This is Ryan Pfluger. He's awesome. He's a photographer. I was delighted to hire him to write a blog at Nerve.com; he makes beautiful, intimate work that invites the viewer into his world.

Ryan made a really nice transition into editorial work after graduating from SVA's MFA program last year; I squeal with delight every time I see his name in a magazine, and I squealed super loudly yesterday, when I saw he'd taken David Carr's picture for The New York Times Magazine's excellent cover story this week.

I think it's really beautiful.


David Carr, for The New York Times Magazine.


After I finished squealing, I emailed Ryan and barraged him with questions. He placated me with some answers and some outtakes, and now I share them with you. Huzzah!

How did you get this assignment for the Times? What is your history with them-- I know Kathy Ryan was your mentor when you were at SVA-- how has that relationship translated?

Well, after shooting for the Times last August, I'm kind of just in their archive of photographers to use. Besides Kathy, I've met with most of the photo department at the magazine, so they are familiar with my work. Kathy Ryan was my mentor while doing my Masters at SVA last year, and she has continued the relationship. While being one of the most influential photo editors in NYC, she is also the most grounded and down to earth. She is wonderfully supportive of my work, and always interested in seeing what I'm up to.


Kahlief for The New York Times Magazine, 2007

This seems like a great story for you to shoot, given your personal work about your own father. Was that a consideration, do you know, when you were given the assignment?

I believe it was a consideration. One thing about the Times Magazine, is that they really fit the right photographers with the right assignments. They really take in consideration everything the photographer has done, and really makes sure their work and history will match. 


Ryan and his dad.

What specifications were you given for this portrait, and how many setups did you try? Can you share any outtakes?

Pretty much do what I do.  I'm a very laid back photographer.... I'm not one to give a lot of direction, with the exception of where I want people situated.. after that I leave it very open.  I like to think my work is pretty soulful and intimate, and I always try and establish that with my subject regardless if they are a close friend, or its an assignment editorially. I attached a few of the outtakes.. I usually just move around with my subject and chat about their life. That's a whole lot more interesting to me than contrived poses or something.


outtake 1


outtake 2

Lame gear question- how did you shoot it? camera/ lights?

I use a Mamiya RZ and strobes.  I don't use a lot of lighting, usually just one or two.  I like working with natural light.

What were you shooting today for OUT Magazine? How is the editorial work coming, can you pay the bills? Doing any commercial work? Any new personal projects/other exciting things in the works?

I was shooting Aaron Yoo (from Disturbia and 21) and Jonathan B. Wright (Spring Awakening). They are in a movie together with Michael Cera called Nick and Norah's Infinite Playlist. We just chilled out in Brooklyn by the water and fooled around. I'm a big fan of Aaron's work so it was fun to hang out with him. The editorial work is building better and better. It does pay the bills, really well sometimes and sometimes it's really bad (it takes awhile to get checks nowadays).


Gus Van Sant, Paper Magazine, 2007


Ed Westwick, 2008

I'm hoping to branch into commercial work as well. I'm not one of those photographers who thinks it's selling out or anything doing magazine and commercial work. I'm still who I am and I photograph the way I want to. 

As for personal work, I started a project about two months back entitled "Edited".  I'm photographing all the photo editors/curators/dealers in New York that I can. It's all about turning the lens on the people who are currently making decisions about photography. Most photographers don't even know what half these people look like. They are all environmental portraits in their homes, studios or galleries. I've already photographed people like Kathy Ryan, Brian Clamp, and Brooke Nipar. George Pitts, Leslie Martin and Tim Barber are also some of the people that are future subjects.