Posts by: Heidi Volpe

The Daily Edit – Tuesday
12.6.11

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Condé Nast Traveler

 

Design Director: Rob Hewitt
Art Director: Andy Omel
Photo Director: Kathleen Klech
Photo Editor: Esin Göknar

Photographer: Williams + Hirakawa

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

Heidi: You are a team, how does that work? Do you shoot simultaneously or ….?
Sara: Mark and I discuss what we’re going to do in detail before we go into a shoot. We look at references, we talk about light, styling, everything beforehand. On the shoot day, Mark usually heads up lighting and I direct hair, makeup, styling, and props (if we have them). Sometimes we shoot simultaneously but more often than not, it’s Mark that holds the camera and I’m directing. To us, it really doesn’t matter. We’re both there to serve the image, and that end result is what we’re both after.

How long were you at this location?
We spent about two days in Cabo. Traveler sent us to two hotels and we bounced between them to get the cover shot and the interior shots.

Did you know the cover line prior to the shoot, if so did that influence your creative process?
We knew it was for the Reader’s Choice Awards. We wanted it to feel celebratory and graphic. Kathleen Klech suggested the balloon which she saw in another one of our images on our website and we agreed it would be a great component for the cover.

Jason Lee Parry Defends Himself Against $28,000,000 Lawsuit

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You may remember photographer Jason Lee Parry from the $28,000,000 lawsuit brought against him in August by parents of a young model he photographed (APE story here). The parents flipped out when a sexually suggestive image that Parry took of their 16 year old daughter on a motorcycle (she was 15 at the time) appeared on clothing in Urban Outfitters. In an email to us Jason claims the lawsuit is nothing but a publicity stunt because: the models father was on set for the majority of the shoot, the parents and Ford modeling agency approved of the images after the shoot, and the model posted the images to her blog after the shoot. Finally, he says the images appeared on the shirts in Urban Outfitters without his permission. Heidi Volpe asked him a few questions about what happened:

Heidi: How did you find out you were getting sued?
Jason: I received a phone call from a reporter of the New York Post named Bruce Golding on August 15th 2011. He broke the news and emailed me the documentation of the lawsuit before I received it from anyone else or knew I was even being sued.

What is most upsetting about the lawsuit?
The images have been out in the public for 18 Months, it’s the second image that comes up when you google her name. It has been on my website and I’ve never been asked to take them down, it has been on Ford models website and was never asked to be taken down as well as on the Model’s Facebook page, blog and thousands of other fashion blogs. The second it comes out on an Urban Outfitters t-shirt, the Model’s parents try to sue for $28 million. It is obviously 100% about money. Why didn’t the parents contact the magazine and ask them to not publish the images?

How long after you did the shoot, did the lawsuit come up?
18 Months.

Were the parents on set during the photo shoot?
The model’s father was present for a majority of the shoot. He was shown photos while on set and sanctioned them long before they were published.

Was the treatment approved and discussed?
The treatment was discussed and approved with Meg Day of Ford Models, the teen Model’s booker at the time as well as the teen Model’s father the day of the shoot. Both approved, and the second the editorial was published, I personally dropped off the magazine with her booker at Ford Models. Everyone was very happy with the story. Ford at that point even hired me to test shoot their new faces, which I did.

Did they have any comments during the shoot?
Her dad just spoke about how he used to ride motorcycles.

Did the model have a problem with them prior to the t-shirt coming out?
After the photos were released the model proudly posted the images in question to her Facebook, blog and the Ford models website. She also posted behind the scenes photos of the shoot on her blog. Also, before the lawsuit, the Model’s brother and two of his friends had posted a photo of themselves on her Facebook page all wearing the t-shirt in question. The Model had commented under the photo that her friends all need to get one of the t-shirts.

Friends Wearing The T-Shirt

 

Behind The Scenes Photos On The Models Blog

What prompted them to sue?
When the parents of the teen model figured that they could try to make money off of this as well as create buzz for their daughter. It’s 100% about money.

How did Urban Outfitters get the images?
Blood is the New Black manufactured the t-shirts and sold them to Urban Outfitters for further sales and wider distribution.

Why didn’t you get a model release?
Hailey is under-age so she can’t sign a model release, instead her Booker at Ford models is in charge of the model release. The model agencies don’t allow the model to directly sign with the photographer. I do have the release for the publication in my files and the booker has one as well.

Is there a resolution in sight?
I was officially served on October 5th 2011. I believe that the truth will prevail and the lies will be revealed.

