research what MIDI controller would work well with my DAW (Reason), and I found the Nektar. I’m not playing live, and have no plans for doing it right now so I only care how well the controller works when I’m composing.



LL: If you were to start with scratch to build the gear that suits you best, do you think you’ll end up with the same thing?

GO: Yes. I’d end up with a simple computer and Reason, maybe a cheap midi keyboard too for convenience.

LL: Do you think the rule of thumb for DAW use (gaming laptop specs: which would be at least 16 GB memory with an i5 processor), is too much for a workstation?

GO: It all depends on how big and demanding your projects are. I like to upgrade my workstation pretty often so that I don’t have to worry about that. But you can easily make a great song with a simple workstation.

LL: What is your warm-up / practice routine like?

GO: No warm-up, I just get up and do the work!

LL: What’s next for your projects?

GO: I’m working with different music libraries that keep me busy pretty much all the time. But when I have some time over, I like to try different creative techniques within my DAW, like weird sorts of processing, genre mixes and so on that hopefully gets me started on a new song.



LL: How do you maintain your gear?

GO: I don’t, but I’m trying to get better at it.

LL: Has any of your equipment undergone customisation?

GO: I’ve colorized my acoustic guitar some times. Other than that, no.

LL: Do you have a piece of equipment (or software) that you thought was a good buy at that time, but you eventually didn’t use it as much as you hoped?

GO: I’m very careful about that, especially software. So no, I haven’t purchased any software that I regret.

LL: Any learnings you’ve picked up through the years when playing live?

GO: I recommend every musician to play music live, even if it’s not in front of an audience. You learn how to communicate your ideas in a new way which is very helpful, especially if (like me) you’re always alone when making music. Getting an idea through in a way that other people can understand is very beneficial because you have to remove all the fluff. And, of course, getting inspired by other people’s ideas is always good for you.


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LL: Do you keep an archive of your work?

GO: Yes, I keep a backup of all tracks and project files. Since I’m selling my songs to music libraries, it might come a day when they want something to be changed or whatever it may be, then you have to be prepared for that.

LL: What I noticed when uploading videos on Instagram is that not all formats are accepted. Did you also struggle to find a way to upload video that has audio properly mixed? (Or are you looking to build more content on your YouTube channel as you can upload ones that go for longer?)

GO: Indeed I did, it took some time to figure out what formats work for Instagram. But now it’s all good. I could upload more on Youtube, but I really like the Instagram format. You only have one minute, which means you have to make that minute count. I like that, and I enjoy consuming that sort of content.

LL: Can you share a bit of background on how some of your videos came about? (You can choose your own, though I’m particularly keen on hearing about: ‘Reverse Piano’ and the process you went through with the audio. Did you flip the video then grab the audio? Or did you just slow down the video then overlay the processed audio?)

GO: Most of my videos are used as a way to showcase what I’ve been working on. Almost every time I record audio I take out my camera and film it. Regarding the reverse piano video, I just recorded myself playing. When I looked at it later it didn’t really grab me, so I tried reversing the video and I thought it sounded and looked cool and interesting. The audio is ripped straight from the camera and processed with lots of reverb and some tape saturation.



LL: What approach do you find is the best way to serve your listeners?

GO: Be humble, service minded and grateful that people find value in what you do.

LL: Are you looking into constantly tweak your site for yourself as a composer?

GO: I try to, but making new music is what takes up most of my time and it’s always my highest priority. Like with most musicians, marketing and self-promotion are definitely not my strong suit.


LL: Do you have a regular schedule of posting entries?

GO: Not really, although I try not to take too long between posts. I mainly post something if I think it’s good content. But ideally, you should be posting at least once a day.

LL: Were there instances when you hesitated about posting something?

GO: Almost every time, haha. I always have that voice in the back of my head saying: “no one is gonna care about this, why even post it?”. But now that thought is actually what encourage me to post it because I’m mainly doing it for myself and try to not take it too seriously.


LL: What’s the one thing you have to put time on —- but have been putting off?

GO: The marketing and business side of music, it always kills all my inspiration. But I’m learning one step at a time.

LL: Are you currently mentoring someone?

GO: Nope, and I never have. Maybe I will in the future, who knows.

LL: What do you do when you come across something that annoys you?

GO: It depends on the problem. Spending time fixing a problem is almost always a good investment of time I think. Like fixing a certain thing in a mix, a certain synth sound etc. But some problems are just not worth it, then you just have to let it go.

LL: Are there certain things you can’t help but ‘geek out’ about?

GO: I have pretty good knowledge in all fields regarding music, so I don’t have a certain field where I’m extra passionate, skilled or geeky. Which is both a strength and a weakness, I guess.



LL: Got any peers you’d like to mention? (Basically a chance for you to say to readers of your Q&A: ‘Hey, you’ve got to check these musicians out!’. Also I’d be interested to hear about something you’ve come across that has really inspired you — or a specific approach that a peer is doing…that made you go: ‘Whoa! I’d like to try that!’)

GO: Julius Wallenberg is a great composer and producer who makes music similar to mine. N-S makes some super cool techno and edm stuff, I recomend him too. Regarding what has inspired me lately, I would say the techniques by Mick Gordon has inspired me lately. He uses a simple sine wave and manipulates it with lots of different kinds of distortion. A technique I’ve had a lot of fun with.

LL: What were the last 5 things you pre-ordered?

GO: Oh, I never pre-order anything. The one and only thing I’ve ever pre-ordered was The Witcher 3: Wild Hunt for PC.

LL: Are you a big listener of music?

GO: I am, but not as much as I should be. Constantly looking for new music is always a good investment, but I tend to fall back on the same old music that I love. My favorite band of all time is Radiohead. Other bands and producers that I take major inspiration from in my music right now are Sigur Ros (an Icelandic post-rock band which is also one of my favorite bands), Jon Hopkins (electronic music producer), Mac Quayle (tv-series composer) and Mick Gordon (video game composer)



LL: What are you reading at the moment?

GO: A book called “The Art Of Mixing”, which is student literature I should have read about 8 years ago.

LL: Do you go out of your way to discover new things?

GO: Always, whether it’s new genres or approaches to mixing and sound design. I recently found a Youtube channel called Sonic Scoop that has a lot of great mixing masterclasses.

LL: In what way do you approach motivation and inspiration?

GO: Watching other people create almost always gives me motivation. Also finding new music that you haven’t heard before can spark some ideas in your head. I usually get inspired when I can’t do anything about it, like when I’m not in my studio or at home. So if I’m feeling uninspired I usually go for a walk, I just find it easier to get ideas going when you don’t have your tools around so to speak.

LL: What makes you smile?

GO: First thing that come to mind is the movie “In Bruges”, a favorite of mine. Many scenes in that movie make me smile. Definitely check it out!



LL: What’s your view about social media?

GO: Personally, I’m not a big fan of the shallow climate on social media. The spamming of fire emojis on every post just to get clicks. But due to how extremely saturated everything is, I totally understand why that is and I’m a part of it as well. It is what it is, and it’s necessary to grow your brand.

LL: What are your favorite sites at the moment?

GO: Splice.com is my favorite site at the moment because I can always find inspiring loops and samples there.


LL: What would you do when you need cheering up?

GO: I usually watch a comedy or a stand up show. Memes are also a good instant joy injection.

LL: Do you enjoy collaborating with other artists?

GO: Sure! Although I don’t do it that much currently. It’s always inspiring and rewarding letting someone else apply their ideas and thoughts on your work or vice versa. Even though the product isn’t always great, I feel like I’ve learned something new every time I collaborate with other musicians.



LL: Are you interested in technology?

GO: Can’t say that I am. I love new software and instruments that I can create something musical with, but the actual technical side doesn’t interest me that much. My computer is built by my friend, and contains an i7-7800X @ 3.50 GHz, 32 GB of RAM and some 2.5 TB of disk space split between some SSD’s and other drives. The software I use is Reason (DAW), Izotope Ozone 8 for mastering and Hitfilm Express for video editing.

LL: With your Instagram posts, do you have specific subjects that you go through a rotation of?

GO: Yes, I try to. I love posting snippets songs that I’ve made in different types of genres, or different spins on some recording technique etc. Keeping it varied is very important to me.

LL: If you were asked to pick from the entries (either a post or video on Instagram or elsewhere) you have, which one would be your favourite?

GO: I think it would be this one [using a violin bow on an acoustic guitar]. I’m very happy with the sound and melody I got from the guitar. I don’t know, it just makes me kinda uplifted.



LL: Are you the type of person that finds it easy to start something? (For example, you are hit with an idea — then within a couple of hours, you have written up a plan on how to make that happen. Or at least taken the first step! Or are you more of the person that waits until the idea is pulling you urgently before making a move?)

GO: Definitely the first type. I can get things going very quickly, and I rarely stop and plan things out. I work best when I just go for it without a solid plan.

LL: For someone listening to your work for the first time, what is the message you’re hoping they’ll take with them?

GO: I’m always after emotion and atmosphere when listening to music. And it’s pretty hard to pinpoint where that comes from. It could be from a certain chord progression, the sound of the synth that plays those chords, a vocal melody, or maybe just the ambient sounds and fx behind the actual song. And I always try to create that with my music, a mood that makes you feel uplifted and inspired (mostly).

LL: What makes your soul sing?

GO: Music, obviously. Good movies, video games, meditation, cooking are some things that gives me energy.

LL: What’s the best way to connect with people who admire your work?

GO: Can’t say I have that many people who admire my work since I currently just make music that’s aimed at supporting other mediums. But I think the best way is to always answer everyone who has taken the time to comment on your work, no matter in what form.



LL: Have you found your tribe yet?

GO: Can’t say that I have. I’ve always gone my own way, and I’ve met and worked with a lot of inspiring and talented people. But I can’t say I “belong” anywhere.

LL: What kind of opportunities are you looking forward to?

GO: Hopefully just getting some bigger projects and more clients. I really hope I get to do an actual custom soundtrack for a movie, that would be super cool.

LL: In what way do you enjoy helping others?

GO: Creative help, new perspective and new ideas are my favorite type of help to give. As i have mentioned, I’m not a technical person. So helping out with those sort of things isn’t as rewarding, but I’ll of course do it if it’s needed.


LL: Looking back through your journey, are you amazed at what you’ve accomplished so far?

GO: I’ve grown a lot as a musician and as a person, but I don’t like to look back too much. I’m very proud of some things I’ve accomplished, but I still feel like I’m in the middle of journey so I haven’t really reflected on that.

LL: How can we support your work?

GO: Following me on Instagram @gabrielobergmusic is more than enough if you want to support me! You’ll find more information If you’re interested there.






* Gabriel Öberg is a composer based in Borås. See things though his eyes via his Instagram feed. If you have any business suggestions or feedback on his tracks, he’ll welcome the news via email as something that can spark a creation is always fun! With that said, collaboration is also something he’ll welcome (as in the past he has been the one who has reached out and would be delighted if the reverse would happen).


Source Material and Notes: The material posted is based on correspondence (January – October 2020) between Gabriel and Leigh. Content has been edited for length, and the final version has been reviewed and approved by the interviewee.

Leigh Lim is a Sydney composer helping brands get their mojo back. When she is not doing that, she can be found spending time through various rabbit holes (offline and online) or sniffing out stories for a music discovery project.


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Q&A #27: Alex Palombo

Alex shares his journey as a photographer: how he infuses fun in his work, strives for authenticity, and his decision to rent rather than purchase equipment.

Leigh Lim: Hi Alex, thanks for taking the time to do a Q&A! While on your Instagram page, a section (“all around goofy guy”) of your mini bio jumped out. Do you find that it helps remind people you work with that even though the work is serious they won’t be bored whenever they work with you? (Or that’s more on you outside of being a photographer…and with shoots you’re pretty serious and would like to make the turn-around for the work be as fast as you can? Or you’re just a plain fan of using profile images that you know would make people smile? Unless it’s more having to do with the platform? For example your Twitter Bio reads: “Alex Palombo is a New York City based fashion photographer with an eye for fun. Alex’s easy personality shows in his work which always exceeds expectations.” Which is quite formal.)

 Alex Palombo: Hi Leigh, No problem at all.  My pleasure. This is a cool thing you are doing.  


“All around goofy guy” was an attempt to show that I was not just a stick in the mud photog/human.  That I had personality, and like to have fun.  I feel too many people take themselves way too seriously.  “You just aren’t that important.  It’s not about you.”  I was trying to show that “hey man, I hear what you are saying, and I’m onboard let’s try to have fun while we are getting it done and make some kick ass work together.”


I try not to take too much seriously except the things that need to be taken seriously.  I do my best to stay away from drama, which is hard in my profession.  A lot of people think if you are not shaking your finger at someone or freaking out about something or everything isn’t on high alert than you don’t care and will do a worse job.  I am on the thought process of “those things actually hurt efficiency, clear rational thought, and creativity.”  I LOVE what I do when I do it, and I am good at it also-it’s not brain surgery-so lets have fun and if me being a dork at times helps with that so be it.


And yes, I do want to make people smile. I will nail what you need, so let’s enjoy it.  Does it remind people who I am?  Prob not, because most of them don’t know me.  Does it help professionally?  Who knows.  Probably not, for many of the reasons I stated above.  I sometimes think it works against me because people think I don’t take anything seriously and don’t care, which is 180 degrees from the truth.  I care a friggin s—load, so maybe the goofy thing is really a protection thing so I don’t get hurt.


HHMM, something to think about.


The thing is I’m not that goofy just a little at the right times.  I just think most people need to chill a little and if calls for me making them laugh then I am doing my part and making their day just a little brighter and that makes me happy.  The world might be a little nicer if we had more of this.  As for insta, yes I consider it more informal and personal than twitter, I don’t know why, however if my twitter sounds more formal I guess it is a good example of trying to find that good balance of professional and what people deem as “unprofessional”, because in this profession there is nothing written in stone.  It’s a free for all, until it isn’t.


The irony is that everyone will develop their opinions of me without ever meeting me and there is nothing I can do either way.  It’s all editing, I just try to be real to who I am.  One thing can’t describe me, and I can’t write a profile of who I am in 14 characters.  So I try to write one aspect that I like.  There are so many others, even ones I don’t even notice and takes others to see and let me know. 

