Industry Spotlight: A Conversation with FYT Production

You may already be familiar with the name Christian O'Grady, as he was our Industry Spotlight when the blog first started, and he's a fixture in Detroit's fashion community. Since then, he has taken his photography business to the next level and partnered with his partner-in-crime and in life, Victoria Zegler. Read about what they are doing in the photography world, and get a good sense of their personalities and what they might be like to work with in this interview-turned-conversation.

DGG: Tell us about yourselves, Christian & Victoria.

Victoria Zegler: I spent a good chunk of my college career studying photojournalism at Central Michigan University, where I also worked as a staff photographer at Central Michigan Life, the universities independent student-run newspaper. My senior year was spent as photo editor, where I was able to travel to Radio City Music Hall to cover the 2013 NFL Draft, and it was incredible.

Christian O'Grady: College for Creative Studies is where I graduated and during my time in school, I spent a semester in New York City assisting on commercial shoots, in major photography studios, and interning at Details magazine while attending a studio program through Parsons. Traveling to other places is one of the most inspiring things to me. It feeds my creativity.

VZ: I also got to study abroad during my time in college, living in Bangkok and backpacking through Cambodia, Laos and Vietnam. I’ll never forget the beautiful beaches, authentic street food and buckets of alcohol. Only in Asia do they serve you alcohol in BUCKETS.  

CO: You have a lot of funny stories from your travels, those are my favorites!

VZ: After I graduated, I started working for the Detroit Pistons for our good friend Dan Lippitt. Working for such a big corporation with such a large following in a fast paced environment was an awesome job to throw myself into after college.

CO: Dan introduced Victoria and I. Dan has been one of my mentors, it was great to get a technical education from CCS but getting on the job experience with Dan was one of the first photography-related jobs I had. We would do shoots several times a week and then retouch side by side and learn from each other. That time working with Dan made me into the multi-faceted photographer I am now. My work from when I was in school was meticulous and very time consuming. Dan showed me ways to shoot extremely fast, and that is an incredible skill to have when you need it. 

University of Michigan Chef Gala, 2014, (Victoria Zegler)

DGG: Tell us about FYT Productions.

VZ: We had been flirting with the idea of working together officially by merging our different photo backgrounds since last year.

CO: FYT officially launched at the start of 2015. Victoria and I, started a blog where we could show potential clients our combined work, which we also post through various social media to gain exposure.  

VZ: We want to show people that we’re offering a service that is deeper than just taking pictures.  With Christian’s background in studio work and mine in visual journalism, we’ve come together to tell stories that are inspiring, cinematic and character-driven.

CO: …and with each project we craft them in collaboration with our clients from development throughout post-production.

VZ: It was with that idea of a unique experience that the FYT brand was invented.

CO: Everyone asks ‘What does FYT stand for?’ I like to say, FYT changes dynamically because we change based off of the needs of our clients. My favorites are Future You Is Thankful and Follow Your Truth.

VZ: Mine is Forget Your Troubles, I thought of that one!

CO: Our clients range from designers and artists to small businesses and large corporations.

VZ: All of them are different, but one thing that ties them together is that they each have a story, one we want to share with crafted imagery.

CO: FYT offers continuous brand specific content in the form of compelling photos and videos.

VZ: We are available for hire for events, environmental portraits, public relation interactions, music videos, promotional videos and other photo or video applications where the client is looking for professional quality.

DGG: For designers, photography is an essential part of business, but for other companies who may offer services and not products, hiring a photographer might not be on their radar. Why should a company that provides a service hire, photographers or use photography for its business?

CO: Everybody and every brand in existence has the opportunity to control their online image. 

VZ: We help craft that image and tell the story our client wants to share with their audience.

CO: There are so many social media avenues that need constant updating. When you are trying to represent your brand identity online you want to showcase it in the best light.

VZ: Figuratively and literally in the best light. 

CO: Yes! That’s right Vic. 

