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Kevin Mazur - How to Take Large Group Portraits Interview by Erica Wright TakeGreatPictures.com writer Erica Wright got a minute during the TONY Award winners shoot to sit down with Kevin Mazur and pick his brain about the project, his career, digital photography, and more. Article rating: 4.07

CLICK HERE TO FIND OUT HOW TO ENTER TO WIN ONE OF TEN PORTRAITS OF TONY AWARD WINNERS TAKEN BY MASTER PHOTOGRAPHER KEVIN MAZUR!!

Takegreatpictures.com (TGP): So, how do you think today's shoot went?

Kevin Mazur (KM): I think it went great—nice and smooth. As long as you have a good team assembled, it goes smoothly. And I can really count on these guys.

TGP: How long have you been working with them?

KM: I've known my producer Sheryl [Olson] for ten years, and we've been working together for a long time. We're all like family. It's great when you're close with everyone you work with. Especially when doing a big celebrity shoot, which can be more difficult than usual.

TGP: How did you get involved with photography?

KM: It really started out as a hobby that got out of hand. I got a camera for my high school graduation. I studied art and took a few photography classes. It doesn't happen overnight; I wasted a lot of film.

TGP: What sort of equipment are you currently using?

KM: I usually shoot Nikon. The D2x or the D200s, which produce a 10 or 12 mega pixel file. But because of the nature of this shoot, particularly with the number of people involved, I wanted to do something special. I upgraded to a Hasselblad CFH39, which produces a 105 mega pixel file. It was really exciting to have that tethered to two G2s. We were able to see unbelievable detail. We could see individual hairs on people in the back row.

TGP: How do you feel about the advances in digital technology?

KM: It's great. Digital makes my life a lot easier. I am able to collaborate with my subjects and make sure I'm getting the shots I need. I recently photographed Bob Dylan, and he enjoyed looking at the images as they were being shot. I was able to build a relationship with Jennifer Lopez because of digital, as well. I was shooting her for an MTV program, TRL, and looked at the pictures and noticed that something was just a bit off. When I showed her the image, she agreed and was willing to do a reshoot.

TGP: Your work is probably easier now because of your reputation, as well.

KM: Yeah, that's true. Early on, Elton John opened a lot of doors for me by introducing me to industry people that I still work with. In this business, reputation is everything; it's even more important than a great portfolio. I get most of my assignments through word of mouth.

TGP: Do you think you'll ever move on to anything else?

KM: I'm very passionate about taking photographs, and I hope I'll never stop. I joke around with Mark Seliger that I want to die with a camera in my hand like Richard Avedon. Mark says that's why he likes me.

TGP: Were you influenced by Avedon or anyone else?

KM: Oh yeah, Avedon. And Annie Leibovitz. When I was just starting out, I called her studio, and she answered the phone. I asked to speak to Annie Leibovitz, and she said, "This is Annie Leibovitz." I told her I was a photographer, and her tone changed. She said, "What do you want?" I told her I was a beginning photographer and asked if she could use an assistant. She gave me some advice and the names of a few agencies in the city. I was also influenced by Ansel Adams. I was registered for a workshop with him six months before he died. It was really disappointing.

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