LL: Is there a particular project that your fun-loving nature really paid off?

AP: Yes, I would say in most, however, one in particular was when I was shooting for Fitness magazine. They were a super fun group and we would basically joke around and have a lot of fun.  We got great images and all the shots we needed.


Within a couple months I almost shot the cover (which is a big deal seeing how I only shot for them at that point 2 or 3 times) which is because I could do the work but more importantly I think because of my personality.  One of my friends now is the former Art Director from there, I just went to her wedding in Atlanta.  Not only would she hire me again but she also knows we have a friendship and enjoys working with me because of it.

LL:  Why do you think you do the things you do?

AP: Everything I consciously do on this earth (and please don’t read into anything that I think I am on some other dimensional plane or anything such as that) is to make my life and those around me a little better.


Life is hard, really hard at times, and there is a lot of pain-so if I can make it any easier for myself or anyone else why wouldn’t I live for that?  I’m not saying I am always successful and haven’t hurt a lot of people or done stupid and bad things, I just try to honestly make my world a better place to be in, in my own way.


People matter, they need to know that.  Now if you are talking about why I do what I do in photo, it’s easy-I shoot fashion and fitness, that isn’t real life but if everything is pretty and beautiful and perfect maybe it makes the other parts of life that aren’t that a little more bearable and not as tough.  Also the crew I work with becomes a mini family which is something I didn’t have growing up(emotionally), so I get to create it making beautiful images.


In addition, I get to build and control my world in the view finder of the camera.  I get to control the chaos that is our world and put my creation down on paper(print).  Who wouldn’t want to be able to create a beautiful world where everyone looks good and life is a dream.  It’s not reality but helps us deal with it for a minute or two.

LL: Can you give a quick summary in terms of how you got to where you are with Photography?

AP: BUSTING MY ASS.  haha.  But really.  Knowing I am as good or better than most of the people working out there.  And an incredible stubbornness to not quit.  There are two ways I can answer this: 1. the actual steps I did. 2. Actually how I feel I got to  where I am.


  1. Actual steps: Took a photo class in 12th grade and decided it was for me because I could not paint or draw and architecture was too much math and not creative enough. Went to art school, graduated, had odd jobs while I tried to assist. (Even was a guinea pig for a medication test-I don’t recommend that).


Eventually interned for free at a prominent photo studio in NYC, got hired full time, got fired, started working at another prominent photo studio part time while also working at a prominent EQ rental company as I tried to photo assist.  Eventual left those and photo and production assisted for a while (long while), did odd other things that all were in the industry (ie be a driver for talent etc.), eventually made a living assisting photogs, always test shooting, watching and learning, and trying to meet people.


Pounded the pavement, got a break here and there and got hired here and there.  And repeated that, until I was just shooting.  And got a buttload of help along the way.


  1. How I feel I got there: Again believing in myself and my talent, being stubborn as hell to persist when everything else said no. (including myself). Trying to be the best person I can be and ALWAYS working on myself.  Do my best to get out of the way of myself (I have been my biggest hindrance —- ah the irony…..ha).  Accept help, try to stay positive and live a healthy life.  And most importantly, accept who I am and use my strengths to get around my weaknesses and turn some of those perceived weaknesses in to strengths.  For me and I can’t stress this enough, always work to be better while being a good person.  And have fun doing it.  If you no longer are loving it, what’s the point?


I don’t have any mentors (which has made my path a little harder), however if there was one person that I owe so much to (and I prob could have asked him to be a mentor, but my pride is one of those things that not only works for me but that sometimes gets in my way as in this case), is the celebrity photographer Timothy White.  I assisted him for a number of years and what I learned from him from assisting, working, and being my friend is immeasurable, from every aspect of learning about being a photog.


Of course I did all this by observing because I didn’t have the courage to just ask for him to be my mentor.  (Which in itself is another great lesson-ASK FOR HELP).  It is so not just about taking a picture or knowing lighting.  Anyone can get that.  Let’s put it this way, I still use his advice, incorporate his process, and think about his perspective every day and not just in my career.

LL: You mentioned that you constantly were trying to be the best person you can be as well as working on yourself. Were there specific areas that you really struggled getting together?

AP: Haha. Yes, always trying to be better.  There are many areas that I have (and still do) struggle with.  But before I answer the next part I want to add, and this is important: is that everything has a plus and minus, a positive and a negative, and that it is really just how the thing is being applied that determines that.

I will give an example.  My hard time asking people for help.  It makes my life harder as I am doing everything on my own — however the positive in other aspects of my life is that it teaches me to be self-sufficient and if things fall apart I am confident in knowing how to get things done and am not helpless because I am used to having to learn and do all things on my own.

I’m competent.  So knowing that not everything is a negative and even our perceived negatives are positives also, we can accept them, work on them, and use them to our advantage.  It also stops us from putting ourselves down.

Now as for areas that I really struggled?  Yes, many —- and there continues to be — it’s part of what makes me, me. However, being aware of them and trying to accept and get on top of them and use them — that’s all I can do.  One example of an area that I have struggled with and have made great progress with and still need to is my habit of having to do things the hard way.  I can’t just do the easy thing, I have to “earn” it.  An example would be during my football game even though my team had way more talent than the other team, we had to keep them tied with us so we could win in double overtime.  It didn’t have to be that hard, but it being my team, and I the QB I made it harder.

This is a pain in the butt because it uses more energy, time, and keeps you under the radar which in photography is definitely not beneficial.  Why reinvent the wheel when you can just make it better and be on your way?  Life is generally better when it is easier. Not always, but most of the time.  I think most people can agree they wouldn’t want a hard life.  Working on this makes my life easier and more importantly more conducive to have a win. Whether it be football games, jobs, relationships, anything.  And people want to be with winners which makes more opportunity for more winning which creates more opportunities.  Winning also brings more confidence, which people also respond to and directly serves clients better.  Of course I still struggle with this, however I am sooo much better with it.

To follow up about the asking for help, yes I am so much better at it.  Do I still struggle with it at times, most definitely and a lot of times it is not easy, however I am finally smart enough now to say to myself: “Alex if you want what you want, you need to let go and get some help”.

Of course saying something and doing something are two separate things altogether. You just try to push yourself into that uncomfortable place and do it and hope the next time it comes easier. Again, easier said than done…ha!

LL: Do you have specific books that you keep within reach that you regularly refer to?

AP: I do not have any particular photo books I refer to.  I have a few books I have gotten much inspiration from, (ie Robert Franks “The Americans”, Bruce Davidson’s “Subway”, and Henry Cartier Bresson’s “The Decisive Moment”) however I tend to not know a ton about other photogs and/or familiar with their work and rarely buy photo books.  But I def have my favs.

Bruce Weber, Avedon, Herb Ritz, Mario Testino, Ben Watts, etc.  I find it is a rare book that you keep going back to.  Outside of photobooks there are a few that I like to reread-mostly as a relaxation and for ‘me time’.

Two books I highly recommend to change the way you think and feel, Body for Life by Bill Phillips, and The Black Swan by Nassim Nicholas Taleb.  Both of these have nothing to do with photography in a literal sense, one is how to get in physical shape, and the other is to get in mental shape-however both pertains to success in changing your body and mind to better prepare you for this wild ride called life.

LL: Were there any challenges that come to mind during your learning process?

AP: There are frequently challenges in the process.  At least for me.  Some may have had it easy, and I wish that on everyone.  It wasn’t my path.

Now saying that did I struggle every day and have it as hard as some?  No, definitely not.  The thing here is that every individual has his or her own challenges and they could be a simple as English not being their first language, or they were born with a deformed hand.  Or even as unfortunate and basic as being ugly (and that is a real thing).

The on-set stuff is trying to figure out something such as one time I forgot a stand for the seamless (paper background) when I was on location and had to figure out how to get by without it.  That stuff is problem solving and I actually take great pleasure from problem solving both in photography and outside it.  So things such as getting creative on how to make a go around or rig something up-to me that is fun.  I love that challenge.

My biggest challenges and this is still to today is myself.  Getting out of the way of myself.  I know I said this before and I will again.  I am the biggest challenge to myself.  Any issues I have from when I was small to aspects of my personality that help me in other situations and hinder me in my career — those are the biggest challenges.

Look, photo is pretty simple: practice lighting, shoot a lot, and you will develop your style and talent.  That isn’t what makes a photographer.  You do.  Everything you bring to the table from every     experience you have had, who you are, what you are, that is what determines what you do.  And sometimes, just sometimes, s— luck.

So for me that has been the biggest challenge of my career.  For example, because of the tape recorder in my head (we all have one), my issues prevented me from asking Timothy to be my mentor.  Now would it have mattered? Maybe. Maybe not.

You can never play the “what if” game, however I do believe I missed an opportunity to make things go a little faster for my career.  Another example is when I was brand new to NYC and knew no one while working at the photo studio, David Lachapelle personally asked me to come with his entourage to his premier screening of his first film.  I turned it down because I had to work and didn’t want to just leave.  Was that an opportunity?  Of course!

However I realize now I turned it down because I was afraid to just go for it.  Of course at that time I used the excuse “I can’t bail out of my responsibilities”, when there could have been another solution.

The challenge for me has always been pushing out of my comfort zone and taking calculated risks.  And I am someone that does take risks!

And the motivation to keep pushing?  Easy, I had no choice, nor do I still.  I have to live my life this way (until I don’t anymore) the 9-5 corporate thing or whatever else is out there is death for me.  An average life, that at the end of the day, knowing I could have tried to do photo and didn’t give it a fair shot, or gave up, is plenty of motivation to keep me going. Even when it is hard.  And also please remember, there is nothing wrong with doing anything else — only for me it is.  And even that could change by the time you guys read this (hopefully not).

LL: Speaking of ‘risks’, I remember seeing on your Twitter profile photo a motorbike. Is that an aspect of your life that has been ‘riskier’ than most?

AP: Risk is interesting because it is so individual.  Not only is it individual, it also can fluctuate between yourself. Using the asking for help example, that is a risk for me in business and other things I do. Rejection, fear of someone thinking I am not skilled enough to do it, etc. — those are my perceived risks. However, if I would decide to take up pole vaulting, I would have no issue at all asking for help.  Not one bit. although that isn’t entirely true,


I have no idea how to pole vault —- I would try to figure it out on my own first —- however I would right away get over that and then ask for help. Ha!).  So what makes one scary and another totally not?  I also have no problem asking people for directions (most men do-haha).  That is asking for help though.  We can speculate why that is and I have my ideas, however that is another blog….


But as for your question about my motorcycle and risk there.  To me I feel no risk.  Do I know there is a risk, yes, I am not ignorant to the fact they do present risk, however I feel no risk (meaning I am not scared when I ride — and I love riding).  Are there times when I can feel risk? Of course (ie. ice, idiot drivers, metal grates over bridges) but overall I feel no risk.  I could compare my perceived risk of riding a bike to people feeling driving a small car is riskier than a big one. It really is an individual thing of what you are  comfortable with. There are two types of risk, calculated risk and uncalculated, and one is def smarter than the other. In fact, the latter isn’t where you really want to be most of the time.


That being said, I would argue (and this is soooo under appreciated) every artist that is consistently and honestly pushing and trying to put themselves out there and succeed, are significantly more comfortable with risk than the average person.  To put your heart out there, day in and day out with the odds and everything else against you, with all the blowback, to bet your life on that, that is risk.  And for us artists that do it, our tolerance for risk has to be higher from the start. 

 LL: If you were to put together a ‘learning plan’ or ‘practice pack’ for someone who has never consciously paid attention when taking photos before, so they could have the capacity to capture photographs at your level and skill. What would it look like? (Would you want them to go through the same journey as you did?)

 AP: This is easy to write, well maybe not, again what comes easy to me is not true for all.

My learning pack from my experiences is quite simple:

  1. Learn how a camera works — film not digital. 35mm, medium, and large format.
  2. Find and look at photographs and photogs that you like and want to emulate. look at the pics and take notes on what you see.  Try to recreate those pics.
  3. Shoot as much as you can what YOU have fun shooting, (usually what comes easy is what you have fun with, but not always). This is a biggie and hard: take pictures based on what you think is great, not about what you think others will think is great.  THIS IS HUGE (it is what will create your style and what people will respond to), and have fun.  If it’s not fun what is the point?
  4. And then and this is as important as knowing how to shoot (and maybe even even more sometimes), get to know EVERYBODY. It is all about building relationships.  Think of it this way, most people choose their doctor based on someone’s recommendation — that is life —why would the photo world be any different?

LL: Artists are known to be very protective for their work. What would you say to someone who can’t seem to let go, and share their ideas/work — while it is in progress?

AP: Artists by nature are insecure, we all are — it is part of what fuels the creative process.  Heck most humans are, however artists are maybe more so-coupled with the fact they lay it on the line when they present their work.  That can be extremely scary.  Or amazingly exciting.  It takes true courage.

Look, some people look at skydiving as something they would be terrified at while others love it.  With that said, yes artists are protective of their work for the most part. There are a ton of reasons for this which I can go into later if needed. 


How would I try to get someone to let go?  First I would say, we all need help.  NO ONE and I mean NO ONE did it by themselves.  You can’t.  No one can.


Then I would try to make them understand that the past does not dictate the future and that in life there will be times you are the hammer and times when you will be the nail.  You have to put yourself out there as an artist and know that you will get hurt.  To try to understand that is a chance you take and have to if you want it.


It is similar to joining the military, you join because it is a good way to get structure, a way out, etc, etc., however you have to know you may go to war and die or worse. If you can’t or don’t want to deal with that don’t go into the military.  You will be hurt pursuing the arts, you prob will be taken advantage of — heck I still am now and then (and laugh about it after the pain goes away), but that is just how it is.


Think of it this way: if you have a car you know you will prob be taken advantage of by the mechanic, are you not going to drive anymore because of it?  I know this is a silly example and not as painful as things that happen pursuing the arts, but it is true for all things. 


It is not if you get knocked down. You will get knocked down. When I was starting out I had a photo agent look at my portfolio, she told me straight to my face I should shoot weddings because I will never be a fashion photographer. (Talk about being crushed…).  It is how you get up and get back out there.  And if one day it’s not for you anymore that’s fine also — in the meantime try to enjoy the ride.

