Moments of Collaborative Representation

Featuring James Emmerman Words by Nastasia Khmelnitski

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A fresh perspective in the era of way too polished pictures is what drives the attention in James’ photography. The merge of techniques and styles combine to present a slightly documentary approach and perspective into the world of fashion. The individual is the focal point whose character is freed to speak through the photograph, bringing in his captivating story.

James Emmerman is a NY-based fashion, portrait, and documentary photographer. He has worked with editorial clients like Vogue, i-D, Vanity Fair, W, Wall Street Journal Magazine, Document Journal, Interview, Wonderland, Teen Vogue, as well as commercial clients like Nike, Equinox, Dion Lee, Matte Projects, Fender, and others.

His work has been shown nationally and internationally, most recently at the Anti Art Fair and at the Soho House London. In 2018 he was named a PDN Emerging photographer and was profiled by Milk Studios as an artist to watch. In the last year he also directed his first short film, a music video. James has a BA in Media Arts from Emerson College.

We speak with James about the multi-faceted career he is developing in the spheres of photography, how shooting video differs from still imagery, interpersonal connection on set, as well as his inspirations, future endeavors, and day-to-day life. We love his approach to the profession supporting individuality while creating an environment of trust and acceptance on set.

Hi James, how is it going? We’re so happy to have you on our mag!

Me too, thanks!

So, what are you up to today?

I’m at a cafe near my apartment in Brooklyn, editing pictures from two recent shoots and ongoing portrait series I’ve been working on. Putting together a moodboard for a fashion campaign I’m shooting, and keeping tabs on a few Document Journal shoots I’m producing. Oh, I'm also working on a zine of all my old nightlife photos from 2014, but that’s just for fun. And I’m talking with you! So... a little bit of everything. Later my friend is DJing at a bar so I’ll probably go by there.

Shoot some facts about yourself.

I grew up in North Carolina, before moving to Boston, where I received a BA in Media Arts from Emerson College in 2015, after which I moved to New York City. Some favorite photographers I take inspiration from include Peter Hujar, Mary Ellen Mark, Tim Walker, and Jack Davison.

‘Most of what I do for document is commission photographers and videographers and work with them to arrange shoots. I actually don't know many people who are both photo editors and photographers.’

You’re currently a freelance photographer and a photography editor at Document Journal. What are your responsibilities as a photography editor? How does your regular day look like? 

No day is the same, really. I’m either shooting at my studio or on location somewhere, working at the Document Journal office, or (like today) working on a mix of everything.

Most of what I do for Document is commission photographers and videographers and work with them to arrange shoots. I actually don't know many people who are both photo editors and photographers, but it really works for me at the moment. I like seeing the industry from both sides, and I think it helps me to be better in both roles. And I work part-time with Document, so it’s manageable with a shoot schedule. Previously I was the Assistant Photo Editor at Vanity Fair, which didn’t leave much time to shoot, but it was an amazing opportunity. I started working with Document after I decided to go freelance, and it’s been great to have a “home” of sorts, especially at a magazine I’ve always admired. 

Video becomes a prominent media format popularized by social media channels. However, photographers find it hard to switch the format and explore this type of medium. You’ve directed several short films during the past year, including Perfume & Cigarettes, a 6 minute long film, which are edgy and push the creative boundaries exploring the underground visual. Do you approach filming and working on set in a different manner when compared between film and photography?

Yes! Oh, I'm glad you've seen it, thanks for that. Aside from the actual framing of shots, the video feels very different from still photography. There are many more variables and ways to approach video, I think. It’s still new for me, so I’m having fun experimenting. 

‘One of my favorite video projects I’ve done (aside from Perfume and Cigarettes) was a documentary-style video of CHOKE HOLE, a New Orleans-based queer/drag wrestling event series I made with Nikita Merrin’

You’ve started photographing nightlife in the NY queer scene. What were the main takeaways that helped you to develop your technique and approach to the profession? 

Yeah! For the first few years I really only took pictures in the middle of the night. This experience definitely defined my style, even as I moved into more classic portraiture.

I think to be a good nightlife/documentary photographer, you have to develop a strong awareness of self and the space you occupy. To capture the best imagery, you have to be present and intimate, without overstepping or controlling. Almost as if you’re invisible, but in the middle of the room.

My work remains focused on the queer community, and I’ve definitely adapted these practices into how I approach portraiture. My goal is never to ‘capture’ my subjects, and my images are not definitive. They’re moments of collaborative representation between myself and the subject.  

You speak about learning to “never ‘capture’ a subject,” a skill you developed from the documentary scenery, which is so distinct from the mainstream understanding of fashion photography. When you work on a commission project, how do you maintain your professional angle and bring your perspective to the shoot?

Hm, well, I think today's audience is more interested in work that has a real narrative or story to it, as opposed to the traditional model/fashion style shoot. That's why you see so much more non-model casting today than ever before. And when you're working with non-models, no matter what, they're bringing their individual personality and character to that project. It's really important everyone involved understands that - your vision for the shoot is as important as theirs, and the best work comes from when the client, photographer, and subject can all collaborate.

‘My goal is never to ‘capture’ my subjects, and my images are not definitive. They’re moments of collaborative representation between myself and the subject’

When working on portraits what are the main elements in the interpersonal connection, the technical side of the shoot, the mood on set that is imperative for the shoot to work? 

It’s really just about empathy, especially when you’re working with non-models. There’s no set rule because each subject is different.

But baseline everyone should feel safe and comfortable, and once that’s established, together you can experiment and have fun. 

How do you think living in NY can help an emerging photographer in launching his career when compared to any other city in the US?     

Well, the US-based photo/fashion/art worlds are all here, so the main and most obvious benefit is access and community. But if you’re happy where you are and are making great work, I think you can really get off the ground anywhere. Sometimes it’s even easier to be based in a more affordable city that provides you with better resources to make great work. 

What are some of your plans for 2020?

Definitely to finish a new portrait series I’ve been working on!