VZ: Let’s say for example a PR company wants to improve its image, rebrand. We could start with environmental portraits around the office to show the work atmosphere, as well as show its employees in a more dynamic way than typical headshot.

CO: Then Victoria will come in and use her photojournalism background to capture the story of an event this company is sponsoring. 

VZ: We know how to pay attention to the light, the angle, the lens selection, the background, the signage, to create a specific look.

CO: That’s where we get back to brand identity. If you keep hiring us, it’s consistent brand identity.

Futuristic fashion spread, Styleline Magazine, 2012 (Christian O'Grady)

DGG: What is the importance of quality photography in world full of Instagram amateurs? Why should a company hire a photographer vs. trying to do it themselves?

CO: Everyone has a camera in their pocket in our modern society and everyone knows basically how to take a photo. The difference is we as professional photographers have the opportunity to use advanced equipment to make thousands of photos a week. All of that practice over the fifteen years of combined experience we have lets us focus on every facet of the photograph to create impactful imagery.

VZ: Making images vs. taking photos…

CO: Exactly! When she needs to, Victoria will get like two inches from the ground in some sort of deranged yoga pose to get the angle she wants for a shot. That’s because she wants to control her background to make the photo look as interesting as possible.

VZ: That’s one example of the many different decisions we are constantly making as we photograph.

DGG: Why should a fashion company hire you? What do you bring to the table that other photographers won't?

CO: Working for a fashion magazine, Styleline, for 5 years as the main contributing photographer gave me the amazing opportunity to plan, prep, and photograph over fifty unique fashion spreads. All of that experience gives me the ability to understand the potential problems of shoots, and ways to work around those issues. 

Detroit Pistons, 2014, During the pregame fan hand tunnel following Kentavious Caldwell-Pope. (Victoria Zegler)

DGG: What does your office space look like? 

VZ: Our office space is part office and part photo cage. We have a desk that we sit across from each other each with our own iMac and a clutter of papers, memory cards, and computer hardware. We have a white board with all of the current client projects we have going. The perimeter of the room is filled with lighting equipment, camera gear, a charging station for our multitude of batteries, eleven photos from Christian’s collection of work hang on the walls.

CO: We still want to put up more art - it’s a work in progress.

DGG: Describe your style.

CO: Victoria loves to dress in simple black garments. I try to get her to wear color because her personality is very colorful.

VZ: I wear more than just black. I like things that are comfortable, that have a great flow, and pieces that create shapes.

CO: My style is still taking shape. I’ve been trying to work on a utilitarian futuristic style for the past couple of years. It’s an ongoing project of collecting pieces that I love. To me, it’s important that my clothing is made for function over form.

DGG: What is your most favorite article of clothing you own, and why?

CO: My 1883 Wolverine boots are beloved. They are extremely functional work type boots with a two tone grey on brown outer and a rubber sole with amazing traction. The only problem is they squeak on smooth floors. My Craine&Love black t-shirt is another favorite because it feels amazing and I have to keep up with Vic on wearing black.

VZ: Pshhh. My favorite is a vintage piece my mother handed down to me. It’s a red sleeveless dress that falls just above the knee with white polka dots all over it, and a belt around the waist. I always feel so young and full of life when I’m in it. Not to mention all the twirling I can do when wearing it!

Portrait of a woodworker, Jose Regueiro, 2014

DGG: How do you take your coffee?

VZ: Tea is more my taste preference, and I’m not big on caffeine. Tazo Passion tea is my favorite, especially when it’s on ice!

CO: We are doing drink orders? Okay, I’ll take a Smart Water, the one with the nozzle, and a Rehab Monster Energy drink, Peach or Lemon. Thanks. 

DGG: Annie Leibovitz or Mario Testino?

VZ: Mario Testino! 

CO: Yeah, me too.

DGG: Action photography or product/portrait photography?