There are good and bad people out there-and you won’t know which is which until you learn          which is which.  It’s called experience.

LL: Yikes! I’m not going to even imagine how much that stung. Do you still remember how you reacted?

AP: Yes, you don’t forget those types of things, although sometimes you are better off if you can.  It was like finding out someone you love is not going to be with you anymore.  First its disbelief, then it’s anger, and then feeling that “I’ll prove you wrong”(which I think is part of anger), and then the hurt sets in. That is the hardest part — it is like getting punched in the face and you didn’t even see it coming.


The best way I can describe it is that you feel hollow.  As if there is nothing inside you and you are kind of Zombielike, just empty but still walking.  I remember going up to my then girlfriends appartment and she opened the door and saw my face, and not knowing what had happened she thought I looked like I was going to cry.  (I can only imagine what I looked like).


For me, luckily, I knew I had my girlfriend there to support me (which is why I headed to her appartment), so what I did was talk about it and share how much it hurt and what I was feeling.  I had learned earlier in my life, through 2 other personal non-photo situations in my life that the best and only way to make the pain lesson and move on is to talk about my feelings and the pain. You can’t keep it inside, it will always be there and it will find a way out at inopportune times or you will have to numb it away through some vice. (Hence how addiction comes about).


I am also competitive so after about 2 or so days after coming back to life from being a zombie, my competitiveness kicked in and I got pissed and told myself, “who the hell is she — I’ll show her!!!!”.  “She won’t beat me”.  It’s cliche, however I am not a quitter. (Again, stubbornness-and as I was saying in the previous question in this situation my stubbornness, which can be detrimental to my success, worked for me).  And then you go on with your life.


I don’t know if it ever goes away, you use it as motivation, although you accept it move forward.  It may take a little time, however the worst thing you can ever do is sit and lament and feel sorry for yourself and say “woe is me”.  Life doesn’t end, nor should you.  Some competitors use it for motivation when they need it, and that is another way to turn it into a positive.  Just don’t let it consume or define you.

LL: How important was it to have someone help you learn a specific technique? (I’m hoping you’d be able to share an example or two, relating to either a mentor, or someone who was invested in your learning. The issue you had to get past, and how they guided you and made it easier for you to learn/understand and find the best approach. You can talk about how you ended up going for specific techniques. You can go for a group or a partner you turn to when you need someone to bounce off thoughts.)

AP: As I stated above, one of the things I would recommend to aspiring photogs or anyone is don’t follow my example of trying to do it without help.  I had to learn the hard way to let go and understand that you cannot do it on your own.  And maybe this goes back to your other question about how to get over hurt and trust people.


I was always afraid to let anyone in because of trust issues from when I was small and my family life.  It is something I realized later to really work on including working with a professional psychiatrist about some of these things.  I still have a hard time opening up to people I feel are not 100% invested, however I am learning to get over that.


An example is even now, a girl I am dating who is an UX designer for a big e-commerce company took a look at my website and was like “your website stinks” in not so many words (and a lot nicer) and offered to completely remake it.  That is a hard thing to hear, because I thought it was good, even though she was 1000% right.


And it was hard to let go and say “okay, I trust you, you know what you are doing — I will go with what you think is best, and put my feedback in when it is needed”.  So for me, I let her deal with it and am doing my best to stay out of her way except when needed.  It is hard because everyone thinks they know what to do, but a lot of them don’t.  For example, my father is a very successful businessman building his own company, however he has no clue how to navigate my world because his rules don’t apply to mine.


As for people to bounce things off of, I have usually used girlfriends although that has had mixed results (some people have their own agendas).  If you are in college though, you are at an advantage because your art department/school should have people there that are there for the same reasons you are.  Use them.  It might be the safest environment you will have, to be totally free. The trick is to just find the right people.


One last thing, in spite of my best efforts to sabotage myself, I had soooo many people help me.  I was lucky in the fact that I have met some great people that really believed or liked me enough to try to help me succeed.  If you can let yourself be helped you are ahead of the game.

LL: Would you say it was discipline that got you to where you are as a photographer?

AP: For me discipline, drive, ambition, and hustle has gotten me to where I am.  Discipline not in the sense of creating one lighting and only doing one thing over and over again (although maybe this would have been helpful) but discipline as in staying the course even through the hard times, when I am feeling low and doing things that I really don’t want to.


An example now (which is easy to decide) is I have a trip planned to Montreal this weekend.  I have never been and am visiting my friend’s new lake house.  I am sure it is beautiful.  I just got called to hold for a potential job shooting Under Armour. If it happens it may be some of the dates I am supposed to be in Montreal.  So it looks as if I am leaving Montreal early if the job happens.  That’s the discipline.


If you want to be a photog you compromise (which is different than sacrificing-although sometimes you have to do that as well). I always get bored doing the same thing over and over again, so I am always trying and experimenting with new approaches.  That is one of the things I love about photo, that even though you are shooting one job after the next it changes.  Doing the same thing every day would kill me.  I never want to stop learning.  The day you stop learning is the day you start dying, because at that point you are just passing time.

LL: What are your guidelines to joining artist societies? (Or would you focus more on ways to connect to the kind of people you’d be excited to work on projects that combine fashion and fitness? And maybe a collective that focuses on photography based niches like The Licensing Project?)

AP: As for joining artist societies, it is all trial and error.  Some may really help you, some may be a waste of time.  And these same ones may be both at different times in your career.  You only will know unfortunately by checking them out and learning yourself.


However with that said, you should ALWAYS put the most emphasis on connecting with the people who are in the fields you want to shoot in.  You can be the greatest Photog in the world, if no one knows you, you will still wait tables.  If you can join a stock agency such as The Licensing Project, I highly recommend it.  It helps you gain exposure, a little money, and to be out there.


In fact, thinking now, I need to be better at updating that.  I have been lazy and undisciplined in doing that. (again my issues are coming in to effect why I haven’t).


Basically if a group or something can give you more exposure that is a good thing whatever it is.

LL: Favourite time of the day to work?

AP: My favorite time of day to work is early afternoon right after 12 noon.  That’s when I am alert and have my most energy.  I’m not a morning person however I am trying to be more disciplined to start early because getting to bed earlier really is helpful for me, I have found.  Plus it feels good to have a lot of things done by noon.

LL: How much do you plan before you start a project?

AP: I like to know as much of what I am doing, (direction) before I even step foot in the studio or meeting.  I like to have as much covered as I can because I know NOTHING will go exactly as planned, and that is part of the fun of it.  There will always be the things you can’t control so to minimize the time to improvise, know the things you can.  On the outside it prob looks like I just make it up as I go, but I do not.

I have numerous scenarios going through my head all the time to which I can fall back on.  Think of it like contingency plans.  The reason why on the outside it may seem as if I am pulling it out my ass is because of my dislike for drama and freaking out about things.  It may be madness but there is a method.

Of course every now and then there are times when you do pull it out of your ass, however that is not a good way to approach a shoot.  I am not the kind of person who does a bunch of things then waits and sees what sticks. I prepare, make a plan, execute, improvise, be efficient, then get the hell out. That said, even with that amount of effort sometimes it is for nothing, so I am ready if that happens too.

The challenge is the fun part.  I never understood those photogs that go in without a clue and have to figure it out as they go, while you change EQ set ups 8 times only to go back to the original one.  Then again, that is their process.  Definitely not mine.

LL: How long would you say it takes, for you to complete a photo?

AP: There is no rhyme or reason to the amount of time a shoot takes.  Some are hours, some are days, some are months.  And sometimes a job that once took 5 hours takes 10 the next time or 30 minutes.


For example I shoot for JP Morgan with some regularity.  Every now and then I shoot Jamie Dimon, the CEO. One of the most impactful CEO’s on earth because of the effect JP Morgan has on the banking world and economy.  When I shoot him I have 15 seconds.  Literally 15 seconds, I better be prepared.


However, that shoot is short, the prep is basic so that’s prob 20 minutes total.  The post is generally an hour or so, so that is pretty chill.  Another example, from my Instagram is the shot of the guy with the orange tank top on the turf doing lunges with the shadow cutting across half the pic.  Setting up that shoot took a long time to prep.  We planned it for months, literally.  Then it took a number of weeks to get it all together, get the location, had to change models last minute, and all day shooting for that and the other shots we were shooting  that day.  Then it took a couple weeks to collaborate with the art director editing, and a couple weeks to retouch.  All in all that shoot took almost a year to complete.


Every picture and shoot is different.  I’ve been called the day before and weeks in advance.  There is no rhyme or reason to it.

LL: How would you describe your style of Photography?

AP: I would describe my style as fun, beautiful, and strong.  I feel I tend to focus on the subject very much, and really like colors popping however I have found recently I have focused more on monochromatic.  I am more interested however on what others interpret my style to be.  That I always find interesting.

 LL: What are some misconceptions you find about you as a photographer?

AP: HA!  I could go on and on about this one.  That all I want to do is bang models and party.  That I am homosexual, that I am not a real man.  That I am lazy, and don’t want to work.  That I am not intelligent.  That I am not a real artist (I have gotten this from other artists because I am a photographer instead of painter, illustrator, fine artist…etc., and even from other photogs because I shoot fashion).


That what I do is easy, and that I don’t do “real” work.  That I have no direction in life and that I am not serious about my life.  That I have no discipline.  (That last one was from my father.)  Many of these misconceptions cover both being a photog and an artist.                                                                                                                                                                                                                                        


In addition to this, I am a unique case because I am an athlete also.  I grew up playing hockey and other sports until I went to art school.  So I lived in two worlds, one being an artist and the other being an athlete as sports are still a huge part of my life still.  So I have gotten a lot of sh– from so called “artists” about this before they even knew me.  Williamsburg in Brooklyn is notorious for this.


I have learned as “open minded” artists like to claim they are, they can be some of the most closed minded ones out there.

LL: Are you learning something specific at the moment?

AP: As I tried to emphasis above, I ALWAYS want to learn new things and never stop.  I really do believe the moment you stop learning your existence is minimized.  Even if it is just what elephants eat, it doesn’t matter. Be amazed, see, and always ask why.


At the moment I am completely half-assing learning French because the girl I am dating is French-Canadian.  And being aware of what I do and how to be better at life is totally learning. If you are truly applying your experiences to making yourself a better photog, man, woman, brother, sister or whatever just in that you have enough to learn.


I am also at the moment trying to learn how to overcome my weaknesses and use my strengths (this is a never ending process).

LL: Can you share three approaches you take that helped you become a better artist?

AP: 1. Dealing with my issues that don’t help me (insecurities-becoming confident in myself and my work), 2. realizing that accepting help is okay and no one can do it alone, 3. accepting the process and all its hardships and understanding my path is my path and that is okay (having faith that I am making progress and that it will come with patience and hard work), and 4. having fun along the way.

If you aren’t having fun find something else — this doesn’t mean you will have a blast all the time, (what I mean is if you really enjoy your life when you really stop and think about it).  Of course these are always a work in progress.

LL: What usually is the sign you look for that will give you the signal that a photo is finished?

AP: Unfortunately everyone thinks editing is retouching probably because of Instagram.  Editing is a skill all it’s own as is retouching. However I will try to answer what I think you are looking for.  The first step is seeing that you got the shot in camera.  This you know when you see it, I can’t explain it (or prob could if I had all the pics in front of me) but you know when you got it.  Then comes editing and that usually is the art directors job.  As I said that is a skill to find the best one of what you shot. Usually there are 5 or 6 that could be winners, and you narrow it down to 1 or 2.  Then you go to post production and if you have artistic control, for me I like a natural look, so it looks as if there wasn’t any retouching.  When do you know you have done enough?  For me when there is nothing I can be critical about it with.  When there is nothing I see and say, “that needs….”.  I can be a perfectionist so when I am satisfied, I know that is when I am done.

LL: What’s your go-to set-up?

AP: My go-to set-up when I had no money was seamless, 1 strobe, umbrella with umbrella sock, and bounce.  When I’m on shoots, it usually is some variation of an octabank umbrella with a profoto head, maybe some fill cards/V-flats, some heads with grids, and probably heads on trees (light stands-two heads per stand) and a seamless or on a white cyclorama.  Ideally since I prefer natural light and location photography my go to is the sun with bounce, usually a flex fill.

LL: Did it take awhile for you to settle on the kind of set-up that you like?

AP: No, most of everything I learned and used was based out of necessity (and affordability and what I was able to get access to with no money) and what I could get that could work for me professionally.  Its not about the equipment however you do need equipment that can get the job done.


I have seen all sorts of stuff used that has produced great work — it is just, what will make your life easier?  And that is what professional equipment does.  Just makes your life easier.  There is always more than one way to skin a cat.  (and I like cats..haha)

LL: What’s part of your arsenal at the moment?

AP: Really all I own is my camera, 2 lenses, Tripod, monopod, some maxi stands, umbrellas, seamless, on camera flash, monopod strobe, a flexfill, light meter, and then my digital stuff.  Computer, cards, card readers, harddrives, adobe photoshop, capture one, etc.  I don’t own much equipment, on shoots it’s either provided for me or I rent it and client picks up the expense.  There is usually a budget for equipment.

LL: Have any of your equipment undergone customisation?

AP: Nope, I’m not really a techie.  Again I don’t feel it is about the equipment.  You can make amazing stuff on a pin hole camera.  The latest gizmo’s and all that is super fun for a little, and as I said it can make life easier, however if I need it I rent it.  For me I’d rather spend my money on other things-such as a lens that I do need.

LL: Do you have a piece of equipment (or software) that you thought was a good buy at that time, but you eventually didn’t use it as much as you hoped?

AP: My film cameras were great buys at the time especially my 503 hassellblad. (it’s an awesome piece of machinery), however now they are useless as I don’t shoot film.  I haven’t got rid of them, although they do take up space.  (I have a bad habit of not throwing things away).


However, as I was saying I am pretty minimal (a large part of that is because I live in NYC where there is no place to put anything) so most of the stuff I have I use, except the film cameras….

LL: Have you been always mindful of ergonomics each time you shoot? (Are there specific things you’ve done over the years to make sure that you are taking care of your posture and not putting unnecessary stress on your body? Is this the reason you chose specific equipment in your set-up, like laptop stands, tables, chairs? Or is it more about making sure you exercise regularly, and you’d be able to handle anything that gets thrown at you?)

