Joshua Targownik is a shooter in LA. His story and approach is like a lot of us just getting started in the world of commercial photography. I thought it would be a great idea to run an interview with him here at Lighting Essentials Magazine.

I hope you enjoy these interviews as much as I do. And take a moment to go and look at Joshuas portfolio and web site. If you would like to be interviewed in LE Magazine, drop me a note and I can send you the questions and instructions.

Now, on to the interview with Josh.

How long have you been in business? Was it a slow transition or did you just open shop?

I’ve been shooting for fun since 2001, as a professional since 2007. It took three months from deciding to try freelancing until I quit my day job. Eight months later I was breaking even, and a few months after that, I was making as much as I did as an engineer, but only working a few days a month. I still can’t believe it.

How did you get started? Any mentors or great stories here?

After moving to from New York to California in 1999, I soon began rock climbing in the National Parks of the region. I quickly developed the urge to photograph those amazing places. I started using my father’s 1976 Canon AE-1 to shoot slides of landscapes, later switching to Nikon digital in order to document my adventure travels. This continued through 2007 when I bought my first flash and began to teach myself how to shoot commercial subjects. In March of 2007 I left my day job and became a full time freelancer.

The bulk of my photography knowledge comes from years of shooting. I’ve never taken a traditional class on photography, but I certainly had teachers. I am a researcher by nature, especially when I am passionate about a subject. The internet provides an immense amount of information, a lot of it in the form of blogs like Lighting Essentials. I started with sites like Ken Rockwell, reading every single post. He gives very frank and casual explanations of camera and photography basics. Moving towards more advanced information about the thought process behind composition, I listened to every podcast on Martin Bailey’s site. Of course what led me to buy a flash in 2007 was David Hobby’s Strobist blog. Again, I read every post he had written, and still follow it, along with many other sites to this day. Once I started attempting more complex lighting setups, I started listening to the LightSource podcast, and yes, listened to all of them.

Describe an average week at your studio.

For the first year, I worked from early morning until late night. There was always something I could be doing to move forward. Teaching myself how to shoot and light, making my own website, learning how to market myself, and generally how to run a business. Now that things are up and running, I am typically managing a few different projects at one time, in various stages of completion. So I may be marketing, taking calls, quoting jobs, scheduling, shooting, editing, post processing, delivering, etc.

However, one of the big bonuses of becoming a freelancer is that I don’t have to work all the time. For example, in September, I made my “month” (minimum income to break even for the month) in just two shooting days. So I basically had the rest of the month off, although I did fill a lot of it with test shoots, web site work, etc.

Why Los Angeles? Have you considered anywhere else?

I’ve lived here since I started shooting. There’s a great market for commercial photography here. I used to live in New York, but not when I was shooting. I would love to go back and see what it’s like there. I’ve heard it is the real center for photography in the US. Of course Paris might be nice too.

What motivates you, or gets you going? What do you use for inspiration?

My desire to learn, and to capture what I see. Subject matter, light, color, form.

What is it you like the most about being a photographer? Do you do anything else for a hobby or avocation?

Aside from being a fun and creative technical art, photography is a great profession because of the work/life balance it can provide. Rather than being a web developer, getting paid for hours logged, a photographer can charge big bucks for a single day’s work. I want to work less, not more. My old desk job paid well, but I couldn’t buy free time.

Being a photographer gets me into many different industries, but it also gives me the time to pursue my personal interests.

I have a degree in mechanical engineering. Before becoming a photographer I was a car designer for Honda. I also worked as a computer graphics instructor, application designer, race car mechanic, and I even sold rock climbing equipment. I’m a rock climber myself, an airplane pilot, and a motorcycle rider. I play the drums, and will be starting an internship as a chef in a famous Los Angeles restaurant. I like to learn about everything.

Are there any downsides to being a commercial photographer that you would like to change? How would you change them?

I wish it was easier to submit and be chosen for big advertising and editorial shoots. It feels like magazines, companies, and agencies have go-to shooters already lined up for everything in the foreseeable future. Effective marketing is difficult, and sometimes it seems impossible to break into the big leagues.

What was your most memorable assignment?

Production stills jobs are actually my most memorable commercial assignments. Spending days with a crew, especially if the subject of the production is interesting, can be a great experience. you become a social family on a small adventure.

Of these, my favorite is probably being the official set photographer for Joel Hodgeson’s (creator of Mystery Science Theater 3000) new project Cinematic Titanic. I was a huge fan as a kid, and still find it surreal when I get a call from him on my cell phone.

Any ‘war’ stories you would like to share? You know, the ones that always start with “There was this one job where….”

There was one job where I had to shoot with a full lighting kit in the middle of an active construction site while sticky foam epoxy insulation was being sprayed everywhere. I ruined a few lens filters that day.

What would be your ideal assignment?

A second shooter on a great production in various scenic locations. I say second shooter because I want to have more freedom over what I’m shooting, rather than being the primary who has to get “the shot” of specific scenes. I may find a crane or landscape more interesting than the on-camera action. I would hope that the shoot would travel to big cities, distant natural locations, industrial areas, etc.

There’s also a part of me that would love to be a war photographer. To shoot images that actually mean something. And to have the freedom to capture what I want, how I want.

Future plans for Joshua Targownik and his photography?

Shoot bigger, better, and more desirable projects in order to make enough money so that I can travel and shoot for fun all over the world.

Tell us a little about your new work…

After building up to 11 lights, I am now finding a lot of joy in single light setups, high fidelity portraits, possibly with medium or large format film.

Oh, and what is on the music box right now at your studio?
(yes, it was supposed to be 12, but what the heck…)

I usually ask the models to bring their iPod, but my own is quite diverse. Sam Phillips was playing most recently.

www.targophoto.com
www.flickr.com/targophoto/sets

You can reach Joshua here.