Frere-Jones and Hoefler

- - Working

Sadly, found this amazing video because of this:

In January, Frere-Jones filed a lawsuit against Hoefler, saying that their company was not actually a partnership, but a long con in which Hoefler had tricked him into signing over the rights to all of his work, cheating Frere-Jones out of his half of the business. “In the most profound treachery and sustained exploitation of friendship, trust and confidence, Hoefler accepted all the benefits provided by Frere-Jones while repeatedly promising Frere-Jones that he would give him the agreed equity, only to refuse to do so when finally demanded,” the complaint charges. Frere-Jones is asking a court to grant him $20 million.

via, spd.org.

The Weekly Edit: Ethan Pines: Forbes Magazine

- - The Daily Edit

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Forbes

Art and Design Director:  Robert Mansfield
Photo Editor: Meredith Nicholson
Photographer: Ethan Pines
Retouchers: Rebecca Bausher and Gretchen Hilmers

Heidi: You were shooting some of the wealthiest people in the US, what sort of production perks came with this? Besides simple things like Formula One cars and NASCAR as a back up?
Ethan: You’d think there would be loads of perks, right? This was a DIY production, like so many editorial shoots. But the benefit of shooting venture capitalists is, they’re the guys with the money. Sequoia Capital (subject of the article, stars of the race-car shot) paid for the Formula One and NASCAR cars, the props to round it out, extra lighting / grip, and my favorite prop stylist Shannon Amos. And the nice people at the Bay Area Discovery Center let us use the location in exchange for, I believe, a fine bottle of Bourbon.

As for the large gathering of company founders, we shot it quickly on the floor of the Tesla Motors factory. The perks were (1) someone brought me BBQ chips and a vitamin water; (2) high ceilings and plenty of shooting space; (3) getting to explore the Tesla factory, which is this amazing confluence of people, technology and robots reminiscent of dinosaurs.

You mentioned this was an ad-scale production. Did you produce this alone or did the magazine help you?
I typically produce my own shoots for Forbes, once they secure the subject. Since I’m the one who insisted the pit-crew shot wouldn’t be too over-the-top, it pretty much fell to me to produce this one.

In this case, I and Andrew Kovacs at Sequoia essentially co-produced it. Andrew and Forbes coordinated the company founders for the cover, all of whom were originally backed by Sequoia as start-ups. Andrew organized the race cars, secured pit-crew wardrobe and props, and helped with various details. I spent three days texting, emailing and phone-calling my brains out to get everything in place. Sequoia was extremely excited about the pit-crew shot, but I don’t think they realized what it takes to produce a photo shoot. All those details — locations, access, parking, power, water, food, shade, props, restrooms, being able to see at 4 a.m., directions, permission, weather, wind — you can’t take anything for granted. Then there’s the actual shoot, when you’re asking business guys to act and inhabit roles — and do it for an hour or so.

The magazine was available for whatever help I needed, from approving locations to using their pull to make things happen. The entire crew helped by working hard and passionately as always. I have to recognize my assistants Brad Wenner and Podbereski, who did a great job on too little sleep.

Scheduling billionaires is no small feat. What was the biggest challenge?
Fortunately it was not me but the the good people of Sequoia who scheduled that group. I’m sure there were scores of challenges I never heard about; all these major company founders were rearranging their schedules and flying in just for the shoot. I did, however, field a lot of questions about what people should wear.

My tough moment came at the shoot when Doug Leone, the head of Sequoia Capital, refused to be out in front of everyone on the cover as Forbes had planned. He wanted this to be about the founders, not about himself. Which is understandable. I’m standing there at the shoot, in front of 14 billionaires who are giving us 30 minutes, thinking, OK, what now? Do I argue on behalf of my client and jeopardize the good vibe at the shoot? No, but maybe there’s a middle ground. We compromised on having him second row, somewhere just off center. I scrapped my pre-laid plan for arranging everyone and did it on the fly.

How many days was this project?
All told, probably seven to eight days. A day of pre-production emails and phone calls from L.A. Two days of scouting and prepro in the Bay Area. Two days of shooting. Two days in post. Not to mention two days roundtrip driving to the Bay Area and back.

What sort of monkey wrench did running out of gas on the freeway do to your productivity?
I’m often overextended and pushing the fuel gauge to E, but this had never happened before. When emails, texts and phone calls are coming and going, it’s easy to forget about gas. I got rescued pretty quickly by the roaming Metro guys who patrol freeways looking for stalled cars during rush hour. What an incredible service. They’re like traffic guardian angels.

The episode actually didn’t hurt my schedule that badly. I was a bit shaken after sitting on the freeway with cars rushing by on both sides. And it made me realize that I need to take a breath.

How much time did you get with the subjects?
For the cover shot we had 30 minutes, which of course just flew by. At the end we yanked away the grey seamless, formed them into a loose line and used the factory as background for another eight minutes or so. For the race-car shoot, we set up from 4 a.m. to 7 a.m., then had about an hour with all the Sequoia guys. I tend to ask for as much time as I can get.