AP: This is a good question because photography is a hard job on the body.  It really is a manual labor job. Now saying that, it isn’t like digging ditches, but there is wear and tear on the body.


I also feel there isn’t enough awareness about this issue.  With that said, posture and being in shape has always been a priority for me since after college.  As a was saying I was an athlete, and still think I am (haha). So being in shape has always been important to me.  Also being healthy is extremely important to me.  The mind and body are the same thing and if one suffers as does the other and vice versa.  And also, posture conotates confidence and people respond to people that look strong and healthy better than people who are schlumped over or overweight.


One of the reasons I like shooting is because you are active, so being in shape gives me an advantage over most photgs that aren’t.  And when I was assisting being strong gave me an advantage because I could carry equipment.  Also there are a lot of photgs that now have what I call the S body-the forward head, curved midsection, and legs behind them.  The look like the letter S from the side.  ahha.  It creeps me out, so I never want to get that way-even when I am old if I am no longer shooting.


I don’t buy anything specific gearwise, I work out 6 days a week, and play sports.  That is the best way to take care of yourself.  One day I may buy the knee pads because my knees are shot from growing up playing hockey but hopefully that would be it.

LL: Equipment Maintenance and Storage? (Is there a specific part of your kit that you are extra careful in transporting and handling? If you own a Mac, there is a saying that Mac users tend to clean their computers more often…so it’ll be interesting to hear your response about that! And of course your view about wanting to spend time at the beach as frequently as possible while being able to take good care of your gear.)

AP: Again I don’t own a lot of equipment, however what I do own I am very careful with.  It is electronics so you have to be careful, same thing with storage, I am careful with it.  I also like my things to look and work new so I am careful with them.


With that said I am only going to do so much. Things will happen and I try to keep them out of situations in which they could get damaged, but in the end I am not going to obsess over it.  I mean obviously I will be more careful with my laptop than my light stands but that is kind of common sense.  I had my iPhone 4 for 4 years never once put a cover on it and never cracked either side so I just try to be careful. 


About the Mac saying, I have never heard that, interesting…. 



I don’t think it is true as I have seen people from both ends of the spectrum.  Nut jobs that treat their equipment as if it is baby Jesus and then idiots that rest their coffee full to the brim on their Macbook.  I like people that are respectful and care about keeping their stuff nice and in good shape as I try to do.


The beach haha — yes, the beach is not a friend to electronics especially cameras with moving glass.   Seriously though, I try to not use my EQ as much as possible-meaning whenever I work and can rent equipment especially my computer.  I do everything I can to not use my personal computer ever shooting a job.  The exception sometimes is my camera.


But if I am shooting on the beach then I do try to rent instead of use mine, but a lot of times I do shoot with my camera on the beach and do try to be a little more careful.  Sand does get everywhere and salt water will eat anything.  I am respectful when I rent though.  But I am respectful of anybodies property anywhere, whatever it is.  That is just part of who I am as a person.

LL: Any learnings you’ve picked up through the years when transporting your work?

AP: Hmmm, getting help or paying someone to do it that is competent is usually a much better way to go.  And if the budget isn’t there for that, give yourself enough time and don’t procrastinate.  It is usually going to be a pain in the butt. ha!

LL: Do you keep prints of your photos? (Or maybe if there is a request for a print, what size format would you usually have it made?)

AP: I do keep some prints of my photos usually if it really speaks to me I will frame it and put it on my wall.  That is usually rare though because I know me and I usually fall in love with something I have shot and then don’t think it is a big deal once I shot something new and fall in love with that new work.


There are a few that stick with me, however I have found I am more impressed with things I do on other mediums that are mine than I have done photowise.  Maybe it is the challenge of the other mediums I respond to or the fact I feel I accomplished more because I don’t feel as strong in that medium, I don’t know why.


If there is a request for a print, I usually ask them for a size that they want.  8×10 or 11×14 is usually the norm though.

LL: I notice you don’t put watermarks on the photos you share of your work. Is that because you’re just trusting that people are inherently honest? (and if someone does try to pass your work as their own — it would be quite difficult to do?)

AP: I have found people who use watermarks are not usually shooting the type of work I am shooting.  There are a few reasons I don’t do it.  1, Every shot I make by law is instantly copyrighted.  2, I’m not big enough yet (or maybe just haven’t run in to a situation yet) where the court costs of taking someone to court would be worth it. 3, Everything has been done, you know how hard it is to prove you did it first. 4. Unless they are going to make oodles of money on that image is it that big of an issue.  (the exception to this if it is the same players doing it repeatedly, then they should be beaten down.  Really.  Cowards.)


I have seen work that has resembled something I did, you also run the risk of retaliation in my field.  That isn’t saying don’t stick up for yourself. Definitely do. However, understand actions have consequences. 



What drives me insane are people that get jobs that are copying my stuff. It’s like just friggin hire me — that’s what irks me.

LL: Can you share a bit of background on how some of your pictures came about?

AP: Sure, first it is worth saying that there are many different things that inspire me when making a photo.  But 2 big ones are location and clothing.  With that said, I’ll go on…

The Jump – I wanted something dynamic because I had this really cool location.  We had all these dirt hills and all that, and because I am an 8 year old at heart and love running and jumping on them and I knew there was a cool shot in there.  The funny thing is, is that the jump perception in most pics is usually false in this case it was actually pretty high.  I just picked a dirt hill where there was another dirt pile that he could jump into, (you can see the dirt on the bottom of his shoes) or he would have messed himself up pretty good after one landing.

Because the sun was just about over head I had to be careful on how I shot it or the light would be not the most interesting and exposure would be a nightmare as I didn’t want to use flash.  So I positioned myself so that I would have the overpass creating a natural element to show depth and create lines and negative space and all that, but also to block out the sun.  The lens flare I kept to give it a little something — a little light play that makes it a little more fun.

I also wanted to be under him a little to give a much more dynamic angle for the viewer, so as to make it look more dramatic.  I actually shot this from two different angles and distances and edited it down to two pics and let my art director choose the most impactful one.   (Here’s an example of getting help, letting go, and trusting another with my work and process-and looking back now at the two finals, she was right in deciding on this one)

Vanilla Star Jeans – haha no posing.  I actually try to get my subjects to not pose at all.  I feel it looks stiff most of the time and ‘posey’.  Plus I am not great at it (most likely because I don’t like it), some photogs are amazing at this, I am not.  I like natural and movement and energy.  I LOVE energy.  This is something I always have to work on with myself giving energy and not being afraid to put it out there.

That said, the model was fantastic and because it was a total 80’s hip hop vibe, we wanted something that gave energy and recollected the old school hip hop movements and more importantly attitude.  So it was a mix of having her move, directing her to give that attitude and feeling and her being a great model.  Trying to capture a moment.  It’s the in-between moments that are the magic.

The Kiss – This was a personal shoot I did with my cousin (who is an aspiring actress) and her then fiancé, now husband.  They were coming to NYC to propose (well she didn’t know it) and we decided to do a photoshoot.  I’m close to my cousin and don’t get to see her a lot so this was a fun excuse to hang out.  It is actually a part of a story we did based on the movie “breakfast at tiffanies”.

There is a scene where Holly goes and lightly kisses her beau in the hallway.  I decided to do it outside as around the corner from where I live are all these nice brownstones and would give it a more olden day look.  I had them stand where they were and told Matt (her husband-then fiancé) to grab her and kiss her passionately.  Which he totally nailed.

The light was going down so I was at a slow shutter speed which is why its a little soft, which does bug me, however that bike in the foreground was just chance and luck and makes the picture.  I knew the red coat would pop and it contrasted perfectly against his jacket. Now if this was a paid shoot those cars in the back wouldn’t be there but over all this was a planned shot that exceeded my expectations because of Matt and Rachel and the unknown biker.

As I was saying before you can plan as much as you want sometimes things just happen.  In this case it all came together.  The soft focus still does bug me though.  Stupid light (or dumb photographer, you decide)…haha.  This story I did is a perfect example of what I mean by you gotta have fun.

Audrey Hepburn was stupidly gorgeous and there were so many great scenes in that movie, and it was such a classic —- it was something I had wanted to do for a long time.  And we had fun.  My cousin and her fiancé were totally into it and we got amazing shots.  It was just for us and we had a blast shooting all day.  You gotta love what you do, and especially do some stuff for yourself, because it’s yours.

Eyes Closed – This was another personal project.  I started out in college doing what I call expressive portraits.  I love psychology and love to read what is in people’s heads and try to get it out in their image.  Who they are.  When you nail it a lot of times they don’t even see themselves that way.  It’s connecting on a human level that is so beautiful and human even if it is not “pretty”.  So this was a series (always in progress) of portraits that I started doing of my friends that I play football with.  We took about 40 shots (give or take-to remind me of my film days, 36 exposures) and for me I just sit and watch and let them have their personality come out.  And then try to capture it.

With Sean this was him, or at least one aspect of him.  He is an orthopedic doctor, you would never see him with his eyes closed or smiling this way at work, being relaxed and light-but this is him.  As much as I prefer eyes open, this spoke to me the most.  Sometimes it is just a feeling.  And again this was a shoot I did for fun.

LL: What are the kind of goofy things that you think defines you as a person? (Is it that you enjoy certain kind of jokes? Or more often you poke fun at yourself and rarely make others the butt of your jokes?)

AP: Haha, I am a big dork.  I’m not cool, which makes me cool.  Haha.  I make a retard out of myself and I tell dad jokes. (even before it was a thing).  I do make fun of myself a lot.  I rarely do make others the butt of jokes.  I don’t find that funny as I know firsthand how it feels to be made fun of. 

Unless of course they deserve it….heh, heh…

LL: Was how you built your client base linear? Or are there times that there is a burst of referrals…then sometimes not? (Or was it just about finding the connector?)

 AP: For me, my client base has never been linear and there is no rhyme or reason to it.  I have met people because I bumped into them out in the street. I have had a burst of referrals from one person. I have found a connector, and I have gotten jobs by just pounding the pavement.  The hard sell is not something I like or do so my clients have mostly come from other referrals or people I have known from past working relationships.

LL: So what’s the story with you and salads?

AP: Haha.  Sometimes I start craving salads.  Either Cobb salads or Caesar.  Mostly Cobb, and that is all I want to eat for the next however many days.  I usually go to a place around the corner from me, but it was freezing outside as it probably was in the dead of winter, and my apt was so warm.  I didn’t want to go outside.  I think I ended up going out.  Or eating pasta…ha

LL: Next time….off to Andriod?

AP: I was extremely frustrated with Apple because of all their proprietary crap.  I use Apple but hate it — they do jerky things to just make more money.  Unfortunately, most creatives use apple so it is easier in that regards to use their stuff.  And it looks better.  (If you can’t beat ’em, join ’em-haha)

LL: With your website redesign — was it easy sailing? (Or did you end up adding a number of things you didn’t expect?)


AP: Haha, I thought it was relatively easy, thinking what I wanted was really cool and looked great and was easy to use.  Then I met a UX designer and she trashed everything about it.  And now I am redesigning it as we speak. Haha. (Although when this blog is published the relaunch will have already happened).


With the website I tweeted about, it took a long time to build, longer than I thought it would. And now I am rebuilding it from scratch again after about 3 months.  As for things I didn’t need, I didn’t have to compromise with that really because I actually had my people build it from scratch. This second one though I am using a template.

LL: In your bio — you mentioned that you only knew one person in NYC before moving. (Was it the case? or did you end up finding more people you knew prior to moving? Do you think this is the importance of making sure to keep in touch with people…particularly ones you don’t mind spending a heap of time with? And does this link with your last statement in your bio wanting to get more people to visit as you love entertaining?)

AP: No, I only knew one person.  My best friend Mike whom I had been friends with since I was 4 years old.  We are kind of like brothers along with one more friend and Mike just happened to be working and living in NYC at the time.  Lucky for me because he had a sweet place to live which I still live in (he has since left NYC).


This is only one of the reasons it is super important to keep in touch with people and meet everyone.  Mike worked on Wall Street, he didn’t know any fashion people or artists.  (This is before wall street people tried to get with fashion people, i.e. models).  An example is as follows: there was a college classmate of mine that my teachers loved (they didn’t care for me too much) and one professor got her an internship with Annie Leibowitz.  Are you kidding me?  I would have killed for that.  Unfortunately, my “things” kept me from getting close to my art professors in college and I did not have them as a resource when I moved to NYC.  This is why I try to get people to visit NYC. I love to show them how cool it is and I like hosting.

LL: What approach do you find is the best way to serve your clients?

AP: For me it is the same for anything I want to do well at.  Care, be a good person, be honest, work hard, don’t half ass, do what you say (stick to your word), do the best you can, have fun, and try to create a positive fun atmosphere.


Find out what makes them laugh, it loosens things up and makes everyone more comfortable.  Another is give the client the attention they deserve to their ideas.  They need to understand I respect their thoughts and ideas and in return I think I gain their trust and respect.

LL: Are there questions you find yourself answering multiple times?

AP:  I don’t think so….However, I love helping out and answering questions.  I am a huge believer in asking questions, the most important one being, “why?”.  The only thing that does bother me are when people ask questions that they don’t really want to listen to the answer to, are looking only just to hear the answer they want to hear, want it not to be honest (“sugar coated”), or are just asking questions for the sake of asking questions-don’t really care about answers.

LL: Do you have a regular schedule of posting?

AP: No, and posting is something I need to up my game on.  I am not good at doing it, mostly because I hate doing it. It is strictly because I have to —- otherwise I wouldn’t have Twitter, Instagram, maybe FB however I am rarely on FB anymore. I try to do it at least once a week, and it prob should be more.  I am not good at that stuff.

 LL: Were there instances when you hesitated about posting something on Instagram of Twitter? (what process do you go through to make sure that you are not rushing to post something that you would want to take back later? Do you consult someone to bounce off ideas before you make the final decision whether to go ahead with it or not?)

AP: I wouldn’t say I hesitate about posting things, however I do think about it and edit what I post (edit as in choosing images, not retouching-don’t confuse the two) before I post anything.  I definitely am very selective about what I am putting up based on different factors.


