Text: Julia Frakes
Photo: Kathy Lo
It was a genuine pleasure to catch up with Jamie McPhee – whose frank candor, forthcoming hospitality, and unwavering eye for talent is truly without parallel.
From where does your prized maternal instinct stem?
I’m not sure about ‘prized’ but I’m a believer. I love underdogs and I love fighters. I think people of talent need someone to champion them. My mom taught me that. She did that for me. She’s the coolest.
As a Capricorn, professionalism, reliability, firm foundations and strength of purpose are all common elements attributed to your sign. How do these traits impact and appertain to your post as Kenneth’s studio manager?
Ha. I was supposed to be born as an Aquarius but came a month early. I think that’s why I’m so easygoing; I never really get flustered or stressed out. But at the same time I can be pretty competitive and somewhat demanding, which is true Capricorn stuff. I don’t really understand the word “no” or when someone says that something is “not possible.” And I just assume that my standards are the same as everyone else. I just like creative problem solving, surrounding myself with good people, and getting things done.
How would you describe Kenneth’s work ethic and artistic aesthetic?
Kenneth’s style is aggressive, while at the same time he often adds a touch of humor. His work ethic is the same. He’s relentless but we have a lot of fun. He wants to shoot every day. He’ll get on a fourteen-hour flight from LA to Paris, do a two-day shoot, work with his re-toucher on a few stories and still call me to talk for an hour … even if it’s 3AM. He’s one of the most driven people that I have ever met. I have tremendous amount of respect for him and his work.
What intrinsically bonded you and Dan Martensen?
Our partnership is organic, rooted in strong friendship. Dan and I are very similar in a lot of ways. We both have a warmth and kid-like excitement to us but at the same time we love to work and set very high expectations of ourselves. Kenneth introduced us about six years ago. I’ve seen Dan rise so fast. In two years he’s come so far because he’s hardworking, charming as hell and extremely talented. He has good taste and has made good choices. And you can’t teach that.
What do you perceive your role to be in photography?
Right now I studio manage for both Dan and Kenneth and do some of their productions. The job is different with each of them. Both are organic and we don’t have contracts. I’m not an agent. I don’t think we need to make a big declaration about what my role is. We all know what I do and that’s all that really matters. The greatest thing would be to see both of them achieve unimaginable success, leave an impressive legacy of work behind, and have fun doing it. Whether that’s attained in business with me or just as my friends, it doesn’t really matter to me.
I’m excited for the next wave of photographers primed to break big. Most of my guy friends are photographers – Magnus Unnar, Mark Squires, Jay Hanna, Chris Shonting – these boys are my NY family. I also have so much respect for KT Alueta, Stacey Marks, and Angela Boatwright as photographers I admire both for their work and as women succeeding in what’s still a predominantly male industry. The recession is the best thing that could ever happen to change the game. I look forward to seeing how it plays out in the next five years.
As far as my role during this time, it’s the same for everything I do. The best thing for which I could ever hope is to be a positive influence on someone by helping them realize their potential.
Holding resolute your experience in advertising, what changes to you foresee occurring in online advertising within the next couple years? How has online advertising changed since your career shift?
When I first started in advertising I worked in print and television. Online predominantly meant banners and if you did it you were like the red headed stepchild of advertising or otherwise just a hack. By 2000, I was doing most of the Nike sites for Europe. Back then it was all about big branding sites that were flash heavy: a mix of information and entertainment. It took a lot of nerds to build them and I just wanted to win awards. Now it’s a lot different: content is what matters. You can easily build a site by way of Blogger or Wordpress in an hour. You can acquire 150,000 people to follow your Twitter account or make your own Facebook application. I call it the “Democratization of Creativity” – everyone has the same tools and everyone can make something. But what distinguishes a campaign as “successful” is it content, and the ability to get it out there. I still do consulting, but only for great agencies who don’t care if I work remotely and send documents at 3AM. My latest work is on Adidas Originals for Sid Lee out of Montreal and Amsterdam. They rule.
You have compellingly enumerated some of your choice activities as “conquering, controlling, surrendering, laughing, crying and bowling.” Would you mind expanding upon these pursuits and how they impact your sensibilities?
I like extremes. I lived in Scandinavia for three years. There, if a girl is hot they say she’s “really nice” or if a concert is amazing someone will tell you it’s “pretty okay.” While I loved it there, every day was the same as the next: even, easygoing, sans stress, no big highs, and no painful lows. I need extremes! I like the sour and the sweet. I like that New York can make you feel busted one day and elated the next. That’s how life is supposed to feel! That’s why I love my job. It’s different every day.
What do you make of the growing trend of photographers forgoing the agent-representation process in what many industry insiders refer to as “an anguished effort to save commission fees?”
I don’t think it’s all about getting rid of fees. I think it’s about feeling like you’re a part of a team and feeling like you have control over what’s happening in your career. I know great agents in NY and LA who really do care about their artists and who have a symbiotic relationship with them. I know others who don’t. Nothing makes me feel worse than when someone speaks ill of their agent. I wonder why you would ever want to be involved in that situation. It’s like a bad marriage that’s not good for anyone. No one should go through life feeling frustrated or resentful, whether you are an agent or an artist. It’s bad for business and worse for your being.