Were you nervous prior/during the shoot?
Oh, sure. Before, during and after. How the hell do you arrange a large group vertically on a plain background, without furniture or a room to rely on? Would they be on time and easy to work with? What do you do with them once they’re arranged? How do you light and shoot two large group setups (grey background, factory background) in 30-40 minutes? I planned a lot of this during the drive to San Francisco. And it’s always amazing how even the busiest, wealthiest people will listen to and grant control to the photographer. You just have to take charge (in a friendly way) and ask for what you want. I told them that they could all go out and destroy each other’s companies if they wanted to when this was over, but here they were all buddies, and I wanted some good loose interaction among the group.

For the race-car shot, we didn’t have a location finalized until the day before. And there were so many moving parts to put together. Makes you really appreciate what producers do. Once I was on board for these shoots, they consumed my days and my thoughts until they were done. I think that nervousness helps you be prepared.

How difficult was it to get your cover shot?
Not easy, but not torturous either. My crew and I showed up three hours early to load in and set up lighting, so I could focus on the subjects when we started shooting. Once we got everyone up on apple boxes and did some positioning and re-positioning, I mostly worked on creating an atmosphere where people felt at ease and trusted me. We got some straight shots, like the one that ultimately ran, some lighter ones, and some with everyone interacting. There were only supposed to be 12 people in the cover shot. And suddenly that night I was counting 14 on the set! That was a little surprise.

The toughest parts were the time limit — I was working like a madman for those 30 minutes — arranging 14 people vertically, watching 14 people at once in the viewfinder, and trying to get quality moments from everyone.

I also try to monitor the small details, like the woman in front placing her hand on her hip. All that being said, the shot on the cover is a single capture. No mixing and matching of faces. No one even blinking in that shot.

What about your work struck the magazine to award you this job?
I think they like the way that I always bring back surprises. And I try to make the business world as colorful and unusual as I can.

Most interesting thing you learned on set with such game changers?
Due to the short time frame, not a lot. You know what I loved seeing? The variety among them. A group of billionaire company founders is no longer a group of middle-aged white guys. They were also very human, easygoing and funny. I’d love to hang out with that group again.

Who’s in the driver seat?
The “driver” in the F1 car is a woman from Sequoia. We even gave her extensions so her hair could be flowing out of the helmet. The location is a walkway in a kids-oriented museum in the Bay Area. We had a NASCAR car as backup, trucked all the way up from L.A. We never even got to fire them up. That F1 car is 16 feet long. It’s a monstrous beauty in person.

Pricing & Negotiating: Industrial Lifestyle Shoot

by Jess Dudley, Wonderful Machine

Shoot Concept: Industrial lifestyle shoot

Licensing: North American collateral use of all images in perpetuity (15 per day)

Location: Manufacturing facility

Shoot Days: Up to 20

Photographer: Lifestyle and portrait specialist

Agency: Client direct

Client: Not a household name, but well known within it’s industry

One of our west coast-based photographers was approached by a fairly large industrial manufacturer and asked to shoot industrial lifestyle images of their employees at work, manufacturing a variety of products in a number of different locations in North America. They were mostly interested in using the images on their website and in a self-published coffee table book that would be given out to investors, executives and employees. Their products are generally larger than a semi-truck and manufactured in facilities on the scale of an airplane hanger. Think big.

The client wasn’t accustomed to hiring photographers (it’d been nearly 20 years since they’d hired a professional). Thankfully, they thought it was wise to get us involved pretty early on before they firmly established their needs, so that they didn’t develop a creative concept and plan that would break the bank. Their initial thought was to shoot 10-15 different locations, 1-2 shoot days at each, for a total of approximately 20 shoot days. This presents a bit of a dilemma. Because we were in the planning stage and they wouldn’t commit to 20 days or any specific number of images (although as usual, they were expecting a deal because of all of the potential work), we couldn’t approach the presentation of the fees for this project in our typical way. We had to present an estimate that was scalable from a single day on up, but also factored in a discount for a volume that the client was unwilling to commit to. Also unknown was the number of scout and travel days. Here’s how we addressed all the issue:

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We needed to create a fee structure that the photographer would be happy with if the client only booked one day and that the client would be happy with if they booked 20. I’m sure just about every photographer has had this same experience— a client asks for a quote and pushes back on the numbers saying something along the lines of  “if there’s a lot of work down the road, can you be flexible on your rate/fees?” It’s not an unreasonable request, however the work down the road almost never materializes. The approach we took here protects the photographer’s interest, keeps the client honest and gives them a break for the volume.

We based the day rate on the typical collateral library rate we’ve negotiated with other industrial clients. The rate usually varies from 2500.00-3500.00 depending on the size of the client and scale of the project. In this case, we started a bit higher because of the self-publishing use requested, though if the client did ultimately book the photographer for 20 days, the fee would average out to just over 3500/day. Although we didn’t explicitly limit the number of scenarios or images, in the course of our conversations we determined that the photographer would probably be able to shoot in five different scenarios per shoot day and that the client could expect 2-3 variations of images per scenario. We didn’t want to commit to a specific number in the estimate because certain factories may be easier or harder to shoot in than others, which would seriously impact how much could be accomplished in a given day.

