
About
Stan Fellerman graduated from Pratt Institute and began his photography career in New York City, where he worked directly for clients such as ABC Television, AT&T, Kodak and Pepsi.
While working with major ad agencies, he produced work for clients including Fisher Price, Quaker Oats, Wendy’s, Myers Rum, Eagle Snacks, Gerber, Visa, and The US Army.
He was a principal photographer for Opera News, working with well-known opera personalities such as Placido Domingo, Luciano Pavarotti, James Levine, and Kiri Te Kanawa. He also worked on recording projects with London, Decca Records, Columbia, and Sony
Fellerman's work has appeared in People Magazine, Vanity Fair, Cigar Aficionado, Cosmopolitan, Self, Woman, Parents, New York, Saturday Review, Connoisseur, and Reader’s Digest.
Some of the most fulfilling recognition he has received over the years include the Creative Award from Art Direction Magazine, a DESI award from Graphic Design USA, the Andy Award of Merit from the Advertising Club of New York, and Legends of Advertising award.
Fellerman taught a the School of Visual Art in New York City
www.stanfellerman.com
PETS /PEOPLE
We all love pets, and when you’re a photographer, your pets become your number one photo subject. My breed of choice became golden retrievers. I really fell in love with my second golden. His name was Roscoe. The very first photograph I took of him was after a snowstorm. I submitted this image to a stock agency and it’s sold over 100,000 times—mostly as a screensaver in Japan. What I really loved was photographing Roscoe as a puppy, so I had to find other puppies to photograph. I found a person who had a network of golden retriever owners that would breed their dogs. So I would get in touch with these owners and I would schedule a shoot a day before the puppies were scheduled to be picked up. I found out a lot about shooting dogs. The best shots happened when the owners were good handlers. This means they would work with the puppies and help me set up the shots. The better the handler, the better the shots. Some other tips are: The best shots are when the puppies have their tongues out. It’s also best to work with the puppies after they’re fed, so they are calm. There are three things you have to do to get great images of puppies: one is to be patient, two is to be more patient, and three is to be even more patient.
Highlights
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Frequently asked questions
What is your typical process for working with a new student?
LANDSCAPES
What education and/or training do you have that relates to your work?
BEAUTY
Beauty is my secret pleasure. I’ve had a long career as a professional photographer, and when I look back at why I became a photographer, one of the reasons—not the only one—is I wanted a career in which I would be surrounded by women. This may sound crazy, but in the era when a person that went into music to become a rockstar in order to be surrounded by women, photography was the next best thing. Not to mention, I have no musical talent.
I started by doing headshots. One day I got a call from a woman who needed a portrait. She said she was coming with a friend who did hair and makeup. This was my first assignment that I had this type of support, and it opened up the world to me. From then on, I knew that to get great beauty shots, I needed professional hair and makeup. This carried through to my work with opera personalities and with actors and actresses doing lifestyle photography.
A makeup artist is the first person that has contact with your subjects. I found having a makeup artist with a good personality helps relax the model. When you set the atmosphere so the model feels they are in a place where they’ve been taken care of, it sets your shoot up for success.
There are many things that you need to handle next. The most important is wardrobe. Wardrobe makes or breaks a shoot. In most cases, the model brings wardrobe. This is tricky. Speaking with the model beforehand, letting them know what you were looking for, and seeing what they have is something you must do. When you are doing advertising or editorial, you have a stylist that brings the wardrobe. You work with the stylist going over the details of the shoot and they speak with the model, they see what they have, and then they shop for the rest.
If you handle all of the above, you then know that your image will be successful even before you start shooting. Working with the model is when the magic happens. Over time, you develop a technique that you keep refining with each project.