JAMIE NELSON INTERVIEW

Your work has appeared in some of the most respected publications in the world, yet every creative journey begins somewhere. What inspired you to pursue photography, and how has your artistic path evolved over the years?

I attended Brooks Institute of Photography in California. I moved straight to NYC to pursue my dream without having ever even visited it before.

I was too stubborn to assist, so I started out slowly and steadily building a foundation and reputation in the industry. I began shooting with smaller companies and magazines and eventually worked up to shooting for bigger publications such as international editions of Vogue, Vanity Fair, Harper’s Bazaar and advertising clients such as Urban Decay and Maybelline. I have now been working in NYC for over ten years with agencies representing me in New York, London, Dubai, Paris and Germany.

Your imagery is undeniably captivating—equal parts provocative, cinematic, and unforgettable. Can you walk us through your creative process, from the initial spark of an idea to the final image? Beyond the visual impact, what themes, emotions, or conversations do you hope your work inspires?

I am constantly flooded with ideas and not enough time to do them all. I love the process of collaborating with the best people in their respective fields.

The details and artistry that come from makeup, hair, manicurists, set designers and stylists all inspire me and I try my best to show each person’s craft in my imagery. My main goal is to inspire others and create visually appealing work with all the classic elements photography should have.

I am very traditional in the sense that I seek perfection in composition, lighting and concepts. I am not the photographer who is inspired by shooting a pretty girl in this season’s clothing on a grey background. Disposable imagery doesn’t interest me. I always seek to create timeless, quality imagery with purpose, craft and passion without fail.

Certain universal themes have been done many times… but I look for collaboration between artists who think outside the box to find a totally new approach while still maintaining the beauty of the model.

Your work with Gwen Stefani is visually stunning and beautifully complements the energy of the album. How did the collaboration come together, and what was the creative process like in developing the imagery? Where did you draw inspiration from, and how did you translate Gwen's artistic vision through your own lens?

Working with Gwen was amazing.  The album was extremely important to her, being her first in over ten years.  She was looking for tight, dramatic beauty shots as well as some further away shots—my favorite type of shoot.

She and her art director had a vision to start with and after a long discussion on the phone, I was able to take it all in and create some further suggestions.

It was a very important and emotional shoot for her, so my team and I took it very seriously and invested a lot of time in preproduction to make sure the production went seamlessly.

Behind every successful creative is a toolkit that keeps inspiration flowing and the work moving forward. What technology, gear, or everyday tools play an important role in your process, and are there any you consider indispensable?

I am really not a gear nerd. Give me an iPhone and I’ll make anyone look beautiful! I am a firm believer in a solid education; going to school to learn proper composition, technique and lighting. Working with 4 x 5 cameras, pinhole cameras and in the darkroom- all gave me a solid foundation to be poised to use any type of lighting, or camera, to create a beautiful image.

Throughout your creative journey, which photographers have left the most lasting impression on your artistic vision? In what ways have their work, philosophy, or career paths influenced your own approach to photography and helped shape the artist you are today?

Believe it or not, I originally wanted to be a forensic photographer while in college. I fantasized about taking Weegee-esque images.

At some point I realized I probably did not have the stomach for it; and that fashion and beauty probably paid better.

While I was in college I looked up to Helmut Newton, Man Ray, and Guy Bourdin. Now I try to take in as little outside imagery as humanly possible. I have more than enough ideas in my mind as it is.

I fear that just as a musician may listen to music too much and subconsciously incorporate a famous riff, I might unknowingly do the same with my photography. So I try hard to keep my vision pure and internal.  Most of my ideas spring from my own crazy life experiences. It makes me a bit of a hermit and out of touch with current editorials and trends, but I prefer it that way. My social media pages illustrate quite a bit of this juxtaposition through pictures of my own style and obsession with the 70’s, Lindy Hop and tap dance classes, my motorcycle adventures and my journey in playing piano and learning accordion. I strive to keep my life as weird and as colorful as possible, while taking inspiration from the different activities and genres in which I am immersed.