The client signed the proposal and requested a detailed estimate for the first leg of the shoot – one-day, local to the photographer. We extrapolated a one-day version which the client approved. During the course of the pre-production, the client requested a certificate of insurance. Since we hadn’t been asked to provide any sort of unusual coverage, and the photographer carries a fairly standard business liability policy year round, we’d opted not to charge a fee for the insurance in the estimate (however, like equipment, it would not be unusual to charge the client a fee for the use of your insurance policy). As it turned out, the client’s legal team was requiring the photographer to provide workman’s comp insurance and specialty insurance specific to their industry. I’ve seen this a lot lately and it’s getting old. The client presents a project, approves the estimate, then comes back with unusually high insurance coverage requirements. If the client requires you to provide coverage that substantially exceeds a standard business liability policy (ie workman’s comp, weather, specialty, etc.) and they don’t tell you about it beforehand, it’s considered a change in the scope of work and the cost should be approved as an overage. In this case, we gave the client two options – pay for the insurance or waive the requirement. They opted to pay for the insurance, so we resubmitted the one-day estimate. Here’s the final version:

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Tech/Scout Day: We included a half tech/scout day for the photographer and agency to walk through the location, determine the ideal scenarios and try to nail down a shot list.

Assistant Days: The photographer wanted two assistants for this shoot. Although there wouldn’t be much in the way of equipment, the size of the space and materials was daunting, so the photographer wanted an extra set of hands.

Equipment: This covered the one day rental costs for a DSLR, a backup DSLR, grip equipment and a small portable strobe kit, all of which the photographer owned and would be renting to the production.

Shoot Processing for Client Review: This covered the time, equipment and costs to handle the initial edit, batch color correction and upload of the images to an FTP for client selection.

Selects Processed for Reproduction: This covered color correction and basic touch-up of the 15 selects. Any necessary retouching would be estimated and billed separately.

File Transfer: This covers the cost to deliver the 15 selects via hard drive, including overnight shipping.

Miles, Expendables, FTP, and Misc: This covered the basic out of pocket expenses the photographer would accrue between mileage, FTP costs, lunch for him and his assistants on the shoot day, and any other miscellaneous expenses that may arise.

Insurance: We included the cost to provide the specialty insurance the client required.

Housekeeping (see the project description): I noted all of the production elements the client would be providing: Location, releases, subjects, escorts and safety equipment.

Results, Hindsight and Feedback: The photographer is in the midst of the project and has already shot two additional days.

If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns.

This Week In Photography Books: Paul D’Amato

by Jonathan Blaustein

Last week I claimed I was tired and listless. Poor Blaustein, you must have thought. All worn out from galavanting around the mountains. Crying because it’s gray a few days a year. Boo hoo.

You’re probably hoping I’ll come back strong this week, and write one of those columns that starts out like a story. (“Colin looked away, unable to meet her eye. Shame has many tells, and this one was screaming louder than an infant at the witching hour.”)

Sorry to tease, but it’s not going to happen. I spent most of the last week running around New York City like a miner headed towards the claims office with a hunk of gold. It was intense, but worth it. Especially as I was able to see some genuinely excellent photography at the NY Times Portfolio Review, which I will share with you in the coming weeks. (As always, I am but your almost-humble proxy.)

One of my favorite things about plugging into the NYC nuclear reactor is how much you can get done in short amount of time. It’s the adrenal equivalent of paying it forward. Extra juice, so you can pull insanely productive 18 hour days, but then…

That’s the part you always forget about while you’re living in the glory. The crash. All that extra juice had to come from somewhere. NYC may inspire activity, but it doesn’t actually fill your blood with surplus protein and such. It has to come from somewhere: your future self.

So here I sit, my muscles twitching like a horse in labor. Wondering if I fell from ten feet into a pile of rocks. Cursing the city for its seductive qualities. Among them, the chance to hang with people from all over the world, and to revel in ethnic diversity. It’s a drug of its own sort.

On the flip side, no sooner did I get on the A train in Howard Beach than I realized it was only running in sections, so I’d have take 3 trains instead of 1. (If you’re counting, that’s a bus to a train to a train to a train to a train to get from JFK to Upper Manhattan. 2.5 hours to go what, 10 miles?)

And that was just the ride into the city, after taking a 3.5 hour redeye from ABQ to NYC. Which is to say, given how I’m feeling, it’s time to segue to the book.

Here we go.

As soon as I got home, still vibrating with NYC pollution on my skin, a friend who was raised in Brooklyn Heights said on Facebook that he likes Chicago better than New York these days.

What now? Chicago?

I was only there once, coincidentally with this same guy, nearly 20 years ago. I don’t know anything about the place, as that quick trip was a blur for many reasons. It’s almost like I wasn’t there.

