“When I get hired on a commercial job these days,” says Photographer Jack Hutch, “we’re lucky to get a scout day. Sometimes they just send me out by myself to find the angle, make it work and get the content. I thrive in that, because of all the editorial work I’ve done.”
It’s no secret that the job of a commercial photographer has changed immensely over the last several years. Clients expect more from each shoot, often including both motion and stills, and at the speed of a daily news feed. One way Jack Hutch keeps up and keeps fresh is by mixing in editorial shoots.
“With editorial, I get sent on my own, no art director, no client, just me and my camera. I get to explore and be creative, try different lighting,” he says. “And I work one-on-one with the talent, figuring out how to get them comfortable and get that great shot. The assignment is basically, if the situation isn’t happening, make it happen. Then I can apply that learning to more buttoned up commercial shoots.”
Jack often shoots top-tier athletes and high profile corporate power brokers, so he’s also trained in serious time constraints. “You’ve got to work with that element of surprise,” Jack says. “Maybe the person doesn’t want to be there, maybe it’s some bland location. When you’re used to shooting on the fly, your commercial clients can trust you to take the wrong situation and make it right.”
Jack’s secret weapon is his well-stocked Sprinter van/mobile studio. “I keep it loaded at all times,” says Jack. “C-stands, foam core, lighting gizmos, whatever I need for any given scenario. So maybe on Monday we shoot an Olympian, then back in the van, Tuesday shoot a commercial job at a winery, back in the van, Friday at a Boys & Girls Club. Mixing it up keeps me fresh.”
You can see more of Jack’s commercial, editorial and personal work here.