What has this done to your career?
This has definitely been a learning experience and has been beneficial for me in terms of my name as a photographer being recognized. But this is obviously not the way I want others to learn of my name. This lawsuit has caused much stress on my family and myself,. It was just a ploy to scare Urban Outfitters out of money.  Since this lawsuit came out I haven’t skipped a beat, and have only gained clients. I just hope this burden is resolved soon, so my career will continue on the path that it was on.

The Daily Edit – Monday
12.5.11

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New York Magazine

Photography Director: Jody Quon
Art Director: Randy Minor
Senior Photo Editor: Lea Golis 

Staff Photographer: Danny Kim

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Wednesday
11.30.11

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Men’s Health

Creative Director: Robert Festino
Associate Art Director: Dena Verdesca

Director of Photography: Brenda Millis
Deputy Director of Photography: Jeanne Graves

Photographer: Don Flood

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Tuesday
11.29.11

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Entertainment Weekly

Design Director: Amid Capeci
Deputy Design Director: Heather Haggerty
Photography Director: Lisa Berman
Deputy Photography Director: Sarah Czeladnicki
Deputy Photography Director, West Coast: Richard Maltz

Photographer: Sam Jones

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Friday
11.25.11

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W

Creative Director: Alex Gonzalez
Design Directors: Joseph Logan
Photography Director:
Caroline Wolff
Photo Editor: Jacqueline Bates

Photographer: Max Vadukul

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Thursday
11.24.11

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Oprah

Creative Director: Adam Glassman
Design Directors: Priest+Grace
Photo Director:
Katherine Schad
Art Director: Jaspal Riyait
Deputy Photo Director: Christina Weber

Photographer: Fernando Milani

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit Interview – Patagonia Catalog Winter 2011

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Heidi Volpe interviews Patagonia photo editor Jenning Steger.

Up at dawn for a sunrise cliff session, Carston Oliver seizes the moment for some Wasatch air time. Alta backcountry, Utah. Jay Beyer

Heidi: What a bold move to put a spread photo by Oskar Enander in the catalog, was that a hard sell since the rider isn’t one of your ambassadors?
Jenning: No because the photo is so stellar it did not leave much room for discussion, it’s a fantasy photo, ambassador or not everyone wants to be him. I admire and respect the Chouinard’s for having the courage to let a commercial entity operate with a photojournalistic heart. It’s more about the spirit of the photo rather than the logo being seen. This is why I love my job.

Riding light. Yves Hüsler, Engelberg, Switzerland. Oskar Enander

 

How many people work on producing this catalog?
Lots, we are an ‘in house agency’ more or less, so we touch almost every aspect of the project minus cranking the wheel on the press and licking the stamps.

The main group consists of:

Catalog project coordinator
Merchandiser
Graphic designer
Photo Editor
Copy Editor
Product photo shoot- studio, stylist, photographer, clothes steamer
Creative Director final sign off
Production
Color Separator
Printer

How do you submit work for consideration? I can’t imagine you can get back to everyone who submits work.
We work primarily on ‘spec’ meaning a photographer submits images on the speculation that we might purchase them. We sometimes offer up-front assignments if the story involves: a Patagonia athlete/ambassador, an original idea, or has an environmental focus. We try our best to get back to everyone but it’s impossible. That being said one of my favorite things about this job is communicating with photographers. I pick up the phone and call to chat as often as I can, its an important part of being successful at this job, communication is key so we can meet our photo needs. The use of social media has helped, customers can post photos to our Facebook page. The rest of our pro photographer’s submit via FTP. We strive to be a paperless dept abd are always trying to improve workflow to be more time efficient, so we have more time to edit.

How much of this catalog was spec?
90% of the Patagonia Winter catalog was built on ‘spec’ photo, the parting shot was on a company partnership trip to Alaska and we had some staff photographers around the same day the photo of Forest on page 17 was shot.

You can see some video of that day here:

Patagonia ambassadors Ryland Bell and Josh Dirksen earn their turns with the Deeper crew. Mare’s Tail, Fairweather Mountains, Alaska. Greg von Doersten

When helicopters and high production costs come into play, that shows a level of drive on the photographers part since you don’t cover that cost and in essence these are personal projects. Are those photographers hard to find?
I think since we don’t operate under a typical commercial photo structure most of our photographers have some personal interest vested in their images, it goes hand in hand with working on spec. You would not work on spec unless you loved what you do, because there is some risk. For Patagonia, finding photographer’s is never hard, because we treat our talent really well, but I guess it would be a lot easier to find a commercial photographer where all elements are mostly controlled. I always encourage photographer to embrace personal projects even if they take years to accomplish. To fund the big expeditions a photographer might have a variety sponsors all chipping in to pull the trip off financially, this can complicate things, but is necessary in some instances to join forces for the greater good.