CO: Portraits are my favorite, especially environmental portraiture.

VZ: Put me right in the middle of the action!

CO: That separation is what makes us such a strong team. I’m strong where you are weak and vice versa. 

Industry Spotlight: Photographer

Christian O’Grady, CCS graduate and one of StyleLine’s former contributing photographers, has an extensive background in many different forms of photography. From fashion spreads to basketball action shots, Christian consistently cultivates his craft and learns from his mistakes with every click of the shutter button.

Christian, in his eloquent way, tells us his story in today’s Q&A.

DG3: Tell us about yourself and how you got your start in photography.

Christian O’Grady: The Wizard of Oz as a little boy was the most amazing thing I had ever seen, and from that my immense fascination with motion pictures began. Cinematography has always been one of my main inspirations with my photography. I picked up a camera a few years before the turn of the millennia when my late nana, my biggest fan (who would let me climb on top of her head when I was a tot), split the cost of a Minolta 35mm film camera with my supportive and rather loving mother. Constantly experimenting with what I could do with long exposures, double exposures and time in the darkroom took me all the way through high school into college. Starting in community college, I finished my BFA while I was attending College for Creative Studies in Detroit. Halfway through my four years at CCS I started my first major photo job working with the Detroit Pistons. Working with the Pistons, I met Dan Lippitt, who is an incredibly versatile photographer and has been a huge influencer and my greatest mentor, as well as a personal friend. 

As I continue to work on taking the best photos I can, my next big learning experience will be working with video. Motion pictures are my original inspiration and I look forward to diving in and producing some beautiful moving images.

DG3: How long have you been shooting fashion photography?

CO: The first fashion photograph I took was in 2004 in my first studio lighting class and it was a failure in my eyes. I completed the assignment with a good grade but I knew something was off. This was upsetting to me and I felt incredibly frustrated. As I talked to my teacher I realized that it was all of the details that added up to the image not looking how I expected it to look. It didn't look like the fashion photos that I had come to adore peering into fashion magazines. From there I decided I would fix all of these tiny details and that would add up to a great image. (I still take this approach when retouching.) This realization gave me a jumping-off point to constantly push myself to make better photos. I have taken very few images that I'm completely satisfied with. Usually I find things I wished I had done differently. In the end there are no perfect photos but striving for perfection is a powerful way to create.

DG3: Shooting products, what have you learned that could be helpful information for business owners who want to have their products professionally photographed for a website? Any tips, hints, suggestions to share that could make the job easier for everyone?

CO: Product shoots are funny. I don't think very many people stop to think that product photography is even a thing. It's one of those situations that is best when you can't see the wires, the behind the scenes – you just see the final product on the screen and have no thought of the camera. Retouching is the same way. It looks great but no one knows about the work that goes into all those little details. As a business owner, it is great to know how you want your product to look. Do you want to have it totally clean with no shadows so it appears to be floating, or do you want it grounded and natural? When I'm shooting in the studio and working with Photoshop the possibilities are nearly endless, so I need to hear what my client wants to accomplish. Having a clear idea of what you want, and possibly showing me inspiration photos of that idea are beneficial to both the client and myself.  

In 2012, I had an online boutique menswear company come to me and requested the clothing look like an invisible person was wearing it. At the time I had never done anything quite like that, but I was confident in my skills so I accepted the job and made hundreds of images of gorgeous ultra-high-end menswear pieces that looked as if a ghost was wearing them, when really this guy was wearing them.

DG3: For professional headshots, how do you suggest your subjects loosen up, and what do you do to help people get comfortable in front of the camera to get the best picture possible?

CO: If you are coming in for a photography session the worst thing you can do is walk in and say, "I hate having my photo taken," or "I look awful in photos." If you say that, I know that you are not in a good state of mind; the negativity shows in their expression, even if they are putting on a smile. Getting your mind to a place of comfort and confidence is the best thing you can do for a photo shoot. When I'm working with a subject who is very nervous or a subject who tells me they hate getting their photo taken, I try to gain their trust. Sometimes, I'll just start taking photos and hope that I can get them feeling use to the camera or I'll show them some of my work to try and make them feel comfortable.

