Photographers

Cory Ransom – Motion Graphics Designer

Cory Ransom - Motion Graphics Designer

This week I spoke to motion graphics designer, video editor and photographer, Cory Ransom about his twenty years of experience working in the creative industry, capturing the emotion of the 2010 Winter Olympics, and improving the accessibility of photography.

Starting in Skateboarding

Cory describes himself as a “specialist generalist,” due to his varied experience in different disciplines. His mother was a secretary at an elementary school, and in the summers she would bring home the school’s video camera for Cory to experiment with. Taking advantage of a strong media arts program at his high school, he had inklings of pursuing filmmaking in university but instead decided to study computer science. However, Cory returned to filmmaking through his love of skateboarding and ultimately decided to drop out of university. Living in Toronto with some friends who were strong skateboarders, he said that you “either pick up a stills camera, or you pick a video camera,” and he chose the latter option to create content for his friends.

His big break into more stable work was a chance meeting with a stranger on the street, who saw his camera and then asked if he also edited videos in addition to filming. After a short chat, Cory was promptly asked if he was interested in an editing position, which yes, is the kind of situation that will open many feel-good Christmas movies this upcoming December. Cory successfully earned the position and began work as an editor in 1998, tasked with creating corporate videos on the first edition of Final Cut Pro. While not the most creatively challenging or diverse content, he says that working in corporate media provided a strong foundation for him to build upon later in his career. He describes the repetitive nature of his day-to-day work as “working up that muscle memory,” becoming more efficient in his workflow and adding layers to his skill set as an editor. When I asked him what has changed the most in his twenty years of experience, he did not hesitate to say the opportunities and tools that technology now provide. Let it be known to all new editors that the original Final Cut Pro may have some limitations in its core features.

Creating the Look of the Olympic Games

In 2007, Cory moved to Vancouver when his girlfriend, and now wife Laura, began to work for the 2010 Winter Olympic games. On her first day of work as a brand marketer, she was asked if she knew any video editors to join their team. Several rounds of interviews later, Cory joined as a video coordinator and editor. This was also his entry into motion graphics, a discipline that he defines as “moving elements of design from point A to point B in order to communicate something more than just the design itself”. Cory says that his background in video editing and the associated software was invaluable to learn motion graphics quickly, and he played many roles in this team ranging from camera operation to conducting interviews for documentary pieces. He admits that “with kids now I don’t think I have the energy to do that kind of intense work,” again, but cites this experience as one of the highlights of his career. His favourite memories include getting to be in the stands for the men’s gold medal hockey game, capturing the raw energy of stadiums full of fans, and being a part of a team that orchestrated the look of a truly global spectacle.

Following the games, Cory began tenures working for EA, The University of British Columbia, and Disney before eventually launching his own company. When I asked him what the biggest challenges were creating content for such wide demographics, he said that no matter the target audience, his role as a motion graphics designer is “trying to break really complex ideas down into really simple, digestible things”. For him, creating intuitive branding that is recognizable from the moment you see it trumps any elaborate technical work that may lose the core message of the brand.

Craft Beer Product Photography

Cory is in the third year of working for himself, saying that “I’m lucky enough that all my stuff comes from word of mouth,” or from his portfolio on Instagram. The latter is where I first saw his work, manifesting not through motion graphics or video, but rather as stylized product photography with local craft breweries. Cory’s entry into product photography began at the Olympics when he did some work showcasing the artwork adorning the faces of the medals. Now living in the Okanagan, he had a friend who connected him to some local wineries who also needed some shots for sale sheets and their website. From there, beer feels like a natural progression; Cory says that “I like to jump in and out of different styles,” and the seemingly limitless designs and branding behind craft beer keep him creatively engaged and always trying out new ideas. Sometimes he takes inspiration from the can itself and builds the scene around it, whereas other ideas can hibernate in his mind until he comes across the perfect can.

In addition to the polished photos themselves, one of Cory’s favourite aspects of this series is getting to know the local community of other beer photographers, marketers, and of course, drinkers. In response to the positive reception he has received, Cory began uploading behind-the-scenes footage of his shots to provide a platform to help other photographers shooting similar content. While he was working in a corporate setting, Cory says that there was an element of education and mentorship that he doesn’t get to engage with as much anymore, now that he works for himself. By breaking down how he sets up his shots, he hopes to show that “anyone can do this stuff,” and that photography is not as inaccessible as it may seem. While he doesn’t generate much revenue from this side project, this venture also feeds Cory’s thirst for creative exploration when he is unable to find clients willing to take more creative liberties with their product photography. Expanding on this struggle, he shares that “some of the shots take me two or three hours to do,” and there can be a disconnect between the time needed to achieve a strong end product and the funds that companies are willing to put into an ultimately disposable piece of online content. However, working for himself has allowed Cory to bounce between different projects with greater variety, working with different brands at a rate that “it’s hard to get bored”.

Despite his wide range of experience, and longevity in the field, Cory shares that “I don’t think I’ll ever know exactly 100% if I’m, you know, truly professional”. He attributes this to his undying desire to learn new skills, adopt new technologies as they present themselves, and an “insatiable need to feed that technical side of my brain”. This continues to drive him to reverse engineer content whether it is in motion graphics, videography, or photography, in an attempt to break it down into a simpler, digestible form. This similarly echoes the earlier definition of motion graphics that he provided me, which I think ties a very nice bow to the end of this article.

If you’re feeling thirsty, follow Cory on Instagram for his series of craft beer product photography, as well as behind-the-scenes breakdowns of his shots. There are some remarkable photos on his feed, some of my personal favourites feature cobwebs, giants, and an example of the limitless uses of good old poster paper.