And he up and says Chicago is the better town? Big words.

Wouldn’t you know the first book I picked up off the pile was of African-American culture in Chicago: “We Shall,” photographs by Paul D’Amato. (Another Guggenheim winner. Two in a row. And wouldn’t you know the 2014 Fellowship winners were announced today. Co-incidence, or Taos Hippie Juju? By the way, let’s give a shout out to a really, really great photographers list this year.)

This book of photos is excellent. No two ways about it. Or three ways, I should say, as the artist uses the technique of multiple images more viscerally than his contemporary Paul Graham. The triptych pictures in particular, which show delicately how different a few similar photographs can be, based upon the subtle energy in a set of eyes.

But my word count is getting higher than my IQ, which means it’s time to wrap it up. I implied in the beginning that I wasn’t planning to bring it this week. Maybe I pulled one out in the end, but I don’t have as much to say about the book itself as I ought, what with all the whining and pontificating.

Let’s summarize. I like this book very much. I suspect you would too. Despite the fact that I live in the hinterlands, I’m glad the great cities are out there, attracting people and ideas, thriving and allowing folks to live in any style they’d like. Bastions of creativity. Long may they prosper.

Bottom line: Taut book of African-American stories in the Windy city

To Purchase “We Shall” Visit Photo-Eye

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

Art Producers Speak: Therese + Joel

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Therese + Joel as they are a great team and the one’s to keep an eye on!

Portrait of pop singer Betty Who for Out Magazine's "The Young and Restless" Musician Portfolio.

Portrait of pop singer Betty Who for Out Magazine’s “The Young and Restless” Musician Portfolio.

Victoria's Secret Model Elsa Hosk channeling Nancy Sinatra for Galore Mag's "Women Who Rock" issue.

Victoria’s Secret Model Elsa Hosk channeling Nancy Sinatra for Galore Mag’s “Women Who Rock” issue.

Campaign for FLKLR Surf, shot at Rockaway Beach, New York.

Campaign for FLKLR Surf, shot at Rockaway Beach, New York.

Portrait of the actress and filmmaker Greta Gerwig shot for TIME Magazine. It was also named one of TIME's Best Portraits of 2013

Portrait of the actress and filmmaker Greta Gerwig shot for TIME Magazine.
It was also named one of TIME’s Best Portraits of 2013

We were commissioned by TIME Magazine to document New York Fashion week. This is one of our favorite photographs, shot at the Marc Jacobs Fall/Winter 2013 show. The image depicts models walking towards a large indoor "sun" installed at the venue, referencing artist Ólafur Elíasson's weather project.

We were commissioned by TIME Magazine to document New York Fashion week. This is one of our favorite photographs, shot at the Marc Jacobs Fall/Winter 2013 show. The image depicts models walking towards a large indoor “sun” installed at the venue, referencing artist Ólafur Elíasson’s weather project.

One of our favorite photographs of model Sara Blomqvist, included in our personal series "On Leaving".

One of our favorite photographs of model Sara Blomqvist, included in our personal series “On Leaving”.

Fashion editorial for Revs Magazine, shot in Lidingö, Sweden.

Fashion editorial for Revs Magazine, shot in Lidingö, Sweden.

Campaign for womenswear label Skotison. We absolutely loved the concept of the collection: B-list horror movies, The Cramps and goths at the beach.

Campaign for womenswear label Skotison. We absolutely loved the concept of the collection: B-list horror movies, The Cramps and goths at the beach.

Personal work, from the series "Three Graces", photographed in Sweden.

Personal work, from the series “Three Graces”, photographed in Sweden.

A very recent portrait of director Woody Allen, together with theatre director and choreographer Susan Stroman for TIME Magazine, shot at the St. James Theatre in New York City.

A very recent portrait of director Woody Allen, together with theatre director and choreographer Susan Stroman for TIME Magazine, shot at the St. James Theatre in New York City.

How many years have you been in business?
About four years now. 

Are you self-taught or photography school taught?
We met while both studying at Parsons in Paris and later transferred over to Parsons the New School of Design in New York, from where we graduated.

Who was your greatest influence that inspired you to get into this business?
Therese was very influenced by her mother, who is a photographer. Joel doesn’t have one exact source of inspiration; the fascination for storytelling has been there as far as he can remember – it has just perhaps changed mediums over the range of years from written to visual. However, the greatest inspiration for both of us must be film – early European cinema, great minds like Ingmar Bergman, Carl Theodor Dreyer, Douglas Sirk, the melodrama of film noir, our similar taste in music (power ballads, italo disco), as well as 90s masterpieces like Twin Peaks, and Tim Burton’s Catwoman – tragic pop culture icons.

We were also heavily influenced by our Nordic surroundings – Therese grew up in Stockholm, Sweden, and Joel in Finnish Lapland. Even if a bit of a cliché, the pitch-black, arctic surroundings have definitely played a great influence on us. 

