Still, life photographer Jens Mortensen shoots mainly modern paintings for excessive-quit department stores and splendor brands. But he keeps shooting for some editorial customers, including The New York Times. Mortensen notes that one big difference between his editorial and commercial assignments is the creative freedom customers deliver him.


Commercial customers commonly come to him with ideas and photographs in mind. “For editorial work, I frequently get a say inside the idea,” Mortensen says. “It’s a lot about developing a clever concept.” For instance, Times editors inform him what a tale is ready and leave it up to him to offer ideas. “I try to inject a little humor into it, so it’s a laugh to examine.” At the equal time, he tries to preserve the ideas “clearly simple, [and] smooth to apprehend.” Often, editors name him to shoot both stills for the newspaper’s print edition and lively gifs for online story versions. “I use the equal image” for each, he says. “But the only one on the internet site has a motion to it.”

For instance, Mortensen was given an assignment closing fall to create eight pics for a series within the Times’s Science section called “Eleven Things We’d Like to Know.” The collection was meant to assist in rejoicing in the 40th anniversary of Science Times. Mortensen’s task is to provide photos illustrating eight large queries of modern-day life, including: Can we live to tell the tale of worldwide warming? Will we be able to therapy for Alzheimer’s? Why are we getting so fat? (Franziska Barczyk supplied illustrations for 3 of the eleven questions.)

“[Jens] changed into just ideally suited to the tone of our task,” Science Times photograph editor Matthew McCann defined via email. “His paintings first stand out for their vibrant shades and lighting fixtures — as we’re compelled to create visuals for audiences habituated to smaller and smaller displays, the right shiny yet elegantly simple picture can stand out. The brightness additionally lends a humorousness, or as a minimum, fun, that hint at the tone of a tale or undertaking in a manner that other conventional, documentary-fashion photography often can’t.”

McCann gave Mortensen every week to finish the mission with the little path. “I gave him a quite indistinct prompt, something like, ‘we want a laugh and brilliant,’  “McCann explained.

“So I brainstormed,” Mortensen says. Thinking through the questions about fundamental human health and survival, “all of a surprise, I became thinking about one of those [human anatomy] torsos where you could take out all the organs. I concept that is probably an amusing way to base a story around…I like those torsos because they have that fine retro appearance, and [I thought] they might image nicely.”

McCann appreciated the concept, so Mortensen scouted around and observed a torso, props, and an old-style syringe needle. He shot the body in various stages of disassembly towards a ramification of colored backgrounds. Mortensen notes that formidable colors are a contemporary trend in still lifestyles photography. “Ten years ago, ninety percent of the whole thing turned into a shot on white or gray backgrounds—often white,” he explains. “Now, there are crazy units with styles and shades. You may have more of a laugh.”

Mortensen photographed the half-head of the torso in a cast-iron skillet to illustrate the question, “Will We Survive Climate Change?” For the query “Why Are We Still So Fat?” McCann suggested surrounding the torso with a pile of hamburgers “simply to be a bit blunter about our point,” the image editor explained. For “When Will We Solve Mental Illness?” Mortensen shot plastic eyeballs placed on a colored historical past, looking at different guidelines. Editors “stated it regarded a little excessive amount of like a freak show. The idea it might offend human beings.” So Mortensen “toned it down” by photographing the torso head interior in a cardboard container instead.

I try and hold humor in mind continually,” Mortensen says of his system. The aid of cartoons often inspires his ideas. “Maybe I watched too many cartoons as a baby,” he surmises, including that once his daughter develops, “I used to observe SpongeBob all the time.”

The cartoon effect shows up in a lively gif, created for The New York Times business table, of a Pepperidge Farm goldfish cracker swimming in a fishbowl. The fish receives very large as it floats to the front of the pan, in the viewer’s direction. There, it hesitates, rocks from side to side, and quickly circles again. “The story talks approximately [Pepperidge Farm] goldfish,” Mortensen says. “What could be extra fun than a goldfish swimming in a fish tank?”

But humor isn’t continually appropriate. The Times business phase is known as Mortensen to illustrate a tale titled “When a Gun Maker Proposed Gun Control.” The story opens with a connection with the capture at a Texas church in 2018 that left 26 worshippers dead and 20 others injured. Mortensen explains that the story was “speaking about how this gunman became capable of emptying a clip of 30 bullets very quickly.” The Times had despatched Mortensen, a single bullet of the identical type used within the clip. Asking himself how he could use it, he got up with the concept of making a gif that shows 30 bullets lining up, one after another, at the velocity they can be shot from a semiautomatic rifle.

Mortensen says industrial customers additionally lease him to shoot gifs. However, they don’t typically ask him to provide you with the concept or even assemble the gifs. “I pull the elements—they tell me what they need—and that they put together the gifs themselves.

Dean Hart
the authorDean Hart
I am a fashion and beauty blogger on, and I love sharing beauty tips, fashion trends, and lifestyle inspirations on the site.