Meet Richard Conde: My work has been featured in National Geographic and recently chosen for their permanent stock collection.
Most of my work consists of jazz photography, travel photography and dance performance events. Currently I am the senior staff photographer for the Jazz Museum in Harlem and the club photographer for the Birdland jazz club in New York City. I am also represented by the HP Garcia gallery in New York City. I have earned a Masters of Fine Arts and Bachelor of Fine Arts degree from the School of Visual Arts in New York City. For the past few years I have worked on assignment for several travel organizations. My work has been published in the New York Times, Down Beat Magazine, JazzTimes and numerous magazines and album covers, the most recent with Verve Records.
Gear: I currently use the Nikon D3s and D3 cameras. My choice of lenses: the 70- 200, 17-55 and 24-70 Nikon lens.
Teachers and/or influences? I come from a fine arts background, so for me Rembrandt and the painter Caravaggio are a major influence. Their one-directional approach to lighting influences the emotion and passion of my work. The painter Peter Paul Rubens influences my usage of color. The great jazz photographer Herman Leonard is also a big influence on my work, as well as Richard Avedon. Avedon helps me to see the meditative inner workings of my subjects. Ansel Adams, the great landscape photographer, is my tech guru. He helps me to see the surface tones and gradations of my work.
I knew I wanted to be a photographer when...
I was able to get past the point-and-shoot phase of my work and started producing work which connected with me emotionally. At that point I felt I was able to finally express myself as a visual artist.
Your approach to photography: I try to keep everything simple starting with my camera bag, I pack light and take only what I need. It's important to know your equipment, that only comes by practicing, shooting everyday and developing your photographic eye. It's important to establish a relationship with your subject; the closer the relationship is the better the picture will be, it's as simple as that. I always strive to create a photograph no one has seen, it's important to get past the clichés of point-and-shoot photography. Lastly, I try not to take myself too seriously; there are plenty of photographers out there who are more talented than I am.
Your teaching approach/philosophy: If I had to give a young photographer advise I would say this, shoot everything until you find what interest you. Practice, practice, practice; the worst thing in the world is to be confronted with a great moment and only to find out you still do not know how to turn the camera on. Know all the rules before you can break them. Get past the level of becoming a point-and-shoot photographer; create photos no one else has seen.
Remember that in life there is a moment, it maybe big or small but it will always be there waiting to be photographed, you have to be ready when it happens.
Shoot your camera like you're shooting a video; you have to shoot thru the moment in order to capture that great moment. Do not take yourself too seriously; there are plenty of photographers out there who more talented than you are. I try to make what is invisible visible. That is my approach and philosophy in a nutshell.
Your biggest challenge when shooting indoor (or low lighted) events: Low light photography is always a challenge, the Nikon D3s and D3 cameras help me to resolve that issue. I find Jazz photography and dance performance photography the most difficult lighting in which to shoot. If you master the technique of low light shooting, you can shoot anywhere.
Your biggest challenge when shooting outdoor events: Shooting outdoors is the easiest part, the biggest challenge is working with rude or unfriendly photographers at these outdoor festivals. There are many photographers out there shooting these events for all the right or wrong reasons. Most of them forget what we do is an art form; they cannot seem to get past just being point-and-shoot photographers. Most of them act like paparazzi and seem to make it more difficult for guys like us who truly consider this work as art. I cannot tell you how many times as a young photographer I was rudely dismissed because I dared to ask a technical question. This "every man for himself" mentality is truly hurting our profession.
Favorite venue to shoot: The Birdland jazz club is best venue to shoot in; I have been the house photographer there for four years now and I find the lighting there to be perfect. The lighting is one-directional which is perfect for my style of shooting.
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.