Jamie Vesay Images now Live

Hello Friends,

Finally, after all these years of snapping and sharing so many images, I have established a humble photo market online. Before you visit, know that I am not the greatest photographer on the internet and my images are not of highest resolution. Hence, while I have a few which could be purchased as large prints, most are moderate to low rez and best for printing small.

The site is presented in Galleries by recommended purchases. Photos in each gallery are recommended there because of the resolution thing. Simply put, the highest rez images are in Wall Art. Buy large prints or anything else there. In contrast, all other galleries; Keepsakes, Paper Prints / Smaller Stuff, iPhone photos – are medium to low rez. Don’t buy wall art from there. But do consider fun stuff like fridge magnets, coasters, puzzles, and mousepads!

I appreciate your support.  Thank you.             – Jamie

Jamie Vesay Work and Wanderings 2017

A great benefit of my job is to be working during sunrise and sunset. It’s a best-time to snap a photograph thing. Yes, I have been paid to watch the sun rise and set. The photo above is from mid summer 2017 while LOCATION SCOUTING large fields of corn for a commercial.

Turns out – 2017 ended up being much about chasing the sun.

In February and March I was my own client. WRITING, scouting, and making more connections for my project Fauna’s Thread. I am parallel-writing (a word I made up) a BOOK and SCREENPLAY (a process I do NOT recommend). The status of the project is in DEVELOPMENT but it’s awesome to see the cranes each year. The photo below is from a blind on the river—at sunset.

July was busy with more scouting the sun. A good one was for FX company Ring of Fire. ROF needed low-light landscapes for a Lyrica commercial. All action was shot months prior – elsewhere. I was the Scout / Production Manager. The crew was small and the shoot was positive. New professional relationships established. Great pros in John and Jerry.

Chasing the sun became literal with a career highlight in August; experiencing and working during the ECLIPSE. It was truly a remarkable and humbling event. I worked on a project for Volvo as a LOCATION SCOUT to start, then as a Production Assistant for the shoot. We shot 360 VR LIVE as Volvo sponsored CNN’s Eclipse coverage.

We were in Beatrice, Nebraska – one of four live set-ups under the path of totality. See it all via Facebook. Our clip is at about 52:00 (or – 44:00). Pan around – especially during totality; the only time you’ll ever see (what looks like) sunset all around you. A cool bonus was meeting writer Andy Weir (below w/me). Fancy eclipse glasses included.

The road trip of the year was a ride and relish through upper central/northwest/western NEBRASKA. Despite the fact that everywhere I go I am #alwayslocationscouting – this trip was a pleasure cruise with my better-half Sue

Hiding right under my big nose were floats trips on lazy rivers, lodging in a cowboy camp and an Asian vibe motel, crash courses in paleontology + geology + more unreported history of Native Americans getting the shaft. This trip was educational and inspirational.

In December I was in the polar opposite of wide-open landscapes; Los Angeles.

I was there reconnecting with colleagues and unofficially pimping the movie Downsizing, a movie I worked on with Director and friend Alexander Payne.

It was wonderful to see the movie at Paramount Pictures theater with many Nebraskans and others with connections to AP. 

2018 will bring new work and wanderings. Have projects on your plate? Reach out. Visit NebraskaLocation too.

Cheers, to your work and wanderings.

An Open Letter to Young Filmmakers & Photographers

Silouette crewEdited – August, 2020

Dear Young and “New” Filmmakers, Photographers –

A terrible thing happened on a movie set. Somebody died.

Her name was Sarah. She was a Camera Assistant in a Union. She was young but experienced.

As your elder brother and alumni of the old school, I am writing to you—asking, pleading to you — IF you EVER feel UNSAFE on a SET — please SPEAK UP!

Youth and new breeds passionate ambition and naiveté. It is too easy to be blinded by the flame. There are inherent pressures of being the new person on the crew and you want to prove worth. You don’t want to rock the boat or you think you need the job. You certainly want more work another day. Or maybe you just don’t know any better.