Follow A Musing on Facebook and Instagram for more content on Cory and the other creatives in this series.

And don’t forget to check out the last interview with comedian, Katie-Ellen Humphries.

-BF

Skye Portman – Photographer

This week I’m talking to Skye Portman, a talented photographer and creator of one of my favourite photo series, A Day in the Laugh. We had a great chat about photography, comedy, pies, and strippers. Intrigued? Let’s go.

Cover(ing) Bands

Skye began photography back in her hometown of Derby in the UK, a town in which her estimation is best “known for pies, ales, and drugs”. I do love a nice pie, colour me interested in a post-isolation trip across the pond. She was fifteen years old when she booked her first gigs to photograph bands at a local bar, the Victoria Inn. Equipped with a “really bad Sony Cybershot,” and business cards she had handwritten on pieces of paper, she eventually carved herself out a regular gig. What was your excuse for not starting your project again? You don’t have the right paint yet? Right. Anyway, Skye tells me that this job was a great opportunity to gain real-world experience as well as meet an incredibly varied cast of characters both on and off-stage. From Jack Black from Tenacious D or Dave Grohl from two pretty good bands, Skye has amassed an impressive network over her career. However, the standout moments from this gig were not when she met these household names. For Skye, the moment when she felt that she had made it as a photographer was when travelling bands “gave me their t-shirt for free”. If UK concert merch prices are anything like the ones here in Vancouver, I’d consider those gestures a major perk as well.

Another interesting period from Skye’s time at the Victoria Inn was photographing “replica” bands, “like the fake The Who and the fake Blondie”. Where the amateur photographer would see just another gig, Skye saw a major marketing opportunity. After each show, she realized she had “all these amazing photos of people who kind of look like the doppelgangers” of the original bands. Taking this footage and putting it up on her website was a great way to gain some clicks from potential clients. Skye diplomatically told me that when people saw these photos and thought they were celebrities, “technically they’re right, but technically they’re wrong too so I leave it to their imagination”. Entrepreneurship at its finest.

A Day in the Laugh

After moving to Vancouver, Skye began working at The Brett Martin Show where she was introduced to local comedians and other members of the stand-up community. She quickly realized that “people weren’t photographing comedians,” with video or audio content being the popular choices. Sensing an opportunity to help fill this void, she began brainstorming the framework for what would become a project she continues through today. For the format, she took inspiration from an assignment she had in university in which she was tasked to photograph a market at opening, during operating hours and after closing. Adjusting this to fit a comedian’s schedule, Skye began photographing comedians before, during, and after a show. As for the name, she admits that she had difficulty coming up with a good tag, and credits her friend Rich for coining “A Day in the Laugh”. Skye explains that the reason why she chose this format was that prior to working with comics, her “perception was comedians go to a show, they do their bit and then they go home”. But after meeting so many comedians and watching their individual processes, she thought that each comedian’s unique arc of a show night was something worth sharing.

When I asked her to share her most memorable moments from this project, it was hard for her to single out anyone in particular. She credits Chris Griffin for being the first member in her series, as well as Sasha Mark who she describes as an “absolute babe” to work with. She also shared a story of photographing Dion Arnold at The Penthouse, as she had “never been to a strip club…In Vancouver”. Skye tells me that after his set was over they “went down one level and [Dion] goes, “Do you wanna see strippers?” Skye made the same rational decision any of us would make, but after a brief moment, both Dion and herself agreed that just a quick glance would do. This is just one example of the wide variance in venues, shows, and of course the comedians themselves that Skye has captured in this project. She says that “no two have been the same, and that’s been the fun and joy of it, the authenticity” of each performer she has worked with. A Day in the Laugh is now in its second year of production, with features on nearly 50 comedians, improvisers, sketch performers, and all-around funny people.

Photography

When I asked her what she found most difficult about photography, Skye shared her mixed feelings towards Instagram. One one hand, she cites Instagram as a useful tool for her to conduct research and get inspired by other artists. However, she cautioned that “the photograph can lie,” upon first glance. She expressed her frustration towards “kids on Instagram who are photographing these staged lives and pretending that they’re incredibly happy when deep down they’re dying inside because they just need those likes to feel glorified”. Other difficulties she shared include the inescapable late nights of both music and comedy photography, along with the nerves she still feels before every shoot. However, she doesn’t dwell on the negatives and instead reframes these struggles as opportunities for growth. She states that “even though the worst parts really are terrible it pushes your boundaries” to become a better photographer. Moreover, “if you weren’t challenged, you’d stay exactly where you are”.

Returning to how we began our conversation, I asked Skye about what were the major similarities and differences between photographing bands and photographing comedians, Skye says that while both subjects are similar in that she is capturing a performance, she feels that with a comedian, “it’s more on a personal level”. She shares that this level of intimacy was not always present when she worked with musicians, adding that what drives her passion for photography is not necessarily the subject matter, but rather the subject itself. In her words, “I like to learn about people, I want to understand people,” and this is one of the reasons she has found a home photographing comedy.

I’ll end with some words Skye shared when I asked where she finds inspiration for her photography. She said that to get inspired, “absorb everything, take it all in,” and that we can find exciting ideas in ordinary circumstances. As we loosen social isolation, I feel like this advice rings more true than ever as the little things we took for granted will feel so much more exciting than ever before. For more on Skye, check out her website to see the entire backlog of her work. To keep up with A Day in the Laugh shoot her a follow, and if this leaves you begging for more, give Skye a follow as well. Thanks again to Skye for the chat, stay safe out there everybody, and we’ll see you next week!

-BF

Check out last week’s article with Colin Williams!