About Harvey Tillis

I grew up on the original black & white LIFE magazine, fascinated by new picture stories every week, strongly influenced by photos of people and places, by light and graphic design. That's where my concept of photography formed and where my desire grew to become a photographer even though my studies and direction were toward business. I held marketing, management, financial and technology positions in other professions, yet nothing meant as much to me as creating well crafted meaningful images. So I changed direction.

I have been a self-taught freelance photographer for over 40 years. Commercially, I apply my photojournalistic style and fine art sense of design to the capture of environmental portraits, events, and documentary projects for a variety of nonprofits, corporate clients, and government agencies who value my eye and the way I approach their assignments. I consider myself a partner with clients, helping them to maximize the strategic power of pictures. My images are used for communications, image building, PR, marketing, income development, and as collectable photo art.

I have always created original photo art with 35mm, 2 1/4, and view cameras, first using a wide variety of black and white, color, and infrared films, paper stocks, and darkroom techniques, then with digital technology which I love! My prints are for sale from my studio, my web site, and through a few select physical and online galleries.

Interview with the Fulton Street Collective 

What is one of your first memories of creating a piece of artwork?

I created a collage using photos I cut out of magazines. It was probably 3×4 ft. Don’t remember what glue I decided to use. Honestly, I didn’t realize it was a collage. It was just something I had to create to express whatever was on my mind at the time. Did it many years ago.

Was there a pivotal moment when you decided to follow your passion for photography?

I always wanted to be a photographer even though I didn’t realize it until I was in my early 30s. While working in an unrelated industry I had a series of very frustrating experiences that made me think, “I don’t have to put up with this. I should change and be a photographer.” Didn’t think about what that meant or how long it would take to learn the skills. So I quit one career and started on another.

What keeps you living in the city?

I love city life; the mix of people, sounds, places. Something is happening all the time. Lots of graphic influences. Great music to hear and art to see.

Do you remember your first client?

My little sister. Her job was with a trade association that published a monthly magazine. Could I create a scene for the cover with a nurse teaching students good dental hygiene in a classroom? I thought, “Sure!”. Turns out I had no clue what to do. I was an assistant to an ad agency photographer. Really great guy! He saw I didn’t know a thing and placed himself in the role of being my assistant. Coached me on hiring models and decorating the studio. “You might want to try this. Watch out for that.” I still have the cover. Looks great. I can’t believe I got through it.

Describe your method and vision of your work?

Strongly influenced by photojournalism, Japanese landscape paintings, European art especially from Impressionist forward, modern art and sculpture, and explorations in digital art. Being in an artist collective with many painters exposes me to different styles and skills. Sometimes a photograph is too literal for me so I use digital tools to make it look more like a painting or etching. I try to keep an open creative mind.

Who are your influences as a photographer?

You don’t have enough space for all the influences. Key ones include Alfred Eisenstaedt, Richard Avedon, David Douglas Duncan, Helmut Newton, Danny Lyons, Sarah Moon, Tony Gabriel, Arnold Newman, Margaret Bourke-White, Herman Leonard. Jay Maisel, Reid Miles, paintings by Edward Hopper, and sketches by Feliks Topolski.

What drew you to photograph musical performances?

I was influenced when seeing great images from great photographers. Then I realized that being around spontaneous jazz and blues solos is like creating photojournalistic stories. Now I feed off of the energy I hear.

What is it about jazz that intrigues you as a photographer?

I get lost in the music while, at the same time, getting lost in the moments I create photographs. There is no “time”. Only “now”.

What drew you to attending a jazz performance at FSC?

Great vibe. Wide variety of talents and styles of jazz. Very accessible to FSC’s location.

What are some of your favorite venues to shoot at?

Aside from FSC, there’s Green Mill, Jazz Showcase, SPACE, Andy’s, Café at Logan and all the Chicago music festivals. Also, almost anywhere new I can talk my way into for permission to shoot is a fun time.

What are some of the political events you have photographed and how is shooting an event like that different from a live concert?

I have covered Mayors, Governors, Presidents, and Ministers of foreign countries. The biggest difference is how limited my movement is due to Secret Service restrictions.

You are very active on social media. How has Instagram and Facebook affected your career?

I try to be active on Facebook every day. Instagram and LinkedIN often. I keep my website harveytillisphotography.com current with blogs, notices of art events, and many fine art prints for sale. Being active on social media gives me credibility.

How did the pandemic affect your work and does it still?

The pandemic killed all of my commercial work, both corporate and nonprofits. It is coming back very slowly.

Are there still moments when you question your career?

Never.

As an artist what do you hang on to for hope and solace as the world has reopened again?

I am applying all the experiences and false-start learning knowledge realized from years in this business. I know there is a market for my work. I am better now with my skills than ever before. And I just love being a photographer. I can’t and don’t want to stop.

Fulton Street Collective, founded in 2002, is located in Chicago, IL. It features private artists studios, a beautiful gallery exhibition and event space, and a venue for live jazz performances. FSC members work in a variety of disciplines including painting, sculpture, mixed media, photography, digital media, dance, and fashion design. It serves as an incubator and home base for artists and allows art lovers to engage with artists. The Fulton Street Collective has become an integral part of the artistic and performance community in Chicago.