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Perhaps it’s not so much about staying fresh and/or following trends – we rather try to do what we find interesting, inspiring and beautiful. 

Since we are two it is important for us to discuss and communicate our ideas with one another. It is helpful though that we share a lot of interests, but also important to disagree at times to challenge each other. Usually one of us comes up with something they find inspiring, and the other one takes it to another level. In that way, we complete each other’s sentences. 

Do you find that some creatives love your work but the client holds you back?
Communication is truly key, as well as staying true to your vision and doing what you do best – not trying to mimic something else to become more accessible. That being said, it is of course important to stay flexible. And occasionally art buyers or creatives find our darker work the most interesting, but have a difficult time to convince the client to go for something less mainstream. 

What are you doing to get your vision out to the buying audience?
Editorial work has been very important for us in approaching different and larger audiences.

We find social media to be extremely helpful: Instagram, Facebook and Tumblr. Not only just to get our work out there, but also for other reasons like casting for example. We also find that social media makes us more accessible; it’s a great way to interact, as well as to show our process.

What is your advice for those who are showing what they think the buyers want to see?
Understand your audience. Taste varies, but it’s really hard to get away from bad editing – sequencing your book appropriately is a crucial step in storytelling. 

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
We work when we are not working: personal projects are incredibly important to us. We find it very helpful to our creative process to constantly produce new work – not only to try out new things, but also keep exceeding at what we do.

How often are you shooting new work?
As often as possible – commissioned work keeps us very busy, but we try to shoot at least one new personal project every month.

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Therese Öhrvall and Joel Jägerroos are a Swedish-Finnish photography team. They live and work in New York City.

Therese + Joel’s work has been exhibited internationally, including The Georgia O’Keeffe Museum, Santa Fe, New Mexico, The Hermitage, St. Petersburg, Russia, Krasnoyarsk State Museum in Siberia, Milk Gallery & F.L.O.A.T. Gallery in New York City, Gallery S. Bensimon in Paris, France and Ricoh Ring Cube Gallery in Tokyo, Japan.

Their clients include TIME Magazine, Wired, REVS, The Wall Street Journal, The Times, S Magazine, Out Magazine, FLATT Magazine, Milk Made, Galore Mag, IVANAHelsinki, Bullett Magazine and New York Post, amongst others.

Therese + Joel were selected as one of the 30 emerging photographers to watch in 2011 by Photo District News. Their photo of Greta Gerwig was named as one of TIME’s Best Portraits of 2013.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Daily Edit: Ian Spanier

- - The Daily Edit

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Photographer/Creative Director: Ian Spanier
Art Director/Design
: Warren Mason
Editor: Brian Dawson

Heidi: What compelled you to do your own magazine?
Ian: Last summer I met with Creative Director Warren Mason to discuss ideas on what together we could create as a promotional piece. Being someone that shoots a wide variety of work it is always a challenge to show all the areas that I work, especially in one place. Initially we thought about making a poster from a personal shoot I did but the more we looked at my notebook of the past year’s shoots the more the idea of making a multipage piece came to light. Warren being a seasoned veteran of magazines, it seemed like a no-brainer to just make our own magazine.

I know you were formally a PD, would you say it’s easy for you to edit your own work? For this project, do you give edited images to design or is this a collaboration?
I’ve always been fairly good at removing myself from the fact that I shot the same photographs that I am editing, so I am able to provide Warren with a very edited version of a story, and/or only a few additional options to consider when I need input. Ultimately I can change an image if he chooses one and I think a different one is better, but he and I have always worked well together- having worked together at one magazine and as well on a coffee table book. I wanted to collaborate with someone on this- which I think it a very important thing to do, particularly when you have a lot of respect for that person. I’ve seen Warren make some amazing layouts so I trust his opinion…and he likes my work- which helps! I was also able to enlist Brian Dawson, a great editor whom I had also worked with in the past. Brian is able to take my medicore copy and turn it into much more concise and clear thoughts. His input on the look of the magazine is also helpful as his years of experience provides one more checkpoint in the process of the magazine as a whole.

Tell me about the process of putting this together? You have an editor and a CD?
I basically create an issue by collecting options for cover, features and “ads” by going through my Lightroom catalogs. Since I made a feature from a personal shoot in the first issue, I now make a point to do a personal shoot for each issue. Personal work of course is important for all photographers and having a place to show it has been great. In many ways I owe that first personal shoot credit for giving us the idea to make a magazine. Now I basically come up with a new mini project for each issue.

From there I create some lores folders and send that to Warren. We have a quick conversation about what what works together. I am trying to keep the variety up, and at the same time make sure that there’s some cohesiveness to the magazine. I also contact one of my clients to get a quote from them about what it is like to work with me. As a whole, the point of the magazine is to give the viewer a glimpse about what I bring to to the table as a photographer, who I am as a person and what it is like to work with me. I think people loose sight that the photography part of being a photographer is just a small piece of the puzzle. Not to discount the ability it takes, but talent in many ways is the given, we are hired for jobs based on the prospect that we can shoot, so getting across how you are to be on set with, what your presentation level is, and how you run your business is what I believe really builds you up as a successful photographer.Brian, as I mentioned is the editor and Warren is the CD.