My process is to see what I have recently posted, see what I have, and decide what would be the strongest next image I could put-then post.  As for consulting someone about what I am going to post-no, I choose that myself.  The exception is Twitter, I did have a friend handle that, however, I had to stop with that because I found some things about her that made me very concerned about my trust in her.

LL: What’s the one thing you have to put time on —- but have been putting off?

AP: Chasing after unpaid invoices — I have two now that are due to me and have for a while and I need to get them because it is significant money and has been way too long.  (one of the reasons I am doing this right now) I have been putting it off because one of my problems is being pushy and demanding things even if I am in the right and it is something that is owed me.  I don’t like confrontation in my business and am trying to work on that.

 LL: Are you currently mentoring someone?


 AP: I am not, although I would if the person was serious about it.  I have briefly in the past, however in those cases I feel the people liked the idea of it more than the actual practice of it.  I don’t have those other people although I would like to.  I am a pretty big self-motivator and am extremely self-critical however we all can use some help.  I have found I tend to be very “life coachy”.

LL: What do you do when you come across something that annoys you?

AP: I am somebody that believes in making things happen and changing something if you don’t like it, instead of sitting around bitching about it (which is what most people do). So I think about what is the best and the most efficient way to change or fix the situation and then I try to do that.

Sometimes I get too caught up on it and spend too much time on it though. The things I have no control over I walk away from. I feel I have become very good at picking my battles.  I don’t have time to fuss over the things I can’t control so if I am annoyed and know I can’t do anything about it, I walk away.  If I do come into contact with it again and this time I can change the situation, yes, I definitely try to change it.  I believe in being proactive even if it isn’t in my personal best interest.

LL: Are there certain things you can’t help but ‘geek out’ about?

AP: There are a lot of things, photo, football, human psychology, and useless information.  I can talk about any of these things forever, not on any mailing lists (I don’t like to read things online) or anything such as that.


One topic I would like to talk about more is personal accountability. Not only understanding how what you say and do has a cause and effect but also how scapegoating runs rampant and that people don’t want to take accountability for themselves and their situations.


I will give a small example, although I really don’t want to get political.  I know you are Australian but maybe you have heard of a policy here that was causing debate, building a wall to separate the US and Mexico.  Hahaha.  Now I personally think it is absolutely asinine to do that for a myriad of reasons, however I do feel it is absolutely beyond stupid that many people that are against this are for having fences around their houses.  What is the difference?  Really?  A fence around your house is keeping others out and you in which is no different from a wall around a country keeping others out and you in.


People don’t want to hear that though, they don’t want to be personally accountable for the fact that their feelings about fences around their house (“my yard is private and I want my privacy”), leads to feeling about walls. Don’t scapegoat that it’s “them” when it is you.  Hypocrisy drives me insane and I use self-awareness and brutal honesty with myself (as much as it is possible to) to improve as well as feedback from others I trust have my best interest at heart.

LL: Got any peers you’d like to mention?

AP: HHHmm, There are some, I can’t remember them off the top of my head. (I prob will once I hit send)  My buddy Scott McKay @scottmckay17 does some fantastic work and is completely under the radar.  Also two more photogs that their stuff is great that I am buddies with as well are Jonathan Meter @jonnymeats and Stephan Reel @stephan.reel, neither is what I shoot-just photgs that I like looking at.


I haven’t had a “whoa, I gotta try that” moment in a while.  There are things I am still thinking I want to try.

LL: What were the last 5 things you pre-ordered?


AP: I have never pre-ordered anything.  I think.  I have ordered things that were out of stock and waited until they were back in, however that is not the same.  Personally I have never wanted an object that I had to buy so badly that I needed to pre order it.  I don’t think there would be either unless it was cheaper by pre-ordering or something such as that.


Even the next book in The Song of Fire and Ice series. But I am getting more convinced every day George RR Martin will never finish it…haha.  Yes, I have bought a box set before, it was an anime cartoon from my childhood, the Robotech series of the Macross saga, the Robotech Masters, and the New Generation.  There most likely been box set books as well.

 LL: Are you a big listener of music? (Does your music library reflect the music you write? Can you share some of the artists that you absolutely dig, and are surprised that others in your circle haven’t heard of? songs/albums that you cannot get enough of? Or maybe if you were to pick a track/album for someone to listen to while viewing your work? Alternately, you can also share things you like reading about or listening to —- or even your favourite non-musical artists: painters, dancers, sculptors, poets…)

AP: I am a very big listener to music and am right now in fact.  I stopped trying (stress ‘trying’ — haha) to write music way back in high school when I used to play guitar.  So there are many artists I love and I am sure many people have heard of them, Bowie, Springsteen, Pink Floyd, Rolling Stones, Notorious B.I.G., Musicals…


Songs or albums that I repeatedly like usually greatest hits of the artists I like, some compilations.  I have a serious variety in music taste.  I will listen to about anything except Reggae, Country, and then there is the stuff I can only listen to for a little such as Techno and House.  One definite album I listen to a ton is ‘All Day’ by Girl Talk.  Usually my pump up studio or gym album.


Some things I like reading are fantasy such as the aforementioned, A Song of Fire and Ice series and Lord of the Rings. 

LL: What are you reading at the moment?


AP: Right now I am reading the book “The Black Swan” by Nassim Nicolas Talib, sorry I don’t have the link. (and it is not the movie) I recommend it to anyone that thinks about how to actually see reality as it is, not just what we want to see.  It is tough reading but worth it.  Next will be “Liars Poker” by Micheal Lewis, then “The Simillarian” and “Lord of the Rings” by Tolkien, and then “Fooled by Randomness” again by Talib.


That should sustain me for a good while.  And then in 2058 when “Winds of Winter” finally comes out, by whoever ends up finishing it, I’ll read that…haha

LL: In what way do you approach motivation and inspiration?


AP: Hmm, inspiration I look for just by going out and looking.  In seeing.  Keeping my mind, eyes, and ears open and taking in as much as I can.  That is usually how I become inspired, by seeing, or hearing, or thinking about something that clicks with me.  It can even be a belief or a desire.  What gets me motivated?  A bunch of things, financial status, competition, insecurity, anger, love, (that’s the best one), confidence.  I think this is a partial list.


If I am not inspired or motivated, that is usually when I am feeling low, or hurting.  When I am feeling that way I try to do something creative I don’t usually do.  Play guitar, draw, paint, make some sort of clothing thing, etc. I also talk about it with someone that will listen.  I try to also really hear people when they say things to compliment me.  And try to feel as if I am productive.

LL: What makes you smile?


AP: Lots of things make me smile.  People laughing and really enjoying each other, playing-whatever it is.  Right now off the top of my head it is Boaty McBoatface. haha.  It is a great story.  I absolutely love when people who pride themselves (the science minister of Britain) on being “the experts” or “know it alls” show how little intelligence and lack of foresight they have and have to eat crow.  Basically, when they think too much of themselves and think they are better than everyone else and people prove they are asses.  Here is another great article about Boaty McBoatface.  haha (although what happens at the end does annoy me a lot.)

LL: What’s your view about social media? (Were you reluctant to get into it the first place, or were you happy to experiment and play around with specific social media sites)

 AP: I don’t like social media.  To me it’s a waste of time.  Unfortunately, it is a fact of life — so I accept it because I can’t be a dinosaur.  I try to use it to benefit me.

LL: What are your favourite sites at the moment? (Are there ones that you find particularly informative, addictive or inspiring?)

AP: I have 1 because I don’t look for things online unless I have a specific reason to.  So I guess even though it may not be my favorite my most often frequented is google.com.  That most favorite one is www.palombophotography.com (shameless plug-haha)

 LL: Do you currently post on other sites?

AP: I rarely post, and if I do it is only FB, Insta, and to a lesser extent Twitter.  Every now and then I will put in two cents on a FB post, but FB is when I am procrastinating and I hate procrastinating.

LL: Are there websites that you like to visit just because you like the design?

AP: Nope.

LL: What would you do when you need cheering up?

AP: If I can go outside to the park or somewhere in nature that is peaceful and beautiful that can do it.  Or go for a run, or a good workout.  Laughter is the best, unfortunately sometimes it is hard to find funny people to laugh with.

LL: Do you enjoy collaborating with other artists? (via YouTube or specific collaboration websites)

AP: I don’t know any specific collaboration websites, and I really don’t like youtube, however I love collaborating with other artists.  I believe in cooperation over competition any day.  And I am competitive.

LL: If you were asked to pick from the photos you have, which one would be your favourite?

AP: This changes most every time I shoot something new.  Although now that I think about it, may be, and probably is, candids of good times with either my friends or my family, or both.

LL: Are you the type of person that finds it easy to start something?


AP: I am someone that definitely has a hard time starting things — alot of time I have to really force myself to do something.  However, when I do start I usually become extremely focused and don’t want to stop until it is done.


This questionnaire is a great example. The first set of questions sat in my inbox for a week or so and then I said to myself, “just do it”,  (I hate the feeling of knowing I need to do something and not doing it) and I didn’t stop answering the questions until it was done. (not including stopping for eating, sleeping, etc).

LL: For someone coming across one of your photos for the first time, what is the message you’re hoping they’ll take with them?


AP: In all honestly, to hire me, and want me to shoot for them for a lot of money.

However, with that said, I would like them to take away that I can make a beautiful image and have talent and that it makes their day a little better in some way, even if they get to escape something for a little while enjoying the photo.  I would want to inspire them —- it doesn’t matter to what but to open their minds a little to plant a seed of something that could be possible for them.  Yea, an inspiration.

LL: What makes your soul sing?


AP: Knee deep in the Caribbean ocean shooting pictures of beautiful people with an amazing crew on somebody else’s dime.  Sailing a Hobie cat or single hull in Grace Bay in Turks and Cacaos.  Or being around my friends and/or good people and laughing my ass off.  Any or all of those three would do it.

LL: What’s the best way to connect with people who admire your work?


AP: For me the best way to connect to me is e-mail if you don’t know me.  If you know me a phone call or meeting up.  I don’t like to send or respond too much on social media as I don’t have any of the messenger thingys set on my phone.


Anyone interested in supporting me, I would like them to know, “Thank you!” and that I greatly appreciate it and mostly spread the word about my work, pass on my details, and if there is something that I can do to help you, I will try.  Instagram is probably the social media platform that I visit and respond to the most and I think other people in the creative fields use it more than other platforms as well..


I don’t think I have a “biggest fan”, I do have people interested in my work, however I wouldn’t know who is the “biggest”.  There have been people that have given me great compliments, most of that is through Instagram I believe.  Most of the people I have found that resonate creatively with what I do has been through Insta, mostly because I have seen their work.


However there have been times also that people have found me whom work was spectacular. It is usually random for me anyway.  If there is a way to search it out, I would like to know, although I think it is just a matter of taking the time to go through everything.

LL: Have you found your tribe yet?


AP: I don’t believe I have, and I don’t think I ever will.  I do have a very small core (3 people-2 best friends and my brother) who I consider all my brothers and I know will always be there and I trust them with everything I have and will ever have.  They are special and will be with me until they leave earth or I do.


To answer your question about a “tribe”, for me I have to say I have found those people a few times and will find them again.  As a person I have never felt as if I belong in one group nor could ever be defined by one thing.  This is good in the regards of always seeing new perspectives, people, and things, however it also makes me feel as if I have never belonged and always been an outsider. 

Truthfully also, I am too curious to stay with one thing-I want to see what is so scary, or what is behind the curtain.  It is great when you find that “tribe”-sometimes it lasts months, years, or a photoshoot.  I accept that life is always changing, people come and go, as do relationships.  I was in a fraternity in college, for 4 years that was my “tribe” and it was awesome.  Once I graduated, it went away.  Doesn’t mean I don’t hold those people dear to me — just life goes on.


I worked on a shoot for Ralph Lauren years ago. For a week I found my tribe and then the shoot was then over. I don’t see them barely at all anymore however I am very friendly with them if I see them and would hang out.  And yes I have had and continue to have multiple “tribes”.  Currently I do not because I am in a rebuilding phase and that happens sometimes as well.  Most of my tribes never overlap, however that is more of who I am and my varied interests so I attract all different people. 


Also, being that I never feel as if I belong I am never comfortable in one group and knowing life changes, I rarely fully invested in one group.  I do feel you can be more productive if you can find your “tribe”, just be careful to not become to tunnel visioned.  For those that are like me, and never feel as if you belong, accept it, and be good with it and enjoy the groups and relationships you make along the way as you do your thing.  Know some will stay with you and some won’t and that is ok.  Read “The Missing Piece” by Shel Silverstein, it about sums it up.


However if you are not like me, start with the things you love, and/or where you want to be or do and put yourself out there.  You will attract people like that.  Contrary to what people think you only attract people like yourself.  Athletes hang out with athletes, artists to artists, criminals to criminals, etc.


Put yourself out there where you want to be and the friendships and partners and associates you become close with will build your “tribe”.  You have to be proactive though.  You can even do it with people who you are not crazy about, however that won’t come as naturally.  I really hate buzz words though…..

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 LL: What kind of opportunities are you looking forward to?

AP: The opportunities I am looking for are ad shooting jobs with pro athletes, and jobs that send me away to shoot in the Caribbean. (while knee deep in the ocean…..).  Nike, would be a very cool client to shoot for.  There are a ton. Ralph Lauren.  Or as I said anything with pro athletes.

LL: In what way do you enjoy helping others?


AP: In anyway I can.  It could be career, physical, mental, how to solve a problem, guidance, motivation, inspiration…there are a ton.  As long as they are willing to do the work and it doesn’t hurt me and I don’t want it more than them, I’ll do whatever I am able to do to help anyone if they are a good person.


I am busy so I might not be able to give much or not have certain resources to give them anything, unfortunately I can’t do anything about that.  Just don’t waste my time, or I will drop you like a bad habit.  However, that being said my favorite is psychoanalytic and physical help.  Being a part of someone getting in the physical shape they wanted to or overcoming something that has been hindering them is absolutely awesome!


I believe the mind and body are manifestations of the same thing which is why either one is my favorite.  One of the greatest things to witness is being a part of someone overcoming a phobia.  Really amazing, powerful stuff.  It’s awesome!

LL: Looking back through your journey, are you amazed at what you’ve accomplished so far?

