Myerson Photo Blog

This week, we turn the “6 Questions” spotlight out West to Utah. AJ Rich (RichVintage) is a photographer with a knack for capturing slices of American life. His images are always iconic, and infused with a real sense of emotion and nostalgia. Rich was born and raised in the desert and red rocks of Utah. A mission to Denmark instilled a love of all things Danish. He has a graphic design degree from Brigham Young University and has been an award-winning designer and art-director for more than 7 years. He loves collecting vintage wood type along with electronic type.

I’ve had the pleasure of shooting with AJ throughout the southwest (well, in Utah and Texas, anyway… we’ll get him to Arizona someday).

Myerson Photo: So many of your best images have a real vintage flair. Without giving away any trade secrets, what can you tell us about your workflow that leads to this nostalgic appeal?

A.J.: Well, I enjoy taking portraits of any nature as they tell many stories. I grew up in a smaller town and have lived around rural areas and this culture is one aspect of America that is slowly dying out. I have kind of taken it upon myself to make each portrait as timeless as possible and try to capture this culture. I am not a cowboy (far from it, I have only been on a horse once) but it is a fantastic subject matter. I also lived in Texas for a while, and the people are so nice, I just fell in love with the culture. And yes, I have even thought about buying a Stetson.

I do add some of my own style to the photography after I take it, but the vintage/nostalgic effects are mostly accomplished with different lenses, lighting, and wardrobe. Lighting is the main key.

MP: I’ve noticed a lot of images of children in your portfolio. Working with children is notoriously… challenging. Do you have any tips for working with the younger set?

AJ: Yes, take some anxiety pills before the shoot. Well, if you don’t have any, try to clear your mind and plan beforehand. Some children will do well over and over for you, while others take lots of patience. My best advice would be to plan on not going according to plan. Just be spontaneous. The younger the children, the more spontaneity needed. Bring treats and fun props. Most of the time, just let them act.

MP: The people in your portfolio all show the trifecta of commercial portraiture: attractive, natural, and displaying genuine emotion. What are your secrets to finding, selecting, and directing models to get this awesome combination?

AJ: Thanks, I try my best. I have an education in graphic design/art direction to fall back on and this helps to get things right with my photography. I am always thinking, writing down ideas, looking of what has been done. My mind never stops (refer back to the anxiety medication). By the time I get to the actual taking of the photo, I have put all that thought into the photo. If it doesn’t look right, I know it right off. I am extremely picky, and only the best make it through the cut. Sometimes the emotion is happenstance, but this thinking and planning will translate into art direction—and that is where the magic happens. And sometimes you are just plain lucky. But you have to be in the right spot at the right time, and only preparation can get you there.

MP: Before you ever became an award-winning photographer, you were an award-winning graphic designer. Were there any lessons or experiences from graphic design that inform your photography?

AJ: I have been a designer for a while, and the thing I have learned is to never hold anything back. I just finished a book cover project for a first-time client, and I went a whole new direction from what they have done in the past. I was a little nervous to show the concept to them, but they loved it. It may just be one of my best pieces design-wise. First in my design career, I may have been a little timid to try something like this and I would have played it safe, and not grown, not challenged myself. The client may not like all my ideas, but they will know I am going to try that electric fence. Design has taught me to never hold anything back and that translates into my photography.

MP: How’s the graphic design going? Are you shooting full time, or do you still spend time with design?

AJ: Design is great. I work full-time mostly doing editorial design. I will never give up design at this point because I love it so much. I only spend about 15 hours a week on photography, but it is an essential outlet for me. I am in my office chair 40+ hours a week, and I need to get out and photograph! I just have that drive to take pictures. I may try to publish some of my own photography with my own design one of these days. (Come on Social Security).

MP: You’re handed a check for $100,000 and told to create your dream image set up. Spend it on models, equipment, locations, whatever. How do you spend the dough?

Oooh. Good question. I would build a time machine to travel back to the time of the French master Cartier-Bresson. I would beg him, plead—to travel with him and be his comrade in his world photographing journeys. He was a master of capturing portraits and emotion and I would love to have the opportunity to see what he saw through that viewfinder. With my extra change, I would then buy a viewcamera, and an airplane.