Do you have a printer version?
Initially I only thought this would be for iPad and issuu.com which is a great site Suzanne Sease turned me on to. As timing was, Blurb offered a printed magazine and I figured it wouldn’t hurt to print out a few copies for meetings and whatnot. I ordered about 20 copies and was amazed at the quality, and as well, the members of Team Braveheart (subjects in the first issue personal project) all wanted copies as well. I was able to send them the link to Blurb and there they could order their own copy. It’s not cheap, but it is very nice.

What other promo materials do you send out?
I send out one-off electronic promo cards regularly to all my contacts as well as to potential clients about every 5 weeks. I also utilize social media a ton, I don’t post personal stuff, minus a comment about the Yankees or Bruce Springsteen from time to time. I don’t believe people care about pictures of my food, so I try to keep it to what I am working on, behind-the-scenes shots and interesting articles or great images from other photographers that I like. I also push to have a lot of meetings. I feel the personal contact is extremely important. Getting meetings is hard, but I am always trying for a few minutes of face time. I do have printed promo cards and such, but the cost of mailing then out doesn’t seem worthwhile to me, I’d rather hand them to potential clients face-to face.

What sort of response have you gotten from art buyers fellow PE, clients?
So far response from art buyers and photo editors, creatives, etc. has been great, recently I switched to showing my portfolio on my iPad, and having a printed piece to show people I think really drives home the right message- I like people to see that my work holds up when ink gets to paper. As well, having a copy on set has been very nicely received, it’s a great conversation piece.

This Week In Photography Books: Osamu James Nakagawa

by Jonathan Blaustein

I could never live in Portland. (No offense.)

Setting aside my distaste for humorless hipsters, it would never happen: there’s just not enough sun. I don’t care if they have the best coffee in the world, and a beautiful girl in chunky glasses fitted me with an IV drip that dosed me with caffeine, constantly, day in and day out.

It just wouldn’t work.

Why? Because I’m addicted to sunshine. Without a near-daily fix of Vitamin D, I become as surly and listless as a drunk walrus. Like today, for instance.

We get 330 days of sunshine a year here in Northern New Mexico, but come April, the high clouds move in and the wind whips more fiercely than Harrison Ford practicing for Indiana Jones Part 5. (Note to Mr. Ford: ditch the silly earring, and we might take you seriously again.) As I write this, it’s actually snowing outside, and my bones are colder than Han Solo’s blood when he shoots Greedo in the Star Wars bar scene.

As such, I would not have fared well in the old days. I mean the very, very old days, when humans lived in caves, taking protection wherever they could find it. Bears, saber-toothed tigers, homicidal assholes from other tribes, all could cause trouble, if you weren’t careful. So the dark became associated with safety. Dank air was precious, as it represented home.

Occasionally, fast forwarding millennia, there comes a time when people retreat back to those old ways. Deep within natural fissures in the Earth, one can hide for a long while, provided food and water are stockpiled, or, at least, available. (Fresh water in underground streams, and plenty of barbecued rats. Deeee-licious.)

Such a situation occurred during World War II, on the island of Okinawa, in Japan. We’ve seen photos of the place in this very column, as I reviewed a book by Daido Moriyama a couple of years ago. (Yes, that was the book where I mistakenly called him a woman. I only bring it up so you don’t have to.)

Then, we saw things above ground, and witnessed the remnants of American occupation. Burger joints, in particular. (As cows undoubtedly taste better than rodents, when cooked carefully above an open flame.)

Today, though, we’ll burrow beneath the island cliffs, and enter a world not meant to be seen by cameras, which so dearly love the light. Osamu James Nakagawa is our guide, and his book, “Gama Caves,” published by Akaaka, is our opportunity.

I didn’t intend to go on a run of Pacific Rim photo books, but there you have it. Like I said last week, show me something I’ve never seen before, and I’m likely to pontificate here and now.

The caves were utilized during the War, and many civilians called the Gama home, along with military types. I can’t imagine anyone had any fun down there, and according to the text, Americans used all sorts of killing techniques to either root the people out, or destroy them where they were. Flame throwers, bombs, all sorts of nasty endings for the people who fled to the seeming safety of stalactites and mites. (Never could keep those two words straight.)

These pictures are haunting and beautiful and horrific and awesome. My favorite kind of art, the type that hits all notes together. Ironically, they were on the wall in Houston when I visited FotoFest in 2012, but I didn’t know they were there, as I was holed up in the metaphorical cave known as a portfolio review.

I’m fairly certain you’ll like these pictures, though my snapshots don’t do the subtlety justice. The writing within, in Japanese and English, is uniformly excellent. There’s a poem with the obligatory reference to pubic hair, and a few essays, including one by the legendary MFA,H curator Anne Wilkes Tucker. I believe the artist received a Guggenheim fellowship to support the project, so the high-art-street-cred will likely back up the value of your purchase, should you choose to buy the book.