How much direction do you give the photographers, if any?
We rarely set up shoots, of course this varies per project and purpose of shoot and image needs. If we do offer an up-front photo contract we get a general who, what, where, where, why from the photographer, and then supply a basic shot list, art direction and product. From there we let the photographer run with it and embrace their creative eye.

Holly Walker leaves her signature on Shuksan Arm – one year after a major stroke. Mount Baker, Washington. Re Wikstrom

We had a good snow season this year, does that makes your image pool richer?
Yes, especially for ‘backyard photos’ which are always a pleasure to see. It was a fantastic season to be a photo editor in North America on 63 page color winter action sport catalog. I had a blast with all the eye-candy and loved to see the high snowfall combined with a late season which yielded insane photos. Also the chica’s stepped it up this last snow season, one of my favorite photos in the catalog is on page 44 of Holly.

How much post do you have to do on these images?  Of course Photoshop is a no-no as your visual approach is more photojournalistic.
We do very little photo manipulation, every once in a while we take a logo out to keep us legal if we were unable to clear permission (this is how we differ commercial vs. editorial, logo permission, model releases etc are mandatory. We had to try to get Tropicana logo permission last week, the big corp companies are different than the outdoor industry, its hard and time consuming). In the 5 years I have worked here I have removed 1 snowflake coming out of a rider’s nose and 1 rock at edge of the frame for type legibility so very little to no photo manipulation. What you see is what the photographers saw and shot. Each frame is a piece of original art and I am not the artist so I have no right to alter. We are kind of old-school like that, we like well composed images that are captured in camera vs. in computer (post).

We do about 2-3 rounds of color with our separator fine-tuning how image will print on our recycled paper, next to or in-line with what color product etc.

Seth Lightcap waits out a storm in the Fairweather Range. Alaska. Tero Repo

Who are your new riders this year for the ski/snowboard team?
In addition to our fantastic team already in place we welcomed, Forrest Shearer, Josh Dirksen, Carston Oliver, Aidan Sheahan and Ryland Bell. Check out our entire ambassador roster here:

Jay Beyer’s work is heavily featured in this issue, is that a new find for you?
Jay Beyer has been contributing to Patagonia for the last four years, but in the last two years we have been publishing him a bit more regularly. It’s been fun to watch him grow as a photographer, he is a pleasure to work with and gets the Patagonia quest for authenticity.

Do your new athletes also bring in new photographer’s since many of these images are authentic? Meaning it’s a good powder day with your friends, and you capture it.
Yes and no, it goes both ways. For sure ambassadors bring new to Patagonia photographer’s to the photo dept as well we sometimes try to connect the dots between some of our core snow photographer’s to the ambassador’s depending on location, riding style, etc.  I also do my homework and am always looking at photographer names of shots I adore in the top editorial mags. Group dynamics and safety are very important in any trip so I can make photographer suggestions to an athlete but it has to happen naturally and there has to be a trust relationship. Some athletes come with their own set of photographers and we honor that relationship and look forward to collaborating with new talent.

Dressed for the occasion. Patagonia skiing ambassador Lorenzo Worster genuflects into the Incredible Hulk Couloir. Bridgeport, California. Christian Pondella

I’ve worked with Christian Pondella over the years, he is such a solid photographer and athlete. What do you enjoy about working with him?
The things that stands out the most for me is he is a true ski mountaineer photographer. It’s one of the few sports where the cameraman has to have the same skill set as athletes/rider to get the shot.

The photographer has the burden of humping in the camera on his back or skiing with a brick on his chest. In order to correctly shoot they have to essentially ski the same line safely and quickly, they must always be two steps ahead. He isn’t afraid of a little bad weather and submits comprehensive XMP data which makes a big difference. Our photo dept receives over 60,000 unsolicited images a year, (less than 1% of those are published approx).

