Thank you for this thoughtful response. I’ve been a big fan of your work and it’s amazing to actually hear from you directly!

From what I'm hearing, I get the sense that you're not giving yourself enough time for these photo shoots.

Ask your subject to give you an hour and a half to shoot, and let them know that you're aiming to get something a little nuanced and thoughtful.

If they still keep smiling then politely ask for something else. Oftentimes I'll just say, "Let's try a serious one," and that's gets the reset that I want.

But to be clear, subjects are inherently guarded and purposely hold back their authenticity as they're worried about looking foolish, so you might have to tease it out of them.

People say no to ideas all of the time, and then you just move onto the next one.

I go into every portrait shoot with a full range of ideas, from the "They'll do anything" sort, to the "They'll do nothing" kind, as you never know what you're walking into. That's the scary part, but also where the adventure lies.

And yes, I try to be open to other people's suggestions, as good ideas can come from anywhere and anyone.

I love candid portraits, where you catch authentic expressions. But I can never seem to get them. I hate that one fake smile face everyone makes for the camera. I feel like if I said the right thing, I might have a better chance.

What should I say?

If you're going to work as a freelancer then I'll have to find a workaround and become better self promoter.

When I was starting out and I had to call magazines to show my portfolio I would (in my mind) take on another persona so that I had the courage to pick up the phone and make the call.

There are a lot of photographers out there and you need to be proactive in getting your work (and yourself) seen. You can be super talented, but it won't matter if few people see hour work.

For most people, becoming successful in photography is a slow build. You get an assignment, and you work hard to make it great, and just maybe they'll hire you again. But even if they don't, if you made a good picture or two, you use that to secure other work.

Unfortunately, the public and the media often focus on the "Cinderella Stories" where someone becomes a seemingly overnight success (like Irving Penn, or Ryan McGinley), but that's not how it goes for most photographers (even the successful ones).

For most people it will take 10 years from when you're first getting jobs to when you feel any outward sense of success, like being known by peers outside your immediate friend group.

Do you have any advice for photographers who are struggling with the business side of things? I personally struggle with networking and selling myself to potential clients

Just took a look, David Byrne, WOW. who thinks up the ideas for the photo shoots and have you ever had someone say no to the original idea? Anybody come up with a better idea than you suggested and you went with their idea instead?

The answer to your question is in the bio.

Yes, I have an agent in the US, and in Canada (where I grew up). The agents only represent me for commercial work, and not editorial assignments (as there is no money in magazines).

As a freelance photographer you're largely fending for yourself, and it can be pretty solitary, so having an agent in your corner is of real value. Plus, having a rep is a sign of stature, as not everyone can get one.

My agents take a percent of my advertising jobs, and otherwise I don't pay fees for just being on the roster, so it's a win-win situation. I have had an agent for over 25 years, so I have no illusions that they are the magic bullet to big money and constant assignments. Hence, I work hard to promote on my own and keep making great work.

The market place either has wants what you make, or it doesn't, no agent can get you jobs if the clients aren't interested in what you do.

Wonderful thank you

Yes, clients almost always give direction, even if it's based on my previous work. It's not uncommon to get instructions like, "We love your Steve Martin bread fingers picture, make something delightful like that."

But often the direction is not what I want to do with a subject, so if I can't gently talk them into an idea I like better then I do my best to execute their request. Every job is an audition for the next job, so I'm incentivized to deliver work that pleases my clients.

That said, on magazine shoots I usually have the time and flexibility to do a set-up or two that closely aligns with my taste and ideas. And often the client prefers these pictures. : )

I got into photography to make pictures of celebrities, so I built my initial portfolio by going to where the famous people were. In my twenties I was into underground bands, so I asked local promoters to introduce me to the acts that they brought to town.

Years later I ran into one of those guys in my hometown and I asked him why he was so generous in giving me access, when there was little to no upside for him. All he said was, "You seemed serious."

I was initially baffled by his response, but then it crossed my mind that when I meet young photographers who are focused and ambitious I do everything I can to help them succeed. People want to help you if you're driven and responsible.

As far as the "who you know" theory, I don't buy into it. Almost everyone who helped me along the way (and there were many generous gracious people) I met because of my journey and my goals. Aside from my father (who worked for Kodak and was able to process my student-era film for free) I can't think of any connections I had that weren't made by just getting out there and proactively trying to make my way.

I mean, I still reach out to colleagues, and folks I don't even know, and ask for advice and connections and the like.

How much money did your parents make yearly and for what companies did they labor? I'm guessing they were not plumbers. Please be honest about your privilege.

Wow, we're going deep now. Appreciated.

I suppose that I make my own schedule as a freelancer, but as I'm constantly feeling pressure to hustle for work, I usually choose to focus on my professional life.

Making time for my daughter is an overt choice, and it's difficult to do. But she's growing up every day, so I try to remind myself to carve out that time with her.

Maybe I should be hanging out with her instead of doing this AMA?

What was the process like for you getting the clients you did?

Can you speak on getting an agent? Do you have one? How does that work and do they get you work?

Making portraits of non-celebrities is a big part of my practice. I often do it for advertising jobs, ironically enough.

I find real people shoots more challenging, and hence more satisfying when I do it well.

My biggest project with regular people subjects was my book "Gentlemen's Club: Partners of Exotic Dancers" in which I photographed and interviewed 40 couples and partners from across North America.

No it wasn't! Lol

My mind was wondering about important figures ie the presidents as opposed to cultural ones. Jay z to an extent but more so grumpy cat

Thanks for your answer

Thanks for that! I love the essence of your work, the dance with your subject, bringing them to a true light. Appreciate the IAmA

I would recommend "New York Changing" by Douglas Levere.

This is a strange series of pictures where he revisits many of Berenice Abbott’s New York locations from "Changing New York," her 1937 monograph.

In the book the older and new images are shown side by side, in a way that is exciting for anyone who loves photography, or New York. But what’s truly special is how obsessive Levere became about the project – not only are they the same scenes but in many cases he uses the same kind of camera, lens and time of year, as much as possible allowing only the scene to change over time.

Fascinating and magical.

How did you start gaining clients? Is it about getting an agent? Is it more "who you know"? Like how do you really get your work out there to get more work?

Thanks for your time.

Nature photographers get up early, are very patient.

I usually do research before a shoot, so that I have some background on the subject. This makes interacting with them go smoothly, and they are then more likely to join me in trying an adventurous idea. Also, the research can sparks ideas, like maybe they have a surprising interest that we can turn into a picture.

Part of my approach is that I'm optimist and excited about doing something different and fun, and that can be contagious. Most of my sitters are highly accomplished, and they got there being risk takers, so I tap into that part of their personalities when pitching ideas.

The proof picture was taken by my intern, Maddy, so it's not a selfie.