To continue with all the cinematic references, I heard they’re re-making Mad Max with a less racist, homophobic, Anti-Semitic protagonist. That’s the big fear we all have, right? (Especially when you have kids.) That we’re ruining the world, and our descendants will live in a post-apocalyptic nightmare, where many will be forced underground again.

I’m guessing the artist is smart enough to know that metaphor will pop up in your mind, as it has in mine. Let’s hope it doesn’t come to that. OK?

Bottom Line: Creepy photos inside Okinawan caves

To Purchase “Gama Caves” Visit Photo-Eye

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

Art Producers Speak: Josh DeHonney

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Josh DeHonney. I’m a big fan of his work. One of our favorite portrait photographers who is exceedingly nice guy who I praise his humbleness when he is praised for his craft.

I love radio, and I love New York.  So shooting Ty Bentli of CBS 92.3 all around the city was a great commission.  Ty was new to the city but felt very at home there, and we wanted to convey that.  We had planned to take that standard picture of him waiting for the train as it rushed by, shutter open.  As we waited, I turned the camera away from him and for a moment he relaxed and leaned on the pole naturally.

I love radio, and I love New York.  So shooting Ty Bentli of CBS 92.3 all around the city was a great commission.  Ty was new to the city but felt very at home there, and we wanted to convey that.  We had planned to take that standard picture of him waiting for the train as it rushed by, shutter open.  As we waited, I turned the camera away from him and for a moment he relaxed and leaned on the pole naturally.

The London Souls, a rock band from New York, used this image as the cover art for their sophomore record, Here Come The Girls.  We had great chemistry, like we went to high school together.  The album looks -- and sounds -- great.

The London Souls, a rock band from New York, used this image as the cover art for their sophomore record, Here Come The Girls.  We had great chemistry, like we went to high school together.  The album looks — and sounds — great.

I took this shot on the train tracks behind the client’s warehouse … without permission.  I lost my wallet making this one happen.  Two weeks later, I get a call from the Kearny Rail Police.  The good news was, they found my wallet.  The bad news was, they weren’t happy I was on the tracks.  Luckily the ad had printed by then, so I had more than a business card to back up my story.  I got away with it this time.  But next time, I’m told it’s going to cost me $10,000! 

I took this shot on the train tracks behind the client’s warehouse … without permission.  I lost my wallet making this one happen.  Two weeks later, I get a call from the Kearny Rail Police.  The good news was, they found my wallet.  The bad news was, they weren’t happy I was on the tracks.  Luckily the ad had printed by then, so I had more than a business card to back up my story.  I got away with it this time.  But next time, I’m told it’s going to cost me $10,000! 

Bucks Life magazine sent me to cover a young new DJ (then still in high school). He was making some cool events happen, all for charity.  We met at the Jersey shore in the summer and got this great shot in a matter of minutes.

Bucks Life magazine sent me to cover a young new DJ (then still in high school). He was making some cool events happen, all for charity.  We met at the Jersey shore in the summer and got this great shot in a matter of minutes.

I met Mac Miller by Union Square.  We walked over to Irving Plaza together, where he was performing that night.  As we got close to the venue, I noticed Mac getting his game face on.  He turned his hat around, zipped his jacket, and pulled up his pants.  When we rounded the corner, there were a dozen fans waiting for him, as he knew there would be.  The kids went crazy for him.  He was cool as hell.  He took the time to take pictures with each kid.  It was great to capture that.

I met Mac Miller by Union Square.  We walked over to Irving Plaza together, where he was performing that night.  As we got close to the venue, I noticed Mac getting his game face on.  He turned his hat around, zipped his jacket, and pulled up his pants.  When we rounded the corner, there were a dozen fans waiting for him, as he knew there would be.  The kids went crazy for him.  He was cool as hell.  He took the time to take pictures with each kid.  It was great to capture that.

This image is another good example of an instant where the subject feels totally comfortable.  In this case, Director Ulysses Terrero was standing behind me, where the director normally stands.  Although I had my camera metered for the strobes in the background, there was enough ambient light available to cut the wizard and still get a great exposure when I turned to grab this shot.

This image is another good example of an instant where the subject feels totally comfortable.  In this case, Director Ulysses Terrero was standing behind me, where the director normally stands.  Although I had my camera metered for the strobes in the background, there was enough ambient light available to cut the wizard and still get a great exposure when I turned to grab this shot.

This commission took me all the way to Hawaii to shoot a look book and some ads.  Beautiful girl, cool clothes, and a tropical island.  You can't miss.

This commission took me all the way to Hawaii to shoot a look book and some ads.  Beautiful girl, cool clothes, and a tropical island.  You can’t miss.

I have contributed to Urban Latino magazine for years.  I love making awesome images happen for them.  When John Leguizamo came up as a cover option, I was extra excited.  One of my favorite actors, John was a total pleasure to photograph and could not have been more humble.