AP: It’s funny, if I were to quickly think about it I would say, “no, I haven’t done anything that amazing as I am not where I want to be yet”.  However, that is a subjective, self-critical perspective that is not the truth because it is based on my warped sense of success.


If I were to really take a step back and objectively look at my path (my journey) and to really see it objectively and where I was, how I did it, and what I dealt with, and the risks and gambles I took and the stupid decisions I made along the way, along with the smart ones, if I really looked at it truthfully and honestly — f— yea, I’m beating the odds so many times.


It is rather amazing. I mean not even including all the crap before NYC, I have been here 13 years, knew literally one person when I moved here with a duffel bag and a few boxes of film and contact sheets, and am a professional photog, living a fun life (and yes, I am not doing a lot of things I want yet), and did it without sacrificing my morality and values.


Yea, you better believe that alone is pretty amazing.  Now throw in everything else before NYC, it is amazing.  It’s been a fun ride-and I hope it just keeps getting better.  Thank you for asking this question. It made me stop and think about it. (Sometimes you get stuck in it and don’t see the forest for the trees.)

LL: How can we support your work?

AP:  The greatest way anyone could support my work is basically to keep me shooting.  That entails passing on my information, hiring me for jobs, developing relationships, being good people, and even though I already stated it hiring me on great jobs and if you are excited and happy with the results (which I believe you would be) hire me again and tell your people.  (Or a jackpot winning lottery ticket…hahaha)


I’m a huge believer of give a man a fish he eats for one day, teach a man to fish he eats everyday.  I love  shooting, not hand-outs.

And in the meantime spread the word!  Instagram: @palombophotography  Twitter: @palombophoto  Web: http://www.palombophotography.com

* Alex Palombo is a photographer based in New York. See things though his eyes via his Instagram feed. If you come across news that “Winds of Winter” has finally come out, he’ll welcome the news via email (Of course you can ring him and he’ll have an unforgettable story to tell: a stranger rang him to update him about the “Winds of Winter” and it was one of the best days).




Source Material and Notes: The material posted is based on correspondence (August – September 2017) between Alex and Leigh. Content has been edited for length, and the final version has been reviewed and approved by the interviewee.

Leigh Lim is a Sydney musician helping brands get their mojo back. When she is not doing that, she can be found spending time through various rabbit holes (offline and online) sniffing out stories for a music discovery project.


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Q&A #26: Todd Casey


Todd shares his journey as a painter, how running helps him work out problems in his painting, and the importance of not putting a timeframe on things.



Leigh Lim: Hi Todd, thanks for taking the time to do a Q&A! While on your site, I noticed that you have some prints for sale. Did it take awhile for you to decide how your paintings are going to be captured as images as well as the printing process?


Todd Casey: Hi Leigh, thank you for taking the interest in interviewing me. It did take me a while to make the decision to sell prints. It’s a new venture and a few people had shown some interest so I figured why not.

There is always something lost in a print as in relation to the original. Its one of the reasons that held me back from making them earlier in my career. I also feel that I have something that is marketable in drink painting and cheese painting. Who doesn’t like wine/beer and cheese?

In terms of how it was captured, I’ve been able to find a few photographers that do a really good job of getting the color and subtleties in the photos. The paper that the images are printed on is a good quality thick paper so it lasts.



LL:  Why do you think you do the things you do?


TC: I feel that if my paintings can touch one person in anyway then my job is done. It is my intention to give the world something beautiful and add to it with great things. In the words of Thomas Mann “Be ashamed to die until you have scored some victory for humanity.” or of Neil DeGrasse Tyson “I fear living a life that I could have accomplished something and didn’t.”






LL: Can you give a quick summary in terms of how you got to where you are as a painter?


TC: My artistic journey of how I got to where I am now plays out like a long novel. To sum it up, I started out at Massachusetts College of Art in Boston MA where I got a BFA in Illustration. I then moved to NYC to pursue a career in Illustration in which I failed miserably. I then decided to go back to Graduate school and enrolled at the Academy of Art University in San Francisco where I majored in Animation.

I wasn’t satisfied so I found myself back in the Illustration Department where I met Warren Chang. This led me to move back to NYC and pursue studying under a master painter and found one in Jacob Collins.




LL: Sounds like it took awhile for you to find ‘the painter you’.


TC: It did take a while to find that I wanted to be a painter though I probably would have taken it up in college had they offered a program where I would have studied the figure instead of abstract painting.


I initially went into Illustration because I wanted to do paintings like Norman Rockwell and Illustration seemed to be the only place to do stuff like that. Little did I know that illustration had evolved into more of a super stylized art form or something that was closer to design work.


I’m glad that I went through the illustration and then the animation to get to painting though as I feel I was able to pull all that knowledge into painting. I was able to also appreciate all forms of art as well. Too often now I will meet a painter that is so narrow minded its kind of sad. I love all forms of art, even abstract art but it just doesn’t mean I want to do it.






LL: Is there a Connection between Warren Chang & Jacob Collins? (Even not directly…did meeting Warren Chang steer your towards finding Jacob Collins? Or was it more the move to NY that triggered the events? And Warren was able to give you a different kind of insight?)



TC: There are multiple connections to Warren Chang to Jacob actually. I took Warren’s class in grad school called Heads and Hands. Its an illustration class that they make the animators take so they know how to draw.


Both Warren and I have a love for Rockwell so we would just talk before class began and after about art and names. The method of drawing that I was learning seemed like a long time to do one drawing and I remember him saying “If you think this is long, check out Tony Ryder, they take 60 hours to do a drawing” and that concept just blew me away as we were doing a 3 hour drawing and I was amazed.



So that conversation kind of opened the book for me to start looking around. We continued to talk before and after class and he also loved the work I did in his class. He was the first to bring up the names Jacob Collins and Max Ginsburg. Being a good student, I wrote them down in my sketchbook and looked them up. I was definitely fascinated by their work.



Months later I had moved back to Massachusetts to take the summer off from grad school and was staying with my parents. There was something about grad school that made me not want to go back. One was the idea that I had changed my major from 3D animation to 2D animation and then to Illustration within a year. I didn’t feel focused and I couldn’t understand why a school would allow this to happen. I also didn’t want to walk out of grad school with a huge amount of debt. I decided to take time off of grad school and move back to the east coast.


So, I did this big cross country trip with my buddy I met in grad school. Our plan was to make it back to San Francisco to get our stuff and move to New York but along the way visit as many artists and their studios as possible. It was quite the enlightening experience. Warren was one of the artists that we visited and he gave us a bunch of names to look up, mentioning studying with Jacob again.


When I finally got back to NYC and settled in, I emailed Jacob. He emailed me back in like 10 minutes, it was really bizarre. I interviewed for his school and then he sent me on a mission. (The story continues into the next question)





LL: How did you know that Jacob Collins was the person for you?


TC: When I interviewed at Jacob’s studio he greeted me at the door. I thought he was a student because he looked like a big kid but I said, is Jacob here and he said yep and said come with me. Then I realized he was Jacob.


Jake’s studio was in the back of the school which was in the garage of his carriage house on the upper east side of Manhattan. During that walk through, there were about 15 students standing around a model painting the figure.  Each students painting was so good, I knew right there that I wanted to do this. I figured, even if I was the worst student in this school, I’d be super happy.



When we got into the back where his studio was, he asked me a lot of questions. He challenged me to ask why I wanted to do this, who I had studied with. I showed him my work and he was not impressed but he said something like “eh, there maybe something there”.


So, he sent me on a mission. He said, go study at the Grand Central Atelier with either my student Nick Hiltner or Camie Davis. Do a cast drawing and show bring it back to me when you are finished. I called the GCA that night and enrolled in the night class.


It was crazy, it was every night from 6:30 – 9;30. I remember walking in to a full room of students (of all ages) and looking at their drawings. I asked a ton of questions like how long did this take you to do, and what materials they were using etc. What blew my mind was that they all were working on one drawing for about 3 months.


Initially I was like, yeah this may not be for me but I figured why not give it a shot. I thought there would be no way in the world I could draw a plaster cast that slow, what were they doing with all that time???



But Camie was a fantastic teacher and she really got me to slooooow down. As each day went by and I did the drawing, I started to see how this could be the foundation for what I had always been looking for. This was the link to that Gerome painting “L’Eminence Gris” I had seen in my undergrad at the MFA Boston. So, I just took my time and did the drawing at the pace that Camie had guided me through.



I was happy with my drawing and I let Camie know my intentions. She gave me a recommendation email to Jacob and we scheduled a second meeting.



When I showed up for that second meeting I had a bit of confidence. He asked to see my drawing and I showed him. He wasn’t overly impressed with it though. All I kept thinking was: ‘What was he seeing that I was not and how can I see like him?’.


The second interview seemed to be going terrible in my eyes. He was asking how old I was and then he would say that I was kind of old to start this, that you have to really want to do this and that it takes 10 years to build a career as an artist. He would look at my work then go over to his email that I sent with the images I sent. He was making sounds like he wasn’t’ sure what to do.



It was a Friday and he just said, “show up on Monday with a pencil and paper.” I remember saying: ‘Wait, What? Am I in?’. He said yes, show up with a pencil and paper. And that’s where it all began. Honestly I felt like someone kicked me in the balls and then gave me a prize. I felt so indifferent about the whole thing.





LL: Looking at the time you’ve invested in those two degrees, can you see now how both have helped shaped you as a painter? (you wouldn’t change a thing? Or if you would have a chance to tweak a few things…you might have just gone straight to private lessons under someone like Jacob Collins and skipped doing both degrees)


TC: I wouldn’t do anything differently honestly. I love all forms of art and I had the chance to try them all out. I almost double majored in Illustration and Graphic Design in undergrad because it’s so hard for me to just pick one thing. Although, studying with Jacob in those early days of Water Street would have been nice.


Just to clarify though, I did not finish my Master Degree program. I only have a BFA, I’m about half way through a Masters program.




LL: Do you have specific books that you keep within reach that you regularly refer to?

TC: I love to read and always have a few books that I’m reading. My top 3 that are always are in reach is The Alchemist by Paulo Coehlo, The Power of Myth by Joseph Campbell and A New Earth by Eckhart Tolle.

In terms of art books, I always have Emile Friant, John Singer Sargeant and Andew Wyeth close.






LL: Are there any challenges that come to mind during your learning process?

TC: I am always challenging myself as an artist, I’m never at rest. As I feel I gain a new skill I’m always looking to build somewhere else. I’m always doing portraits from life because I feel that as an artist it is probably the hardest thing to do. It took me a while to get good at them. I’m still learning though and continue to always try to keep my sword sharp.



LL: If you were to put together a ‘learning plan’ or practice pack for someone who has yet to attempt to craft their first painting, so they could have the capacity to paint at your level and skill. What would it look like? (Would you want them to go through the same journey as you did?)


TC: I would let them know to take it slow, very slow. I think that the journey is the best part of any goal that you are trying to achieve, although the end is always nice. When I found Jacob Collins he told me it would take a good 4 years of just study under him and then another 6-8 years to build my career. It didn’t phase me as I knew.





LL: What does building your career mean to you?

TC: The idea that it takes 6-8 years to build your career is a bit arbitrary and organic. Some artists catch a break right away and some have to build their careers over time. I’m not looking to get into a big gallery but to get into the right gallery for me. Some of the bigger galleries have so many artists in them. I’d rather be in a smaller gallery that promotes my work, more of an intimate experience. But, some people feel that if you are in a big gallery then you made it.


At this point in my career its about making the right moves and building relationships to push my career forward. A lot of decisions in art are risky like entering competitions but sometimes they help you. You never know where you will be planting a seed so I always give something a shot.



For instance this past year I became a member of the Salmagundi Club. It’s a lot of money to join, 750 dollars a year. But, it’s a prestigious club that has been around a long time and there are many shows that you can be in as a member where they award prizes. Its definitely a lot of money for an artist, I’m still trying to figure out if its worth the money though.


I do think that finding the right gallery to promote your work is key to a successful career. I am blessed that I found a great gallery and great family in Rehs Gallery. They are a family and they are all about having a personal relationship with their artists. I go there so much that the front desk guys calls me one of the Rehs.




LL: Artists are known to be very protective of their work. What would you say to someone who can’t seem to let go, and share their ideas/work — while it is in progress?

TC: That’s hard to say as I share all of the stages of my work. I love to pass knowledge down to anyone that is interested. I get the reason that an artist would want to stay protected. I think that giving students all of the answers at the beginning of their career could be detrimental. I think the journey is really important for any student.






LL: Would you say it was discipline that got you to where you are as a painter?

TC: I would definitely say that it is the discipline that got me to where I am. I always say that its like the movie “The Shawshank Redemption” when Andy says that he is going to dig his way out of the prison and Red says “It will take a man 600 years to dig out of here.” So later on in the movie we find out that Andy did it in about 20 or so by being patient and just chipping away piece by piece at the stone.

Patience is a big part of getting to our goals as well. Take the time and set realistic goals and also be relentless.


“I remember thinking when I got him that gadget back in ’48 that it would take a man six hundred years to burrow through the wall with it.” (Link to Shawshank Redemption Film / King Novella)


LL: It’s interesting that you used that term (relentless). Was it something that you had to build on? (I sense that you’re the kind of person that knows what he wants, and will keep going for it. Which might have made it easier for you maybe to say: ‘nope..this isn’t for me’ when you were going in the direction that you thought wouldn’t bring you closer to where you wanted to be as an artist. Do you feel like there is little room in your life for discouragement? Because you know it would be so worth it to be on the right track again?)


TC: I’m definitely into the idea that slow and steady wins the race. We are an ADD generations now with instant gratification. I think that really taking the time to slow everything down is key as it helps you to really focus on the things that you really want, not just something that instantly gratifies you.


I took time away from art to really think about if I wanted to do this or not. I decided to just kind of walk away from it for a while to test myself, see if this was a thing that I loved or something I had been pushed into. The good news was that after taking that time off, I just had to come back to it. I knew it was my calling. So, here I am.


I think that discouragement is part of being an artist. I think to a degree we all are trying to change and morph, to grow in thought and also art. The unhappiness is sometimes a fuel for the growth. I think that the artistic journey is in all of us, we just have to go along for the ride. As Joseph Campbell says, “We must be willing to let go of the life we planned so as to have the life that is waiting for us”





LL: How important was it to have someone help you learn a specific technique?

