Stan Fellerman Photography

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

1 employee

48 years in business

Serves Litchfield , CT

Photos and videos

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Paul B.

Stan is a seasoned professional who brings so much knowledge and background experience to every aspect of fine photography. He is patient and supportive, and he knows how to relate to me as a student, giving me just the right amount of encouragement and knowledge in order to expand my own understanding in a practical and fun way.

March 19, 2020

Frequently asked questions

What is your typical process for working with a new student?

LANDSCAPES

From the time I started taking pictures, I've been capturing landscapes. Living in New York City, you'd think that it’s difficult to take landscape photography. Well, it was all right there in front of me. I recently found an image I captured while I was still in college, living in New York. I was below the Brooklyn Bridge, on the Brooklyn side, looking towards Manhattan. The street looked like it hadn’t changed in 100 years. There were the old factory buildings, cobblestone streets, and railroad tracks. I pointed the camera south and captured the image. My best landscapes are of scenery that I looked at every day. While living on Fire Island, I did a study of views I saw every day. I shot these pre-digital. In fact, I shot them using my 8X10 Deardoff. I would bring the camera, film, dark cloth, my heavy-duty wood tripod, load it all on to my bike, and then go pedal off to the location. I would take two film holders, which is four sheets of film, set up, focus, and hope for the best. I lived on a farm for a few years and shot many images. It was not hard to find something to shoot. I shot everything at all different times of the year. I loved the tree-lined driveway, the paddocks with their wooden fences, and the hay stacked and piled up like a city. To this day, I look around every day while driving into town and back, looking for that perfect landscape photography. From the time I started taking pictures, I've been capturing landscapes. Living in New York City, you'd think that it’s difficult to take landscape photography. Well, it was all right there in front of me. I recently found an image I captured while I was still in college, living in New York. I was below the Brooklyn Bridge, on the Brooklyn side, looking towards Manhattan. The street looked like it hadn’t changed in 100 years. There were the old factory buildings, cobblestone streets, and railroad tracks. I pointed the camera south and captured the image. My best landscapes are of scenery that I looked at every day. While living on Fire Island, I did a study of views I saw every day. I shot these pre-digital. In fact, I shot them using my 8X10 Deardoff. I would bring the camera, film, dark cloth, my heavy-duty wood tripod, load it all on to my bike, and then go pedal off to the location. I would take two film holders, which is four sheets of film, set up, focus, and hope for the best. I lived on a farm for a few years

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.

Services offered

Photography