Andrew Matusik, double majored at Occidental College in Los Angeles in Fine Arts and Politics from 1989 to 1993. His art degree was with an emphasis in contemporary painting. Matusik began his photographic "journey" during his extensive travels through out his twenties. He started his photographic "career" in LA, first working as a photographer's assistant to renowned European photographer Neil Kirk from 2000 to 2004.
He moved to New York in 2004, and has since shot advertising campaigns for Time Warner, MTV, Rimmel U, Related, MIMA, Matrix, Randolf Duke, Physician's Formula, and FOX television among others. He has been a regular contributor to numerous magazines, including Shape, Vibe, Vixen, Maxim, ZInk and more recently GenLux, Entertainment Weekly, and Harper's Bazar; published in the New York Times, Popular Photography and his unique style has been featured in both APERTURE magazine and After Capture. In total he has published over one hundred fashion stories for over 24 publications with 12covers and 2 books. His runway work has also been published in over 54 worldwide publications including Cosmopolitan, Bazaar, Paris Match Vogue-Brazile, Style.com, Elle.com. In addition Matusik has photographed over 40 celebrities including Ellen Page, EVE, Kelis, Milo Ventimiglai, Zachary Quinto, Paris Hilton, Hilary Duff, Denise Richards, and Ashley Tisdale.
Matusik is an image creator, collaborating in the creative process of producing fantasy and impact-full images. He does not shy away from pushing the new medium into new unexplored territory. His unique background, coupled with a fresh creative approach, and an aggressive application of new technologies has manifested in a dialog with personalized sensibilities and bold vision appealing to a new generation of visual consumers.
2012 Matusik created a Fashion Video company called Moving Ink, to take his unique visual style to the moving medium.
Matusik additionally founded and established one of the world's first premiere postproduction houses, Digital Retouch. He has been a forceful contributor to the industry's technical transition to digital as well as the cover transition from super models to celebrities. Digital Retouch has been hired by over 75 publications including, Italian, British, Russian, Greek, Spanish, and French Vogue, Elle, GQ, InStyle, and Interview. Digital Retouch has produced 74 covers, and retouched over 90 celebrities, including such "A" list staples such as Jennifer Lopez, Scarlet Johansson, Natalie Portman, Tom Cruise, Brad Pitt, Ann Hathaway, Beyonce Knowles, Jennifer Garner, Justin Timberlake and much, much, more...
Technology drives the evolution of our industry.
When I started Photography in the 90s there was no digital capture. Photoshop was utilized after negatives "digitized" by scanners. We sent film off to developers, had proof sheets made, then enlargements. Retouching was basic dark room adjustments. Drum scans and digital retouching was in its infancy. However, by the early 2000s digital capture was gaining a foothold in the "practicality" mentality and cost efficiency. From a production standpoint, cost savings were a plus, however, the increased control and flexibility were what was driving me to the new medium. My generation grew up on computers and it was second nature to adapt to the changing industry. As an assistant my value was increased significantly due to my expertise in adapting the "new" and the "now" of technology. Through digital retouching we were able to transform celebrities into super models. Perfect skin into your 50s... LOL. Once digital capture was able to replace film, the "digital darkroom" was not just future it was a necessity. Photographers had to become versed in computers, and the software that drove the processing, the archiving, the manipulation of these files. There was new worlds to understand about Gamut, Histograms, CMYK pre-press and RGB color space, black point density ...etc. Technology's drive toward digital made Photography more accessible to creatives, drove down the physical cost of production, BUT... increased the "man hours" and demands on the photographer/image creator. We took over the job of 1) developer, 2) pre-press, 2) retoucher, 4) proof printer and editor, 5) scanner operator / digital convertor, proof publisher and image distributor. These skills were added to your already full load of experience as the lead : lighting expert, camera operator, casting director, location scout manager, executive producer, art director, key problem solver, and ultimate decision maker. But in my opinion, this is what makes this job exciting and interesting. You get to calibrate with people who are experts in all the above areas and you are hands on in directing/steering this ship to port.
The new Future
Cameras today have the ability to capture HD video. SO, it is the "now" that the Photographer of yesterday is now the Director/Videographer of today (...in addition to our responsibilities of delivering the stills). This is an arms race and survival of the fittest requires you to evolve.
I have always embrace technology, what it has to offer and what unlocked and even untamed potential it holds.
I have spent this last year perfecting the "dual" production of handeling both a video shoot and still shoot simultaneously.
This added twist to the photographers palate is exciting.. I have only scratched the surface of the potential for "new" that has just been cracked wide open. You can see more of my video / still combination work on this site under "video" category.