ALTPICK.COM

Gabrielle Revere's first picture was of the family poodle, which she took with an old-school, thick-plastic Polaroid that her father had given her. "It was about the gesture of the dog," says Revere, who captured the pet in mid-yawn. "My sister wrote on the bottom: Gabby 1st Place." Since the fourth grade Revere has had a fascination that borders on obsession with memory. "I think that's where the love of photography comes from. Once you take that picture that moment never leaves you, ever."

Whether it's shooting survivors of September 11th or Avril Lavigne for the cover of Entertainment Weekly, Revere has an uncanny ability to capture the essence and energy of her subjects. Perhaps this is what attracted the judges to select Revere as one of PDN's "30 under 30" in 2001. With more than four awards, and a client list that includes Leo Burnett Advertising, McCann-Erickson Advertising, Grey Advertising, Noxzema, Target, Flaunt, New York Magazine, Vogue Taiwan, The London Observer Magazine, and Universal Music Group, you might assume Revere's career has been on a non-stop roll. But like her poodle, there's been some yawns, she's quick to point out.

While attending The School of Visual Arts in New York, Revere took photo- related jobs that included filing slides at a photo stock library, photo research for advertising and editorial projects, and as an assistant photo editor. Upon graduation in 1995, these experiences left her well primed for a position as a consulting photo editor for one of Time Inc.'s most lucrative national magazines. Two and half years later Revere relocated to New York and continued to work as a photo consultant three days a week while testing and creating her own portfolio. "By the end of 1999 I was really ready to go off on my own."

Even with $40,000 in credit card debt, and a number of well-meaning colleagues suggesting it wasn't her time, Revere quit her job in January, 2000, to pursue her dream of being a photographer. "I was very much alone," she says. "After every portfolio review I was left with a letter of rejection, or a speech about how maybe I should, 'Look into another profession.' In retrospect, these were the best circumstances that could have happened." After months of bullet-like focus, testing, and pounding the pavement, Revere got the ad campaign for Sephora's holiday catalog. "I didn't have a tear sheet. I hadn't photographed anyone famous. My book was just my personal work. But they wanted something warm and real and personal. It's ironic because that is why I wasn't getting work from all these other people."

How did being selected for PDN's 30 under 30 effect your career?
It didn't catapult me although it definitely helped. It was one more piece of credibility that I needed. It started a buzz and exposed my work to a lot more people. People still remember and will say, "Oh yeah, you were in PDN." My whole career has been slow and steady. A great assignment will come along, like the cover of Entertainment Weekly, that will turn into another cover for Jane, and an Aerosmith cover. It's not like there is one assignment and, bam, you are at the top of your field. I almost prefer it that way. I like that it is in stride because I don't want to be a trend.

Do you think being a female helps you to bring a different point of view?
Sometimes. It is a blessing and also a curse because sometimes people feel you are more of a pushover because you are a woman. It is a very fine line to walk: standing your ground and setting boundaries, and being a professional and doing a great job. I never want to have to be a bitch, or always play the defensive. On the other hand, when it comes to jobs that are more sensitive, like the September 11th survivors or a women with breast cancer, being a woman was a hundred percent to my advantage. There is a spark, a different kind of energy. It's that nature nurture thing. It is a natural warmth that is contagious.

What is it about memory that is so compelling to you?
Honestly, I think it has to do with love. That unexplainable craving and desire. That scent that makes you're mouth water, you know? When you daydream, memories enter your mind. You remember things that you long for. These memories are essential to our lives. I think that is what it has to do with, the collective holding on of memory and learning how to let go.

What do you think keeps an image fresh?

Where do you see new opportunities coming from?
The advertising world and the classic editorials.

What would be the ultimate job?
My ultimate job would be an assignment for the cover of The New York Times Magazine, which would lead to a book being published of my work, as well as a world- wide tour-exhibition with my gallery of choice.

Who would you like to collaborate with?
Kathy Ryan from the New York Times Magazine, Susan White and Lisa Berman from Vanity Fair, Daniel Power from Powerhouse Books, Steve Torres and Kirby Rodriguez from W magazine, Zeke Moon Jonson and Stephen Gan from Visionaire, The Peter Hay Halpert Gallery, The Matthew Marks Gallery, The Guggenheim and Judith Puckett-Rinella from Black Book Magazine.

Looking back, what are you most surprised to have discovered in this business?
Sexism and ageism.

- Contributed by Mary-Beth Holland