R/West invites Andy Batt to speak at their R/20 anniversary event

Portland agency R/West invited Andy to speak at their 20th anniversary party last night. It was a PechaKucha style event, and included a great variety of talented makers speaking on a range of fascinating subjects. Each speaker had to choose a word that started with R. Andy chose Reveal.
Most interestingly, we realized that we are celebrating 20 years in business as well, and that R/West was one of our very first clients! 
Jon Bebe and Andy Batt at the R/West R\20 event. photo by Byron Beck
photo courtesy of Andrew Walsh
Here’s Andy’s full talk, we hope you enjoy it!
Atacama Desert, Argentina

Reveal. It’s one of the things photography does best—it’s an artist’s tool for revealing story. For uncovering patterns. For seeing things with new eyes. This is true when you are making a photograph, and when you’re studying a photograph. A good photo tells us two kinds of stories—the story that you bring to it, and the story that it brings to you. Great photos keep revealing new ideas, different patterns and grow their stories. 

I had the opportunity to visit the volcanic deserts of northwestern Argentina. This was a present from my wife Therese—she’d gifted me with a creative photography retreat—a week of being unconnected, of being somewhere to just do photography.  I’d just finished a 2 year project writing a photo textbook and she somehow knew that I needed something to clear my head. She gave me a chance to make what I think of as pure photographs, being able to work on something different from my day to day photography. To make a pure photo is sublime thing—it’s a unique juxtaposition of elements and time. Sometimes you know you’re making one, but most of the time you’re hoping you’re making one.  

Atacama Desert, Argentina

Photographers reveal stories with their images. Sometimes those stories are driven by characters, or by light, or by shape, or by an idea. Sometimes, they’re driven by a need to create yet another photo of someone smiling and holding a phone and pretending to text with their mom.  I believe It’s not enough for a photograph to just be pretty—it needs to hint at something bigger.  It needs to feel like a door that you can open, even if you just get a glimpse at what lies beyond. 

To accomplish this, my brain wants a plan. And not just any plan—it wants one with fractal levels of detail, with as much ‘what if’ gaming as I can come up with, it wants to problem-solve everything in advance. There can be a big benefit to this kind of madness: it lets me know that once I begin shooting, I can stop worrying. I can stop thinking and start doing.  I plan so that I can create space for spontaneous stuff to happen. If I do it right, I’m planning so I can get out of my own way.

Atacama Desert, Argentina

I love the desert. It’s like going to a different world. It’s a place that is relentless, it’s harsh, it’s beautiful, it’s full of incredible light and shape. It’s a place full of challenges. The deserts of Argentina promised to be even more beautiful and alien and unexpected. It would be a singular experience. This was a once-in-a-lifetime level of expectation. Suddenly the deserts of Argentina began to take on a lot of emotional weight. Suddenly I was afraid of failing to live up to the potential of this trip.

I tried hard to come up with a project for Argentina. I wanted to do something specific. I wanted to go there to make a certain kind of photograph. I needed to know what tools to bring—what lenses would I need to put in my bag? I wanted to make photographs that would be NEW and EXCITING and DIFFERENT. I wanted a project that would be equal to the amazing place I was going. I worried about it. I dreamed about it. I searched for inspiration. I waited for the project to reveal itself. 

Atacama Desert, Argentina

I’m not a traditional landscape photographer. I’m impressed by anyone who can find a single spot and spend the entire day there, watching the light, becoming one with that place. That’s not me. I know this about myself. I run around. I explore. I like to play visual games. I want to see everything from every angle. Most of all, though, I like to know what I’m supposed to be doing. I like to know why I’m there.

So I failed. I didn’t come up with a project. Which meant I didn’t have a plan. Which meant that I didn’t have anything to meticulously obsess over and research. This was absolutely terrifying. And not the good kind of horror-movie terror that gets your brain engaged and firing. This was anxiety and stress building terror. I left for Argentina with a backpack full of camera gear and no clear idea of what I was going there to do.

Atacama Desert, Argentina

The Argentinean desert didn’t reveal its stories easily—the harder I tried, the more it resisted. It’s a visually overwhelming place. It’s bigger than your imagination or your camera. The scale is beyond human—it’s hard to grasp. It’s ancient and volcanic, and filled with wind sculpted rocks, cinder cones, lithium lakes, lava flows, blindingly white dunes, and seas of black sand. It’s filled with vast quantities of unique and fragile shapes, lit by fleeting moments of light. For me, it was also filled with 3am jeep rides along roads that barely deserved the title. It was 12,000 ft of thin air and headaches. It was not eating or sleeping very much, and trying to stay hydrated.  It was a challenging place. It was a beautiful place. 

There’s a world of difference between the act of photographing and the photographs themselves. Taking a photograph is about the experience of being in the moment. It’s about being present, being in the now of the place you are, of reacting to the light, to the shapes, to the sounds—to everything around you. You are framing your experience with your lens. The photographs are different. You need to look at them and separate out the experience of making them. You need to see the story of the photograph, not the photographer.