In your career you will be asked to work in dangerous places. Some will be glaringly unsafe while others may be not so obvious. A location shoot might be as crazy as setting up on an active railroad line! But more likely it will be near busy traffic, on the top of a building, over deep water, in bad weather, close to explosives, or craziest of all — shooting anything anywhere with a crew that has zero experience doing what they are about to do. Still, the worst are set leaders who simply don’t care… yep, they’re out there.

From the next indy film with three friends to a giant studio movie with a crew of a thousand to shooting french-fry grease for a cooking show — you WILL find yourself in the shadow of risk one day. My plea is not exclusively to moviemakers. I see too many photographers shooting local fashion or a music video, draping models on train tracks or having them swim in a polluted high-current river. Graduation and engagement pictures are snapped on rickety fire escapes or inside abandoned private properties that have weak floors, broken glass, and numerous environmental hazards. While we’re talking trespassing, I disagree emphatically with those who say, “It’s easier to apologize then to ask permission.” There is no amount of sorry that can repair the loss of life. Today’s trespasser is tomorrow’s unsafe set decision-maker.

Now here we are in 2020; a global pandemic thanks to COVID-19. As of this writing (editing of a ’14 post) we’ve been through months of an industry stop, economies being shut down internationally, lockdowns, shelters-in-place, events cancelled, health measures mandated, and guidelines put in place. Why? Basic SAFETY of human beings. Yet production crews are beginning to shoot again—during a pandemic.

This is indeed an extraordinary situation. ALL of us are in it. There are many reasons why people are saying yes to work and I understand most of them. But friends, newbies, “young” in the biz; this is NOT the time to jump on a job out of desperation or excitement. IF you are being offered work, best to accept it with crew you know and trust. Ask THEM about their feelings on working again (especially if you are the hirer). If ANY standard safety guidelines are not addressed PRIOR to booking a job – DO NOT book that job. If all seemed well at booking and you show up to an unsafe set — SAY NO. Walk away if you need to… Again, extraordinary times. It is literally life or death. Sadly, for every production company that is still holding a standards-bar high on all fronts (safety, insurance, permits, process) there are 10,000 who are not.

All of my old-school colleagues can tell you at least one story of being asked to do something UNSAFE. Many have said yes. I have, and I hate that I didn’t say NO.

Sets should be controlled environments where artists in filmmaking and photography can work comfortably and safely. Terms such as owned, permitted, and locked-up should mean, that you as a professional crew member are now safe to proceed to do what we all love. NEVER EVER should you be on any set, in fear of injury or by no means, working and waiting to escape from danger at a second’s notice.

If you ever need to shoot anything in a dangerous environment, SAFETY is always first. Many discussions should be had, permissions need to be granted, safety meetings should be held and those measures need to be applied, experienced professionals MUST be part of the crew, and ALL of your sets need to be CONTROLLED.

Sarah was killed on an uncontrolled set.

To all the Directors, Writers, and Producers with that vision for that shot – STOP!  Does it really have to be in a location that will put the crew in danger? If something is so obvious to your human nature that the shot has probable RISK of injury; THINK HARDER. Be more creative, not less. STOP putting people in harms way!

And frankly, if you are calling yourself a film or photography professional or company and not getting any of this or if you are an admitted unsafe set instigator, LEAVE this business immediately and stop saying you are one of us!

Doing what you’re doing is a privilege and an honor. We work in one of the most fantastic industries on the planet. The work can be dangerous. Please, be equally respectful of the gift and the danger within it. Work with like-minds and speak up — together. Always ask questions. Be smart.

Stay safe. And don’t ever be afraid to say no.

Jamie Vesay
Location Scout, Manager, Producer for commercial Motion Pictures.
Experienced in physical special effects, art department, scriptwriting.
Movies, commercials, documentaries, corporate films, branded content, etc.
Been doing it all for 30+ years.