It takes vision to succeed and photographer/director Taj, has a vision that the world is quickly beginning to see.  The Oakland, CA native began with an interest in photography that soon led him into the world of the moving image.  Since then he’s shot the music video for Rihanna’s hit single, “Don’t Stop the Music,” the January ’08 Steve Harvey JET Magazine cover, and several high-profile commercials.  He’s also started The Popular Kid Productions with his business partner Kareem Couch. 

Sixshot spoke with Taj to get the full picture on how he got started with virtually no money and no experience, the early criticisms he got for his work, how he helped transform Rihanna into a “bad girl,” and more. 

Sixshot.com:  You had no professional training so how did you get started in the industry as a video director?

Taj:  I was fortunate to be close on set as a PA [production assistant] for the director and my mentor, Anthony Mandler.  When I saw the images he created and how he put it together in terms of art direction, aesthetic, composition, and motion and just the feeling and the concepts that he created—I thought that was where I wanted to be.  I did 3 more PA jobs for music videos and I decided that I wanted to try and give it a shot.  At the time my mother was moving and as a parting gift she gave me a check for $2,000.  I took the money and I approached this group, The Team that was hot.  I said, “I know you don’t know me but I want to be a director.  I will pay for everything.  All you have to do is show up.” 

So since they had nothing to lose and wanted visuals they showed up.  So we shot the video and the original posting on YouTube gained over a million views.  That was shocking to me cause I didn’t have any experience.  People were actually feeling it.  Then another group saw that video and hired me to shoot their video for 11 grand.  They were eventually signed to TVT but since the group didn’t know me and some things happened I wasn’t getting my credits. 

Sixshot.com:  You posted your early videos on YouTube.  So how has the internet changed the game for directors since many videos are debuted online as opposed to waiting for the networks?

Taj:  Its giving them all that they need to touch people.  If directors want criticism and people to see their work you’ll get it on YouTube.  The world is at your hands.  So it made an impact and that’s an understatement.  Without YouTube I don’t know where I’d be cause that was my outlet.  It was like let’s first put it on YouTube and see what happens.  That’s how you get your response and see how well you’re promoting it and what you need to work on with the constructive criticism.

Sixshot.com:  What was one of the criticisms you got early on for your work?

Taj:  They were like his videos are low-budget obviously cause they were.  They said the video and editing were good but it’s low budget.  That’s true because I didn’t have experience and any money for the production.  So the production value wasn’t that high, but I did have aesthetic and composition.  I knew what looked right to me.

Sixshot.com:  You did Rihanna’s “Don’t Stop the Music,” video which was a big single for her.  I know for the whole album project she was going for a whole new look and feel.  So how did you work that into the video?

Taj:  That video was purely because of the energy of the song.  We knew it would make people dance all around the word and we wanted the people to be able to relate.  So we shot it in a club.  It was supposed to be simple which it was.  It captures the lifestyle of a girl Rihanna and her friends.  It was normal and we didn’t want to overdo anything.  We wanted to show Rihanna’s maturity from her previous album and to show how she’s grown.  So she had on a black cocktail dress and the sexier hairdo.  She’s looking in the mirror and being the self-absorbed woman that’s feeling her sexuality, and showing the woman come alive and the little girl dying.  It’s like her bad side but she’s having fun with her and her friends.  It never gets raunchy which I thought was a good way to capture Good Girl, Gone Bad.  It was both sides and it gives a little bit of both.

Sixshot.com:  Are you and the artist usually on the same page or are there times when they just simply have to trust you?

Taj:  Usually I really want them to be comfortable.  It’s very important to me for them to know what’s going on.  I want them to see the video as we’re shooting it.  It’s very exciting for anyone to see their project come together.  So I really want to keep them involved.  So after every shot I say this is what we’re gonna do now and I explain why I do this scene this way and so on.  I always stay involved with the artist.

Sixshot.com:  You’re also gonna do some film work.  Do you expect the transition to be difficult coming from the world of music videos which is thought to be less demanding?

Taj:  It’s definitely a transition because of the preparation.  Obviously film is more meticulous and detailed.  It’s a big difference and it’s more disciplined.  I’m reading a script now which is 200 pages.  I have to go through and read it by tonight cause I have a meeting for it tomorrow.  So it’s just a lot more discipline.  The similar things are the creative pieces are the same in terms of how I shoot.  I shoot things very loosely.  I’m at my best when I’m improvising and creating and following my instincts along the way.  So hopefully everything turns out good.

Sixshot.com:  What’s your overall mission with your visual work?

Taj:  I just hope that it inspires people.  I want people to take it for what it is.  I want them to remember my work.  I want other directors that are out there and striving for success to be inspired and do it.  Not to do it like me but to do it, and understand that there’s no right or wrong when it comes to art.  It’s all about accomplishing what you want to accomplish.