ALTPICK.COM

When the Web company Propeller hired RushWade2 to design advertising for its site, "They gave us a really rough sketch, probably the roughest outline we've ever had," says Lyndon Wade, one of RushWade2's proprietors. So when RushWade2, which Lyndon runs with his mother, digital artist Judy Rush, and his brother photographer Lindsey Wade, collaborated with the client they came up with the concept of "a brand new airplane that has all kinds of stuff strewn over the wings, making it dysfunctional." "We used a model plane with a 10-inch wing span," explains Lyndon. "We shot the props, which were life size, separately on a drill. The prop maker would spin them and Lindsey and I would shoot them." Then it was Judy's turn to apply her magic. "Always," says Judy, reflecting the company's general policy, "give the client more than they've asked for. It's about building relationships."

Even though Judy, Lyndon and Lindsey's decision to form RushWade2 was somewhat serendipitious, their philosophy of building strong relationships applies to their own business. This family affair began three years ago when Judy and her two sons formed the company, whose name stands for one Rush and two Wades. Judy started out as a freelance re-toucher in 1977, entering the digital world in 1989. Judy was married to photographer Michael Rush who passed away in 1997. Although Lindsey and Lyndon had an aptitude for photography, they were not pursuing it professionally at the time of their father's death. So Michael's business was sold to his assistant, Kenny Johnson.

After Michael's death, Judy continued working as a digital artist; she was soon joined by Lindsey who discovered he was quite good at it. "I was working on jobs for well-known clients and they began asking me to shoot for them. It all snowballed from there," says Lindsay. Lyndon's beginnings were a bit different. "After high school, photography developed into a passion, and I decided to pursue it as a career," he says. "Either that," he jokes, "or my probation officer said I had to get a real job."

Any client of this Kansas City-based company can expect everything to be handled from pre-production to the final ad, including the photography, scanning, digital as well as video, and film, should a project call for it. The reason for such client care is evident in the company's belief that "you can have a really great site, but if it is not used properly it will fail." A glimpse at a client list that includes Target, Coca-Cola, Sprint, MacWorld, Airwalk Shoes, Payless Shoes, Bayer and Sonic, shows just how successful good relations can be.

What is the most controversial piece RushWade2 has ever done?
Lyndon: We did a calendar for a printing company and the last image was a night scene with Santa Claus and two slutty looking girls on each side. They wouldn't print it so we used it for our Christmas card. It was funny but a bunch of people called in and we got several letters about how this was going against Christianity, "This is a religious symbol of Santa Claus and you tainted it."

How has your style evolved?
Judy: My work evolves as the style of photography does. My style is also affected by technical demands. Lindsey: My style keeps defining itself more and more. It will always keep evolving. Lyndon: Early in my career I focused on following the trends. I no longer focus on trends. My images are becoming more refined with experience. I believe any idea or dream can be produced.

How do you distribute the work when a client comes to you with a project?
Lyndon: Usually the client decides. We send both Lindsey's and my books out when we're called and they decide on which photography they like better. The project usually lends itself to one style or another. Or else they don't have a specific preference, and it is whoever isn't busy.

How do you compose a picture?
Lyndon: I'd say 80 percent of the image is done in my head or through conversation, and that is the hardest part. Putting it together is easy. I think in detail about how it should be put together. Sometimes I can do a sketch in Photoshop, take an older image and then do an outline of what I think the feeling might be. That can be hard because saturation or the lighting style can make the feeling or not.