As Limited Runs prepares to release the first of a series of fine art photo collections by an emerging and creative team, I met with the creators; New York based photographers Russ Ford and Reyn Soffe, to discuss the release of their first photo collection, the creative process and influences.  I quickly learned that while they make up two distinct people with different personalities, they often answer as one, which explains the synergy between the two who have created a unique and dynamic style in their work which is both commercial and visionary at the same time.

“There are too many serious photos in the world and we didn’t want to be reminded of something heavy or dramatic when we placed our art in our homes”

LR:     We are so grateful and honored that you guys have decided to work with us to release your first fine art photo collection.  Can you tell us about this collection?

Reyn:  This first fine art collection is called How To Become Human.  This project is to push the human form into a simple and light hearted realm. Pushing the human body to create shapes and other human forms allowed Russ and I to explore the lighter side of things. There are too many serious photos in the world and we didn’t want to be reminded of something heavy or dramatic when we placed our art in our homes. We want our homes filled with a light energy that can translate into a loving home.

LR:     Let’s start at the beginning, how did you guys meet?

Reyn:  Russ and I met at the University of Utah at my old girlfriend’s apartment (who broke my heart) where she was rooming with Russ’s future wife. We became friends and eventually met up in New York after Russ had been living in Asia and I in Europe.

LR:     You guys are currently based in New York City, what was it that initially brought you here?

Reyn:  Russ came to New York to be a stock market trader and I came for art direction in advertising and fashion.

LR:     With such different career paths what was the impetus for partnering and changing careers?

Reyn:  After a shoot that I was art directing, I had the idea to start shooting myself but knew I didn’t have the technique. Russ and I had previously spoken about his short photography education and wanting his hobby to turn into a new career direction. That evening, as I left the set, while walking through Manhattan, I called Russ and asked him if he’d like to start shooting as a team. He instantly said yes. From there we didn’t touch a camera for 6 months. We studied, built references and created ideas. A year and a half later we shot the cover for Anthropologie.

“We want our homes filled with a light energy that can translate into a loving home”

LR:     Can you guys talk about working together and your creative process.

Russ:   Our work process is an open collaboration. Typically it starts out with an idea, usually from Reyn but then I come in and fill in the blanks or know what technique to employ to achieve the desired outcome. Due to the back and forth collaborative process, the preproduction can take a long time. During the production process the roles are more or less interchangeable.  By this point there exists a clear vision of the desired outcome and we execute without a preconceived notion of who is performing exactly what role.

Reyn:  Sometimes I’ll be behind the camera and other times Russ will be the one behind the camera.  The important thing to us is that in production and post-production the collaboration continues, in order to arrive at the best possible piece of art.  To us it doesn’t feel important to be married to who does what.  The most important thing is the concept and the best execution of that concept.  All the rest is noise.

LR:     Let’s talk a bit about your technique and approach to the projects that you take on.

Russ & Reyn: We are conceptual artists.  But for us there is no shining technique in the creation of our art.  The technique serves the idea.  We love to create art that borders on the fantastical with an aesthetic that reminds us of the mundane.  We tend to shy away from hyper stylized or over the top scenes in favor of something that feels real and genuine.  Once the idea is born, we let it determine what technique would best be employed to realize its creation.  Because of this approach, most standards in our creative world float.  However, we have a few constant rules that guide us:

1. Does it look like its shot in camera without Photoshop?
2. If there is a background, we try to integrate it into the photo.
3. Is it simple?
4. Does the idea have a wink? Does it have a little bit of humor?
5. If it looks over retouched or complicated, throw it away.

LR:     Your work is very powerful and I feel iconic, where does the inspiration come from when you plan out a shoot?

Reyn:  We gather a lot of inspiration from illustrations or graphic design. Most of our imagery is story-boarded out like a graphic design piece when we create the concept. We do this because we believe that through simple graphic shapes, one has a better memory retention. So when we have an idea that we want to shoot we then decide what will complement the simplicity and create an iconic piece.

Check put the entire How To Become Human Collection

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