Four feet of blower equals hero snow for Carston Oliver. Mount Baker, Washington. Jay Beyer

The shot of Carston on Mt.Baker is pretty sick, how did Jay get that image?
I enjoyed seeing Jay’s Mt.Baker photos as we see a lot less Cascades ski imagery than we do of AK or Utah so it’s refreshing.  Grant Gunderson has been up there for years producing exceptional work. Grant is somewhat responsible for putting Baker on the world ski map through his photos. Mt. Baker holds the record for the largest single-season snowfall in the world (1999, proximity to the ocean and prevailing west winds). I also like Baker partly because it’s the anti-resort, I am much more comfortable publishing an in-bounds photo of Mt. Baker than a shot off KT-22 one of the best chairlifts for terrain access in North America. Something about the Baker crew seems so tough, raw and real. We like gritty photos here at Patagonia.

I remember one discussion I had with Jay regarding winter photos. Almost every photo shoot he went on he was by himself, meaning not joined up with a film crew to shoot for the day. It’s good for the athlete when there is a film crew and still photographer but not necessarily good for the photographer. Last year Jay primarily shot by himself, meaning no film crew, just an athlete or two. It’s a bit of a risk on the photographers side but I admire him for having the confidence to skip out on the larger production. For Jay in my eyes, it was more about the skiing than the shots and it worked, he got the sweet shots cause his head and heart had the spirit of skiing. I appreciate photographer’s who are not afraid to shoot in bad weather, life isn’t always bluebird, a sense of atmosphere is good.

Here is what Carston had to say about that shot:
That photo is actually kind of an interesting one, because it is in a slack-country zone at Mt Baker that gets skied all the time, but I don’t think that particular little flute has been shot or skied before. 
It’s on the wall of a popular chute, but is located right at the end of a mandatory straight-line, so nobody skiing the chute ever notices it because they’re going too fast to focus on anything other than what is immediately in front of them. Also when approached from above, it’s pretty much a cliff that either gets aired, or passed by to get to a pretty rowdy pillow line. 

This shot was taken on the first day of our trip to Baker last winter, and I was showing Jay around because he had never skied there before. The only reason we found it was because I sent Jay down the chute on our first run while I went to ski the pillows. He ended up side-slipping down it instead of just pointing it like everyone else, and looked up to see this perfect mini-spine/flute. He then shouted to me to ski it, guided me into it from below, and shot it from a spot tucked up against the wall of the chute. 
It’s pretty cool how a new set of eyes can find a new feature in a zone that get’s skied so often, particularly when almost everybody through there ski’s past within a few feet of the thing.

Check out their new iPad Snow app for more images, avail for download in iTunes.

The Daily Edit – Friday
11.18.11

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Wired

Creative Director: Brandon Kavulla
Design Director: Leo Jung
Director of Photography: Zana Woods
Deputy Photo Editor: Anna Goldwater Alexander
Photographer: Art Streiber

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

Heidi: How do you direct a Muppet?
Art: The Muppets come with “Handlers” who set the Muppets to our specifications. The Wired Creative Director, Brandon Kavulla and Photography Editor, Anna Alexander, and I, asked for a specific pose and one of the three handlers would set the Muppet…but only after some debate as to whether or not what we were asking was appropriate for the Muppet to do.

Did you approach this just like a portrait or more like a still life, or both?
These were portraits and still lifes. It’s amazing how the feeling of the Muppet changes as you move its eye line slightly and how they come to life once that eyeline is where you want it. I found myself thinking about, lighting and talking to the Muppets as if they were alive but was problem solving each shot as a still life.

Why do you think they selected you for this project?
Last year I did a group shot of 22 Muppets, so I’ve had some Muppet experience. And the shoot involved Jason Segal, who wrote and starred in the movie, and I’ve photographed Jason before, so I think the magazine figured that those combined experiences made me the right guy.

What was the most interesting aspect about this shoot for you? Did you discover anything new?
My crew and I had a blast! Other crews from other stages at the studio were coming into our stage to see the Muppets. They’re iconic and are rarely seen in public. As far as discovering something new…yes, we did. The portrait of Fozzie in the space helmet is a combination of strobe, the flashlight on a blackberry and a reflection of a picture of the earth from an iPad…all captured IN CAMERA in one frame. THAT was impressive. I also learned that photographing Muppets in silhouette makes them even move iconic!

The Daily Edit – Thursday
11.17.11

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Real Simple Family

 

Creative Director: Janet Froelich
Design Director: Cybele Grandjean
Art Director: Abby Kuster-Prokell
Photo Director: Casey Tierney
Photo Editor: Kate Osba
Photographer: Melaine Acevedo


Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.