TC: I feel strongly that the Academic approach to painting was what I was searching for the whole time in my career as when I found it I knew I that this was what I wanted to do. Jacob Collins’ method is based off of years of traditional that go all the way back to the Renaissance and peaked in the French Academy’s in the 20th century.

For inspiration I still keep in touch with all of my old instructors and visit their studios or speak with them on the phone frequently.



LL: What are your guidelines to joining artist societies? (You mention that you had recently won gold at the Allied Artists of America, and was wondering if you limit your memberships — and even limit the contests you join annually. If you’d like to also share how the gallery fits in all this — maybe there have been times that they have suggested you enter your work to be considered for a specific award)


TC: I try to support the societies and organizations that I feel are doing the right thing for art. I’m not a fan of organizations that feel like they are money making endeavors. My gallery, Rehs Gallery is behind me building my career through these organizations as well. Howard Rehs is always open to lend me a painting for a show at one of these organizations he knows that awards and recognition will help me build my career.





LL: Favorite time of the day to work?


TC: I’m a night owl so I always work best after the sun goes down. If I could I would start at 8 every night and paint until about 4 am or longer.




LL: How much do you plan before you start a project? (Or the main things you bring along with you when you are working on a project when away from your favourite working spot? For example, if working with a client there’ll be lots of sketches, nothing digital yet, vs if you were just doing a project for you, for someone to invest in — or pieces to go on sale to the public.)


TC: I feel that painting is visual poetry so I let the ideas and come to me and then come to fruition when they are ready. One of my paintings took 5 years in the making to have it all come together and be ready to paint. You never know and I hate to rush any painting.






LL: Can you tell me more about that painting? (is there a link to a publicly accessible image? If not you can mention the instances when you spent time on it, and knew that it wasn’t quite right. Then the difference when it was)

TC: I feel that paintings should come together when they come together. I hate the idea of doing a painting within a deadline although sometimes I have to. Working out a good idea takes time and to make a story feel rich and authentic is the key. Whether that takes a day or 5 years or anything in the middle, I like to let the seeds sit and come to fruition naturally.

The painting that I referred to was the painting “The Shamrock” that I did in 2014. The idea began when I was working at Ralph Lauren and saw this beautiful blueprint of a yacht on the wall. It was just stunning, there was something about it. So, I had asked my boss if I could borrow it for a painting and he said yes of course.


Then later on that year my brother got married in Nantucket MA. My wife and I toured the island and when I was in the gift shop I spotted a model yacht so I bought it. Sometimes I’m looking for objects to compliment an idea and sometimes the ideas just come out of where I visited or what I saw. When I got home I put the two together but it just felt staged. I wanted that story, that authenticity to the image I would create, that wonder of what is this? That was in 2008.


I left it alone for a couple of years but it was still there in the back of my mind. Along the way I had come into some beautiful old books and also a compass. The books were from my wife’s Aunt who had passed away but it felt like it was complimenting the story and the scene I wanted to create. Around the same time, my wife’s grandmother had given me her old box of paints from about 1970 that came in this beautiful box.


All the elements seemed to be coming together. I began doing a few studies to see what the big image would be (6×8 small paintings). I really wanted to develop this character so I added a stack of letters I bought off ebay and set the scene up as if the character was writing something to someone, perhaps a loved one. The glasses and the binoculars acted as an idea of searching for something.





LL: How long would you say it takes, for you to complete a painting?


TC: My small paintings, around a 6 x 8, take me about 3-5 hours to complete. The bigger stuff takes a lot more time and planning, anywhere from 40-80 hours. The small paintings I always feel are just beautiful little studies that don’t tell a big story. The larger paintings however are always about a story.



LL: How would you describe your style?

TC: Realist Painter






LL: What are some misconceptions you find about you as a painter? (particularly by other painters. You could also mention some misconceptions that people have about artists in general — which have been directed at you.).


TC: I would say that some big misconceptions are that artistic ability is born naturally, that I was born with this talent. To a degree I feel that there has to be some drive inside you that makes you an artist, a different view of the world.

BUT I would also say that from a technical stand point anyone could get good at this. What you have to say is just a different conversation.


In Malcolm Gladwell’s book “Outlier’s” he brings this up, that the idea of genius is a bit of a misunderstood concept. I believe that if you keep working at something you will be good at it, to some degree. And if you do it for a lifetime you will separate yourself and master that thing. If you put love in there with that thing you do, that is even better!



LL: Are you learning something specific at the moment?

TC: I always feel that I’m pushing towards new ideas and directions with my work. I feel good about my technical ability but I am never satisfied with where I am. Lately I’ve been working on putting a narrative in my work so it’s not just a painting of a thing. I try to create a character and put elements around that would support the story.

I’m also reading a lot of classical literature that can add to my stories. In addition, I love science and I would love to bring some of that curiosity into my work.





LL: Can you share three approaches you take that helped you become a better artist? (can be in your work when teaching too — or even reading a book that doesn’t have anything to do with painting!)


TC: One approach that I took to becoming a better artist is to not put a time on anything, to take things as they come and to stop comparing myself to others. Another approach is to be relentless and just keep working on your craft.

I feel that a lot of artists are interested in the field but give up to easy. If this is the thing that you have to do and it makes you happy then you will keep doing it. The last would be to be inspired by all the arts and be open-minded. I have met way too many artists that only think in one way and don’t appreciate all of the arts. The world is your oyster as an artist.



LL: What usually is the sign you look for that will give you the signal that a piece is finished?

TC: It’s always hard to tell when a painting is done. One thing is to step back and say “is this what I envisioned” and if that is a yes then maybe you are done. I don’t have a physical checklist or anything, I just let my feelings tell me when something is done.





LL: What’s your go-to set-up when painting? (You can be as detailed as you want! You can even share your set-ups for previous work. For example, if it is a particularly busy month, you might work on doing the base of the design…then build on each element as the month goes on. I appreciate that on your site you’ve shared a bit of your process. Is there anything else that has changed from that set-up?)


TC: I love dark paintings with a pop of color. The dark background usually makes the color pop even more. As for objects to paint, I usually go with whatever touches me deeply, perhaps on a visceral level.



LL: Did it take awhile for you to settle on the kind of set-up that you like?

TC: My setups are always based on a visual poetry of objects. Typically I have one strong light source, objects that interact and complement each other but always a strong sense of design. Eventually, I am going to try to work more with a cooler light source to make it feel like I am painting from natural light. Natural light is usually a little less dramatic and the colors tend to be cooler.






LL: What’s part of your arsenal at the moment?

TC: I don’t use all that much technology in my process. Normally I will do a drawing for a painting and then I scan it, and blow it up to the size I want to transfer to canvas. Other than that, I do tend to create fake vintage items. Mostly because they cost way too much, so I will print them out and doctor them to look older than they are. Same with the drink painting, most of them are coca cola or water instead of mixing a cocktail.


LL: Do you have a piece of equipment (or software) that you thought was a good buy at that time, but you eventually didn’t use it as much as you hoped?


TC: The only technology I have is a bunch of different lights that are warmer or cooler and wider so smaller than what I use now. I use the computer to scan and print out a drawing to scale. I’ll sometimes doctor things in photoshop but that’s about it.







LL: Have you been always mindful of ergonomics while in the process of finishing each of your pieces?

TC: I wish that I cared more about my posture while painting, haha. I do exercises outside of painting as I play basketball and run a lot. I find that running helps me with working out problems in my painting, it really helps me stay focused as they complement each other.


LL: Equipment Maintenance and Storage? (Is there a specific part of your kit that you are extra careful in transporting and handling? If you own a Mac, there is a saying that Mac users tend to clean their computers more often…so it’ll be interesting to hear your response about that!)


TC: Haha, I do have a Mac but I don’t clean it all that much.

I clean my studio all that time, it’s actually a routine that I do almost every day. I don’t try to ever hide the fact that I’m a painter and sometimes wear my painting clothes out to dinner with my wife (where she always says, why are you wearing that?).

I’m also really bad at cleaning my brushes at all. If a brush is bad I throw it away but sometimes it becomes a new tool to paint with. I love accidentally finding new things out like that. A crappy brush could come in handy sometime in the future!




LL: Goodness! So…instead of the bits of paint that gets stuck in your fingernails (and maybe some bits that gets missed on your hands and arms), you opt to wear the clothes! Is this ‘Rebel Painter Todd’? (‘Painter Represent’? Or could it be a mindset thing? The clothes build the mindset? So when you’re back from dinner, you can go straight to being a painter?)


TC: Haha, my idea of clothes are more about comfort.


I am not a fan of faking who you are or even hiding what you do. When I was at Ralph Lauren they were all about wearing these fake costumes and pretending to be a certain kind of person. I don’t pretend to be anyone other than myself. Sometimes the shoes of a fisherman can tell a story in themselves of where the person had been.


I am who I am, I don’t hide it and I love what I do.


LL: Any learnings you’ve picked up through the years when transporting your work?

TC: I hate transporting my paint gear but it’s always worth it to get a good painting. I often go into New York City to paint the model with other artists or at the Art Students League. It’s always a pain, my gear is big and clanky and I try to be as small as possible but when you have about 20 tubes of paint, brushes, turpentine and also an easel, that is a lot of stuff.





LL: Do you keep some of your originals either on display on in storage?

TC: I normally send all my work to my galleries. However, I do have a few that I will never sell because they mean too much to me. I have a still life in my living room of all the elements from where I proposed to my wife in Bermuda. I could never sell it. If paintings sit at the gallery for too long, sometimes I’ll just take them back and put them on my wall or move them to a new gallery.


LL: I notice you don’t put watermarks on the photos you share of your work. Is that because you’re just trusting that people are inherently honest? (and if someone does try to pass your work as their own — it would be quite difficult to do?)


TC: Great question, honestly I don’t think all that much about it though. There is just a huge difference between an original oil painting and a digital representation of one. If it moves someone to download it and put it on their desktop then by all means they are welcome to.






LL: Can you share a bit of background on how some of your paintings came about? (You can choose your own, though I’m particularly keen on hearing about: ones that you haven’t done an entry about! Also you can include a bit of your ‘subjects’ — are they items on loan? Do you specifically seek them out?)


TC: A lot of my paintings come out of a song, a book or an idea that I’ve been pondering for a while. For the painting “Another Story”, I was obsessively playing the album by the Head and the Heart and was just captivated by the song with the same name. I try to paint what I feel though so it’s not just a literal translation. It’s my own poetic interpretation of the song.

I hope when someone sees the painting that it makes them feel the same way that I do when I hear the song. Almost all my props are bought as I mostly paint from life. I like to spend time with the objects and study them. The violin for “Another Story” was bought on craigslist for like 100 bucks. I bought the violin way before I liked the song and then it just all came together, though they used their violin as a fiddle in the song. I would listen to the strings in the song, which are a minor part of the song, and then it just kind of all came together. The background was from a palette that I had out by the shed for over a year that I pieced back together. The elements just all came together and it just felt right.


LL: It’s the first time for me listening to the song. And after looking at your painting, then watching the lyric video, somehow the line: ‘Can we go on, as it once was?’ jumps out. Would you say the painting is representative of you wanting to always have a place to find shelter (when life gets crazy)? (You mentioned that the background was from a palette that you had out by the shed that you pieced back together. It reminds me of a desolate but peaceful place…with a shed with a similar palette, that I could stare at for hours…and just feel…safe, and peaceful. Kind of like staring out into the ocean, and instead of the smell of the sea, you smell the foliage nearby. Maybe more like a cabin in the woods…where all the people you love are gathered.)


TC: Yes, a lot of the lyrics in that song ring true for me. I do think that the song brings peace to me. When I’m inspired by a song I try to capture the mood of the song and how it makes me feel and then convey that into a painting.


I try not to over think it or be too literal, though it got a bit literal in this one as the song has a violin that is used perhaps a bit more like a fiddle.




LL: Have you ever considered selling the elements and the painting as a package? (For example for ‘Another story’ — maybe not all elements…just the violin…or even the palate you stitched together as a separate item.)


TC: I have considered selling some of the elements though most objects that make it into a painting are very special to me.


I don’t know if a collector would ever buy the object and the painting though, it would definitely be a new spin. Although, I’m sure a few of the commissions that I’ve done for friends or clients are hanging near the object of theirs that I was asked to paint.



I did a painting named “Birth of a Kamikaze” for Howard Rehs as a commission from his wife for their 30th anniversary. Howard absolutely loved the painting and still tells me all the time to paint more like it. He loved all the props and asked what I was going to do with them so I gave them to him. I think he has them set up under the painting at his home.


LL: What approach do you find is the best way to serve your clients?


TC: I like to work with a client to find out why they want me to paint the thing they are asking for. From there the best I can ask for is a collaboration of ideas and not to paint what they want. Then I usually will do a poster study or two (small oil paintings sketch) of the setup.


I’ll show it to them so they can see the composition and color and if they are good with it, then I’ll pull the trigger and go for the big painting, or whatever size they want. Sometimes its as simple as sending them a photo of the setup to have them approve the composition and elements in the painting. Sometimes its even the client saying you paint me what you would like, so it depends on the person. (I have examples if you want any small poster studies).






LL: With your website, what process did you go through?


TC: I used to design my website as I know some basic HTML coding. I like to present myself in the spirit of what I imagine. I did this for about 12 years but it got to be too time consuming so I now use a template driven site.


I like it way better now as I have more time to paint and its easy to upload images.


LL: Are there questions you find yourself answering multiple times?


TC: Here are a few commonly asked questions:

When do you find the time to paint?

Where do you want to go with your artwork?

How do you choose the things you paint?




LL: Do you have a regular schedule of posting blog entries?


TC: I actually gave up on posting on my blog. I wanted to offer something to an audience about learning but found it to be too much about me. I love to offer my work to the public and share art but blogging felt a bit egotistical. I’m not one to talk about myself unless its for an interview. Although, I love to tell stories and give anecdotes for others to learn from.

My newsletter is aimed at building an audience that is really interested in my work. That ranges from collectors, students and family. I find that if you take the time to sign up for my blog then you are really interested in what I have to say.


