https://trope.com/blogs/news/stepping-into-the-arena

I first heard the name "Victor Skrebneski" when a high school friend's father, who knew of my interest in photography, mentioned his name. Victor's work was distinctive and his lighting was different than anything I'd seen. I couldn't have imagined that just a few years later I'd have the opportunity to meet him in New York and subsequently work with him for several years. I remember one of the questions he asked when interviewing me for a potential job as a photo assistant: Do you have a passport? (No, I didn't, but was ready to go and get one.)

When I first started working as an assistant, I was nervous every single day because I had NO IDEA what I was doing. Victor's colleagues, Dennis Minkel (production coordinator and stylist) and Jovanna Pappadakis (studio manager) offered encouragement and advice as I learned the ropes: setting up lights and strobe power packs, developing black and white film, making prints, checking inventory (including keeping hundreds of rolls of 120mm color film in the freezer, ready to be used, as needed), etc. Victor, for his part, was patient and understanding when I mixed the developer in the wrong concentration, shipped out the wrong size prints, and underexposed some pictures for an important client. He should have fired me several times, but he didn't. He helped me learn from my mistakes, and taught me how to take a picture, how to deal with clients, how to run a business, and countless intangible aspects of how to be a photographer. For that, I will always be grateful.

Rolling Stone just used my portrait of Liz Phair to headline an in-depth story commemorating the 25 year anniversary and reissue of her debut album, Exile in Guyville. We worked together on so many different shoots during this time that a photo editor at one of the magazines asked if we were married (we were not). She seemed to always arrive prepared, with ideas in mind and wardrobe in hand (no stylists). She brought energy, creativity and a sense of adventure to these collaborations, once balancing on the rooftop edge of my old Milwaukee Avenue studio, four floors up. Liz's artistic confidence went well beyond her life as a musician.

My colleague Sam Landers and I have been working on book projects in Chicago, London and Hong Kong, showcasing the work of young and emerging photographers in each of those cities. As part of that series (called Trope City Editions) I’ve been doing portraits of the photographers, most of the time in locations that they might pick themselves. Sometimes it takes a few minutes for these reluctant subjects to adjust to being in front of the camera, but most settle down quickly and make it easy on me. I’ve been using a range of cameras, Hasselblad, Leica, and Canon — and am always interested in which cameras the photographers in front of my camera like to shoot with: Sony, Nikon... iPhone. The Chicago book will be in stores by fall, with the others to follow. Check updates at www.trope.com.

When I was growing up, the name Studs Terkel was legendary. The name itself, “Studs,” brought forth a fictional, larger-than-life character out of the past.

He was a fellow Chicagoan, but somehow removed, remote, of another era. His distinctive, raspy voice could be heard on his radio program where he shared his love of literature, music and the arts with his many fans. When I first heard of Studs, the new chain bookstore Barnes & Noble had just opened stores in Chicago (long before Amazon!) and I was asked to take a portrait of Studs that would appear in an ad for the well-known local bookstore, Kroch’s & Brentano’s. Studs was always on the side of the underdog, and was a prolific author, so it made sense that he would champion the cause of this favorite independent retailer that was starting to feel the pressure from the large national chains.

I’m not sure, but he probably took the bus over to the studio (he never learned to drive) and walked in wearing his usual uniform: red checked shirt under a thin sweater, a well-worn khaki trench coat… red socks and comfortable shoes… all topped off by a serviceable, shapeless hat. He looked like himself, and was ready to start interviewing me as soon as he arrived (as if to gauge what kind of photographer he was dealing with). He asked: Who are the photographers you like? Whose work inspires you?

In the fall of 2016 I was asked by longtime client Bart Crosby to do a portrait of Blase J. Cupich, the Archbishop of Chicago, who had recently been elevated by Pope Francis to become a Cardinal. The photograph was to be the official portrait of Cardinal Cupich for the archdiocese, with prints of various sizes hanging in churches and schools. Years ago I’d had the opportunity to photograph Cardinal Bernardin for a book project and, later, Cardinal George for The New York Times Magazine, but the thought of doing the official portrait gave a little extra pressure to get it just right.

I wanted to know: what had been done in the past for these official portraits? The Archdiocese showed me some prior examples, but they seemed out of date in terms of providing any real guidance. The portrait needed to feel timeless, yet relatable and real.

We scouted several possible locations and decided that the 1880s Gold Coast mansion, the traditional residence of Chicago’s Archbishop, would provide enough room to set up a simple background as well as provide rich and interesting rooms to shoot some more editorial-style portraits. The date was set and details were prepped. Assistant Kevin Serna and I were originally supposed to arrive at 7am to start setting up but we got a call pushing the time back a few hours; very late the previous night the Chicago Cubs had inexplicably won the World Series(!) and everyone, including the photo subject, was tired.

Late Fall of my first year at Rochester Institute of Technology I realized I didn’t have the funds to make it back home to Chicago during Thanksgiving break, so I made plans to take a bus trip to visit my aunt, uncle and cousins in New York. They lived at 122nd and Broadway, not far from the campus of Columbia University. During my stay they mentioned the mother of their neighbor and friend was a photographer and she had a studio in the Carnegie Hall Building. Maybe I would like to go see her and show her some of my pictures? Of course I would! A real New York City photographer! Arrangements were made for an appointment Monday at 10am.

I arrived and made my way through the maze of hallways and back passageways to what I thought was her door on one of the upper floors. I think I had to ask directions several times and wasn’t sure I had the right place, but went ahead and tentatively knocked. I could hear a loud conversation on the other side of the door, but nothing to indicate my knock had been heard. I tried again, slightly harder, but again no response. Gradually knocking louder, I finally heard, “COME IN!” About ten feet inside the unlocked door was the neighbor’s mother, wearing an unusual dress, dramatic scarf, and elaborate wig. If she noticed me, she didn’t show it, and continued a boisterous telephone call, which I couldn’t help but overhear: Lawsuit. Copyright. The Cover! Autobiography. Henry Fonda.

This week, tommaday.com has relaunched!

For the last several years, I have been traveling frequently and have had the privilege of shooting in many locations around the world. Some of my favorite images are included in the new Global section of the web site. I continue to shoot both Business and Editorial Portraits throughout the year and recently joined Trope Reader as a co-editor, expecting to publish three new titles at the end of this year.

I look forward to hearing your feedback. If you'd like to see any additional images, contact me as I have several additional portfolios that I can share with you. Thank you everyone for all the support over the years – I hope this web site will make it easier to see the work. Look forward to connecting soon -

– Tom Maday