DG3: What's the most important thing you want your potential clients to know about you?

CO: I want to make my clients happy. Working with people is the highlight of my job. As a client, know what you want but be flexible and allow for progress during a shoot. It is unfair to compare photographers only based on price. There are many factors that go into pricing. I try to dictate my prices based on the overall effort and time put into the work.

DG3: How much equipment do you typically bring to a photo shoot?

CO: The gear I use is totally based on what I think will be the best for the situation. It ranges from one camera with one lens all the way to a car full of lighting, cameras, supports, backdrops, fog machines and hopefully video equipment will be added to that list soon. I want to stress the importance of light in photography because it is the basis of the medium. I try to consider each photo shoot as its own entity and work with what I have available. If a shaft of light is streaming in across the room then I will try to take advantage of that. If no good light is available then my lighting gear becomes quite important. I have the best equipment I can afford; however gear doesn't make the photographer. I have shot images with a point-and-shoot camera that have been published. Shoots are not about the gear. To me shooting is about the connection between the subject and myself while the camera is in the middle. 

DG3: Do you have any advice for new photographers who want to get into fashion and how do you suggest they get started?

CO: Shooooooooooot!!!! As much as possible, take photographs – there is no replacement for practice. Look at photography, look at film and look at everyone around you. Think of how you could make pictures of everything around you. Make pictures in your head if you don't have your camera with you. When you find a photograph you really like, try to take a similar photograph and see what you learn. Look at the differences between your work and the original. When you are on a shoot get a safe shot, then push past any conventions and try to make a knock-it-out-of-the-park, home-run picture. There's so much to learn from looking at photographs, from movies and from watching things in the world around you while thinking about how it would look through a lens. 

Also, network. Find other people who are passionate about what you do and work with the best people you can find. From there, reach out to other people who are passionate about hair, makeup, styling, and whatever else you might need and share your passion for photography with them. Be open to working with a lot of different people, learn from all of them, and you will figure out your own way of doing things.

DG3: What inspires you?

CO: 1. Film, cinema, movies: yes, yes, yes!

2. The female form is delicate and one of the most beautiful things in this world.

3. Travel or seeing something new.

4. New technology is often a catalyst for me to start something new.

Right now, I'm so into brushless motor 3 axis gimbal setups for video. It's an amazing new technology that brings a beautiful fluid-like stabilization to the prosumer. Google Movi to find out more, or check out this video: Movi behind the Scenes.

DG3: What are your services and how can people get in touch with you if they'd like to use your services?

CO: I’m freelance through and through; my experience ranges from portraiture to product to event photography. You can contact me directly through email: christianogrady@gmail.com, on my website: www.christianog.com, add me on Facebook: facebook.com/ogphoto or walk around Pontiac till you see me riding my bike, then tackle me and beg me to take your photo (just kidding).

DG3: What's the craziest/most fun photograph you have taken? Or have you done anything funny with while retouching photos?

CO: When I staged this photo we did so many takes because I didn't want to Photoshop people in, I wanted it to be real. The timing, the placement and the expressions had to be great for everyone.

DG3: Terry Richardson or Bruce Weber?

CO: Terry Richardson isn't comparable to Bruce Weber. Terry Richardson's photography is about him as a character and what he can get people to do. He has little regard for lighting (sticking mostly with his on camera flash look), which is the very essence of photography. Bruce Weber is a master of the medium and he also can get amazing moments from his subjects. All that being said, I'll take Richard Avedon. 

DG3: Nikon or Cannon?

CO: Canon is the gear that I shoot with but I have used Nikon and various other systems and they all have their strengths. The little spinning wheel on the Canon cameras keeps me coming back.