LL: Were there instances when you hesitated about posting something?


TC: I normally take a day or two to write a post. I reread it like 50 times and then have my wife read it. She’s my proofreader and editor as she is way better at writing and grammar than I am. She did not edit this interview though, haha.


I am always open to ideas about what to add or take out of a newsletter though. I’ll always ask my students or family what they thought of my post. Critical feedback is always important.





LL: What’s the one thing you have to put time on —- but have been putting off?

TC: I definitely have to clean out the basement of my house! I also need to work out more. I kind of brushed working out to the side when I started my atelier training.


LL: Are you currently mentoring someone?


TC: I work with 3 students that live in my area. We meet every month to work on still life paintings as a group. They have grown over the years into better painters. I prefer to work in smaller groups and I am always in contact with them.


In fact, one of them is more like a second mother to me. She is always helping me with my career and suggesting me to do things here or there and is always telling all of her friends how good of a teacher I am. She offers me to teach out of her studio, its really a blessing to have met her. She found me about 3 years ago when I was in the Artists Magazine.


She saw that I was close to her and asked if I would teach her privately. So, I said sure. We talk, text and are always in touch.


I also have a student come to my house 2 times a week for private study. In addition, I teach workshops in my area regularly.


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Happy Inktober! #pen

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LL: What do you do when you come across something that annoys you?

TC: If it is in a teaching scenario or painting scenario I’m always one to try to fix what is wrong. Painting is challenging and if the light stinks or there is something off, you’ll constantly think about it and it on your painting being back.



LL: Are there certain things you can’t help but ‘geek out’ about?

TC: I have an addictive personality (as my wife says). When I get into something I usually immerse myself in that thing. Most recently it was reading books by Joseph Campbell, then it was the books of Neil Degrasse Tysone (and lectures) and now its Michio Kaku.


I’m always searching for a good album that will just suck me into it, though it’s been a while. The Head and the Heart was the last album that did that. I listened to that album for almost a whole year, every day (I know that sounds nuts).


In addition to loving music and to read, I love to watch sports. If my teams are doing well I put everything aside to watch them. It’s kind of the only TV that I watch but I do watch 1 hour of TV with my wife a day. We love CSI or shows like that.




LL: Got any peers you’d like to mention?


TC: I’ve always been fascinated with Eastern culture and thinking. I think because I’ve grown up with western culture and thinking. I don’t look too much at what the contemporary painters are doing, I’m almost always looking back.


Today’s art is lacking spirit (in my opinion) and also the technical prowess that all the 19th century French guys had. Not to generalize as there are some great contemporary painters. If I could I would study with Odd Nerdrum or something as his approach to painting is much different than mine and he also paints his subconscious (being a big fan of Carl Jung).

I also have to mention that I meet up with one of my best friends quite often to talk about everything. He is a poet named Jose Canon. We talk about books that we are reading, politics and everything. We always exchange books when we finish reading them.


LL: What were the last 5 things you pre-ordered?

TC: I never pre-order anything but here is the last 5 books/dvd’s I have ordered:

Michio Kaku – Beyond Einstein

Michio Kaku – Physics of the Impossible

Neil Degrasse Tyson – Death by Black Hole

Wilhelm Hammershoi – Hammershoi and Europe

The Teaching Courses – Philosophy as a guide to living




LL: Are you a big listener of music? (You mentioned one of your paintings being inspired by a track you listened to. Does your music library reflect your work? In a sense, maybe you can grab random albums from your collection and bring it to the gallery, and somehow…it would fit? Can you share some of the artists that you absolutely dig, and are surprised that others in your circle haven’t heard of? songs/albums that you cannot get enough of? Or maybe if you were to pick a track/album for someone to listen to while viewing your work? Alternately, you can also share things you like reading about or listening to —- or even your favourite non-musical artists: painters, dancers, sculptors, poets…)

TC: Yes I listen to a ton of music. I’m always looking for something that will just catch me and suck me in. sometimes it’s a lyric, sometimes it’s the mood and sometimes it’s the album.

It’s a fun idea to bring the music to the gallery but it would take a joint effort on their part to want to do that. Most galleries don’t have music as it may get distracting when a collector comes in to buy art.

Here is a small list of artists in no particular order:


Radiohead – In Rainbows (Nude, All I Need, Reckoner) also  Decks Dark off the new album


The Head and the Heart – Lets be Still (10,000 Weight in Gold, Another Story, Gone)


Matisyahu – King without a Crown, Got no Water)


Gipsy Kings –  Greatest Hits (Bamboleo, Baile Me, Volare, Djoba Djoba)


Wu Tang Clan – Enter the 36 Chambers (Tearz, Clan in the Front, Wu Tang aint nuttin to F wit)


Delta Spirit – Bushwick Blues (EP Version), Salt in the Wound, Streetwalker, Strange Vine, Hold my end up (acoustic)


Guster – Keep it Together (Come downstairs and say hello, Long way down, I hope tomorrow is like today)

Beck – Sea Change (Golden Age, Guess I’m Doing Fine, Lost Cause, Ship in the bottle)


The Killers – Hot Fuss (whole album but love All these things that I’ve done)


The Shins – Wincing the Night Away (Australia, Phantom Limb, Sea Legs, Black Wave, Split Needles)


Jack Johnson – In Between Dreams (Whole Album)


Tchaikovsky – Sleeping Beauty, The Nutcracker, Swan Lake


Yo Yo Ma – Bach Cello Suites nos. 1, 5 & 6



IamamIwhoamI – Bounty (Y)




Bjork – Greatest Hits


Kings of Convenience – Riot on and Empty Street (Love is no big truth, I’d rather dance, Homesick, Cayman Islands)



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Live and let die #fineart #vanitas

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LL: What are you reading at the moment?

TC: Michio Kaku – Beyond Einstein

Robert Frost – Selected Poems

Joseph Campbell – The inner reaches of outer space

The Origins of Species – Charles Darwin

Space Chronicles – Neil DeGrasse Tyson


Bill Nye – Undeniable

Caveat Emptor – Ken Perenyi


LL: Do you go out of your way to discover new things?

TC: I love talking to people about their top 10 lists. Books, Music, etc. I don’t go out of my way to look too much for books and such. Just like art, I like to read the classics. If I go to a bookstore I usually sit in the café and draw the people while I drink coffee.


I would love to hear your list of books and music though.




Editor’s Note: Prepping a link to list of books and music (TBA!)



LL: In what way do you approach motivation and inspiration?

TC: Painting can be tough at times. I like to go visit an artists studio and just talk with them or see their work to get inspired. Art inspires me but not just art. Listening to lectures or intellectual conversation motivates me to read more and dig deeper into my artwork.


If I can’t find an artists studio to visit I will go to a museum to see an old masters work or a show that is coming through the city.


LL: What makes you smile?

TC: I love romantic comedies on television. Any time they are on I’ll end up watching them. Also, comedies like Super bad or funny movies like that. I also like stand up comedies as well as I love to joke around, a lot. I also love motivational stories like this: https://www.youtube.com/watch?v=l2IU1h9sG7U

And also the movie “Finding Joe” by Takaya Solomon I watch a lot of Joseph Campbell’s “The Power of Myth” interviews with Bill Moyers all the time


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Samurai Todd, digital. #arte

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LL: What’s your view about social media?

TC: I am not a fan of social media. I was not on it until my gallery convinced me to do it for my career. If I was not in that gallery I would not be on social media.


LL: What are your favourite sites at the moment?

TC: I really only go to sports websites and Art Gallery websites. I do also go to youtube and watch a lot of lectures, mostly science ones though. Also, lots of Radiolab (podcast). I’m always interested in hearing something I HAVE to listen to though, what are your favorite sites?


Editor’s Note: TBA for fave site list link!




LL: Do you currently post on other sites?

TC: I try not to post onto any sites, not even facebook. I’m on it and tempted but there are so many people that are negative on sites, that troll it. I try to read articles (mostly sports) and then not read the comments. I don’t like negative energy.


LL: Are there websites that you like to visit just because you like the design?

TC: Haha, not really. I like to spend time looking at art, in person. Looking at art on the internet is usually a totally different experience.



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Pedro, oil on board. #art #arte #pintor #painter

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LL: What would you do when you need cheering up?

TC: I usually go for a run as I can usually work through a problem. Inspirational movies are always good too like “Finding Joe”. I’ve seen it like 20 times.


LL: Do you enjoy collaborating with other artists? (via YouTube or specific collaboration websites. Or would the collaboration be more about co-hosting a podcast…like the video of ‘The Guys and A Chick Flick’ you have on your site’s media section?)

TC: Haha, I love that you saw that on my site. I find that to be such a funny experience. I mean, I say “My mom loves my stuff” lmao. Normally the only time I want to collaborate with an artist is to have a show with them. I have a 2 man show with David Palumbo this May.




LL: Are you interested in technology?

TC: I’m interested in technology but I’m also not. It fascinates me but our generation is too addicted to it. I hate that everyone is glued to their phones, it promotes an ADD generation.

I have a mac computer with a Wacom tablet for doing graphic design. I do a lot of random graphic design jobs.


LL: With your blog entries, are you looking to write the same kind in the future? Or are you looking to do different things?

TC: I don’t write enough honestly and I wish that I did. I’ve kind of given up on the blogging. I post to Facebook and Instagram only for my art or to show that I am teaching somewhere or showing somewhere if anyone is interested in going. Other than that, I have a sketchbook with notes and ideas for what I want to do.




LL: If you were asked to pick from your paintings, which one would be your favorite?

TC: Great question. I don’t’ really have one. I like certain aspects of a lot of things that I have done. I guess I like the ship paintings the most, they feel complete and deep and have a story to tell.


LL: Are you the type of person that finds it easy to start something?

TC: No, I’m quite the opposite. I like to take my time to build a great idea rather than just hop right into something. I paint when I want to paint and if I don’t then I don’t paint.




LL: For someone seeing your work for the first time, what is the message you’re hoping they’ll take with them?

TC: I hope that my paintings touch them in some way, to add more deep and richer meaning to their life. To quote Horace Mann “Be ashamed to die until you have won some victory for humanity.”


LL: What makes your soul sing?

TC: People who want to make the world a better place makes my soul sing.






LL: You mention your wife earlier and also in your episode with Danny Grant. How important do you think  artists’ take their time to choose their life partner? (It’ll be great to hear how you think your partnership with your wife has made you a better artist. Also, if you had the kind of qualities in mind that you were looking for in a spouse in mind, before you even met your wife. There are some artists who feel like sustaining a relationship takes too much of their mental energy, and they would prefer to expend it on their work, so they’d usually not make it a priority in their life.)

TC: I think it is very important to find your life partner. It should be the yin to your yang. Your partner should complement you and balance you in every way possible. My wife is an artist as well, she’s a graphic designer but we went to school for the same thing so she understands it. She has always been supportive of my career.


LL: What’s the best way to connect with people who admire your work? (sending and replying to individual messages via email or social media? or via your mailing list? For those interested in supporting you, what would you want them to know? Is there a specific social media platform that gets the most engagement with your network/circle? How did you meet your biggest fan? Alternately you can mention how have you managed to find the people who resonate with the same things as you — and as a result, they resonated with your work. Maybe a lot those that currently support your work have found you through your blog entries compared to finding you via a Gallery? Or Maybe within 6 months of winning a specific prize, you’d get an influx of inquiries and among them people who ended up following your work until now?)

TC: I prefer that anyone interested in my work to contact me through email or through my gallery. I find it a bit more personal. For those interested in supporting me, there is no better way to support an artist than to buy a painting or commission a work.

Most people interested in my work have emailed me but some contact me through Instagram or Facebook which is fine. It’s not my preferred way of communicating as I don’t check them as much as my email. I have received emails after publications, shows and also awards so yes all those things are great ways to get in the public’s eye.




LL: Have you found your tribe yet?

TC: I would say that my close friends, family and especially my gallery have been the best tribe I can have. They are all so supportive! Finding the right people to support you is tough but I think that if someone senses that this is a true passion of yours that you have to pursue then they will be behind you.

Being relentless in your pursuits helps as well. Find like-minded artists who show at the same galleries or shows that you would like and talk to them, reach out to them, visit their studios. Artists all love talking art with one another, I do.

Creating art can be so isolating at times so having a visitor to a studio is nice.


LL: What kind of opportunities are you looking forward to?

TC: I’m interested in adding even more depth to my work. I’m a big fan of reading classic literature and using that as a source to say things. Perhaps even delving into the subconscious. I believe that art is visual poetry and adding that layer to my paintings is always important to me.

I also want to keep evolving to never stay stagnant, be like a sponge. To quote Bruce Lee “You must be shapeless, formless, like water. When you pour water in a cup, it becomes the cup. When you pour water in a bottle, it becomes the bottle. When you pour water in a teapot, it becomes the teapot. Now water may flow or it may crash. Become like water my friend.”





LL: In what way do you enjoy helping others?

TC: I love to help anyone who is truly looking for what I have to offer but they have to really want it. I offer a lot as a teacher, sharing funny stories and also a lot of things that I’ve learned in all of my training.


I find that in smaller groups I work better with students and feel more comfortable. I’m not one for attention so I don’t’ like big groups. I find I’m able to connect more with smaller groups as I like a one on one experience.


LL: Looking back through your journey, are you amazed at what you’ve accomplished so far?

TC: I love the journey and I’m happy with what I’ve accomplished but the journey is not over. There is still more room for growth and much more to achieve.


LL: How can we support your work?

TC: My goal is to keep painting and provide for my wife and I through my art. The best way to support an artist is to buy a piece of art from them. If you want to support me buy some art http://www.rehs.com/Todd_M_Casey_Bio.html or a print http://toddmcasey.com/Prints-for-Sale.





* Todd Casey is a painter based in New York. See things though his eyes via his Instagram feed. You can pick his brain by reading his previous blog entries, via his newsletter, or by attending one of his workshops.



Source Material and Notes: The material posted is based on correspondence (August – December 2016) between Todd and Leigh. Content has been edited for length, and the final version has been reviewed and approved by the interviewee.

Leigh Lim is a musician based out of Sydney. You can find a sample of her music here. To reach out you can do so based on this post. (Curious to find out if she’s your kind of person? You can check out her slightly cheeky FAQ.)


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