Atacama Desert , Argentina

I was reviewing my work each night— looking at how I was interpreting this strange place. I began to more purposefully see the photographs on their own terms—to remove my story of making them, and to allow the photographs to have their own story. I realized a project was crystalizing on its own—and I just needed to get out of my own way. I have a voice that’s constantly judging the work I do, as I’m doing it. I’m sure many of you are in touch with your own inner critic — if you’re not, don’t worry, it’s still there, whispering into your ear whether or not you’re aware of it. Your inner critic makes you doubt what you’re doing, it stops you from persevering. It can stop you right in your tracks. It’s hard work to quiet the inner critic. 

There is a strange logic to this. I couldn’t conceptualize this work because I needed to be out there making photographs. To know what I was doing, I needed to go do it.  

I needed to get out of my own way.  I needed to have my boots on the desert floor, to walk in the twilight, to sit still as the sun rose, to shelter in the shade during the high sun. There were ideas and patterns in the photographs I was making. I just needed to slow down, be less judgmental, and be more present. The only way to move forward was to stop worrying if I was doing it right. 

It might have been partly due to the lack of sleep and the thin air, but I was able to make a profound adjustment to the way I was working. These images still have surprises for me. Every time I see this work it’s a confirmation that I need to trust my instincts more, to slow down and be more present, to let the ideas and patterns reveal themselves, and to try not to have a plan for everything.

Go to the full gallery of the images here. Prints are available, contact us directly for a price sheet.


Atacama Salt Flat

Curious Comedy Showdown – Six players enter the stage. Only one will survive.


Dramatic entertainment photographer Andy Batt created these hilarious portraits and video for Curious Comedy Theater’s Showdown improv comedy showcase.

See the final results here!

Six players enter the stage. Only one will survive. Often referred to as “The Hunger Games of Comedy” the Curious Comedy Showdown pits Curious Comedy’s finest players against one another in competitive improv matches that will make you laugh until you cry. Armed only with audience suggestions and razor-sharp wit, the players must create fast-paced hilarious scenes on the spot to win audience votes – round after round – in hopes of living to see another day.

Andy and artistic director Stacey Hallal sat down to hash out concepts, while Andy sketched some of his ideas. They agreed to the idea of a spoof on cowboys and the Wild West, and the final results are very close to those original sketches.

Featuring improv comedy performers Hallie Zmroczek, Audrey Butler, Matt Lask, Jenn Hunter, Eric Simons, Craig McCarthy, Tyler Quinn, Sarah JK Shoemaker, Nick Condon, Chad Parsons, Nathan Loveless, Bill McKinley, Chris Williams, Jay Flewelling, Laura Sams, Chase Padgett, Stacey Hallal.

Andy’s sketches during initial conversations about the shoot.


Bad Choices Project Launch

Turner is one of the characters featured in the Bad Choices Project. She has fallen into a hidden library bunker filled with old books and a skeleton.

Cinematic photographer Andy Batt launches the Bad Choices Project.

Portraits of 7 of the characters featured in the Bad Choices Project.

See the entire project here.

Introducing the Bad Choices Project, a visual screenplay in-progress by dramatic photographer Andy Batt. He has created a dystopian world inhabited mainly by strong female characters. This project is called Bad Choices, named after the town that is at the center of this conceptual screenplay.

The photographer, known for his gritty sports and entertainment comedy portraits, set his goals high. “I was tired of photographing happy people holding happy products and pointing at happy screens. I wanted to challenge myself, get outside of my comfort zone”.

He went well beyond any comfort zones. Andy’s photography always tells a story regardless of the assignment. But to create a personal body of work that he could really sink his teeth into, he needed something bigger. His personal tastes and inspirations come from the world of sci-fi, so he decided to start there. The project began as a character study with 12 different actors, and has become a full blown dystopian screenplay with overlapping story lines.

Poster art of 7 of the characters featured in the Bad Choices Project

From each character study, Andy started by painstakingly concepting and creating the key poster art for each character. One by one, the story has slowly revealed itself. He has taken the project through 3 separate artist retreats on Anderson Island— using mind mapping, film research and creative brainstorming, all funneling in to the creation of the conceptual photographic scenes.

He knew he couldn’t attempt this project by himself, and so he reached out to a crew of talented artists to ask them to contribute to the project. He first reached out to Hair and Makeup Stylist Terri Lodge to help flesh out and design FX driven makeup to represent each of the characters.

Costume designer Rebecca Therkelsen was then quickly brought on to collaborate with Andy on the costuming, digging into the backstory of each character, to create a unique wardrobe for each of them.

Art Director and Prop Master Ron Skrasek jumped at the chance to play in a post-apocalyptic world. His ability to transform words into key prop and set pieces have been critical to the visual storytelling.

Camera Assistant Galvin Collins was brought on as a key resource, contributing to all areas of production.

Naturally, Andy’s Business Partner and Producer, Therese Gietler was responsible for logistics and project management, with critical help from Producer Assistant Misty Post.

Designer Adam Murdoch also gave significant guidance to Andy and the project. His combination of graphic design and brand experience gave the project an immense amount of focus. Adam’s unique process created an amazing brand and design for Bad Choices.

What’s next for Bad Choices? 

With 7 posters and supporting art already in the can, the artist has 5 more to go, but that’s just for starters. The project grows with every collaborator contributing new ideas. There are talks of filming a cinematic trailer, recording a podcast, and publishing a graphic novel. It has even been suggested on numerous occasions that the artist shop the screenplay as a TV series to a production company. But first, those remaining 5 posters. Stay tuned!