Learning that aesthetic as a kid - seeing those photos - made me think that that's what photos are supposed to look like. I never understood snapshots. I was looking at them like, "This is horrible; that's not what a picture is supposed to look like." I was taught by these photos. So when I picked up the camera, though I had never done it before, I kind of already knew what I was doing.
Jeff VespaThere were just moments of the punk scene and I realized that I had to capture it. There was also this photographer in our preschool - I went to a Montessori school in Baltimore, Maryland - and they had this photographer come and take all these incredible photographs. They looked like they were from Life magazine.
Jeff VespaOnly sometimes I try to think about it in context. When I think about the context of, "Oh, I'm this or that," in this society, that's one of the terms.
Jeff VespaI ended up meeting this guy Stefan Simchowitz, who produced Requiem for a Dream and also went to AFI. I randomly met him in Cannes. By September of 2000, we had made a deal with this company that he was working with. They merged with us and in January of 2001, we opened WireImage. It was pretty crazy because I only started shooting celebrity stuff in 1998 - literally two and a half years later, I'm opening this company.
Jeff VespaWell, I talk about one moment in the book, but I don't know if that's my moment of discovery. It was a moment. In the book, I talk about how I started shooting, how I became a photographer.
Jeff VespaIt was a fortunate moment in history that I happened to be in. There was a confluence of the internet and all this other stuff that I was able to capitalize on.
Jeff VespaMy mom had a Canon AE1 camera and I read the manual and that's basically how I became a photographer. I was in the Baltimore punk scene. I knew it was a special time, so I went out and documented that whole era. I was the only person to really do it of my friends in real black and white, beautiful portraits.
Jeff Vespa