I have contributed to Urban Latino magazine for years.  I love making awesome images happen for them.  When John Leguizamo came up as a cover option, I was extra excited.  One of my favorite actors, John was a total pleasure to photograph and could not have been more humble.

When I left NYC in 2011, I couldn't help noticing the growing number of vacant properties around me.  This is from a series of images of massive abandoned buildings within ten miles from my house.

When I left NYC in 2011, I couldn’t help noticing the growing number of vacant properties around me.  This is from a series of images of massive abandoned buildings within ten miles from my house.

This is one of my good friends taking a break while we were shooting on location in LaQuinta, California.

This is one of my good friends taking a break while we were shooting on location in LaQuinta, California.

Before linking up with the band Brother to shoot a portrait for YRB magazine, I checked out their video for "Darling Buds of May."  I was really impressed.  I chose a location that was inspired by the video, hoping to keep the band’s image consistent while shooting with a style that comes naturally to me.

Before linking up with the band Brother to shoot a portrait for YRB magazine, I checked out their video for “Darling Buds of May.”  I was really impressed.  I chose a location that was inspired by the video, hoping to keep the band’s image consistent while shooting with a style that comes naturally to me.

Spike Lee was my first professional portrait assignment in NYC.  He’s a legend, of course.  So no pressure.  We shot this at NYU, where he’s a film professor.  The story I shot the pictures for was about sneakers.  So that made the experience that much more fun.

Spike Lee was my first professional portrait assignment in NYC.  He’s a legend, of course.  So no pressure.  We shot this at NYU, where he’s a film professor.  The story I shot the pictures for was about sneakers.  So that made the experience that much more fun.

As a big fan of Bobbito Garcia, this early shoot for Kicksclusive magazine really stands out for me.  Bob is one the coolest dudes ever and also a photographer.  I can't front for one second.  This shot was all his idea.  I simply executed.

As a big fan of Bobbito Garcia, this early shoot for Kicksclusive magazine really stands out for me.  Bob is one the coolest dudes ever and also a photographer.  I can’t front for one second.  This shot was all his idea.  I simply executed.

This is a selection from a series called Watching.  I aimed to capture the presence of the growing number of security cameras in the public space.  I had no intention of photographing the guy who blocked his face from my camera … the irony.

This is a selection from a series called Watching.  I aimed to capture the presence of the growing number of security cameras in the public space.  I had no intention of photographing the guy who blocked his face from my camera … the irony.

As far as easy and amazing assignments go, The Ting Tings take the cake.

As far as easy and amazing assignments go, The Ting Tings take the cake.

I was so thrilled to photograph Esperanza Spalding.  She was very cool, easy to work with, and personifies Jazz.

I was so thrilled to photograph Esperanza Spalding.  She was very cool, easy to work with, and personifies Jazz.

When Natalia Kills showed up at the studio for a portrait session, I knew we were going to make some cool images happen.  We had instant chemistry and came up with a few solid concepts right away.  Narrowing the edits down was as tough as expected.  This image didn't make the print book.  But it really stood out.

When Natalia Kills showed up at the studio for a portrait session, I knew we were going to make some cool images happen.  We had instant chemistry and came up with a few solid concepts right away.  Narrowing the edits down was as tough as expected.  This image didn’t make the print book.  But it really stood out.

How many years have you been in business?
For years I worked as an assistant and at Pier 59 Studios in New York while simultaneously building my brand. But in 2010, I quit assisting and have since focused on my own work full time. As much as I loved assisting and working at the Pier as a side hustle, it’s great to be shooting on my own.

Are you self-taught or photography school taught?
A little of both. School gave me the fundamentals. But I also learned a lot on the job and by being around world-class photographers on a near-daily basis at the Pier. Also, the Pier used to let employees test once a month for free. I took full — and I mean full — advantage of that deal. Between that and my assisting work, I was able to shoot and test a ton. Studio photography is amazing. It’s an important skill to develop. All of the techniques and lighting tricks you learn are universally applied when you don’t have the luxury of a fully-stocked equipment room.

Also, packing jobs for remote locations, where there are no stores, let alone EQ rooms, teaches you the importance of triple-checking. You can never take anyone’s word on equipment that you didn’t see. And sometimes going without it is not an option. No art school can teach you pragmatic things like that.

Who was your greatest influence that inspired you to get into this business?
My mom always stressed the importance of doing what you love, no matter what. She travelled the world taking pictures for fun. Though she chose a stable career as a dental hygienist, her pictures covered the walls. She is also a long-time subscriber and avid collector of National Geographic. Those magazines were major influences. And for years I assisted Kip Meyer, who is an awesome photographer. I really admire the way he interacts with clients and models as well as his general approach to projects.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Inspiration is the easy part. Being inspired is a prerequisite for the job. I get ideas for pictures from the imagery I see all around me. I drive a lot, ride my bike a lot. I find inspiration in that. I can’t help but notice amazing landscapes, or an interesting building, even if I can’t shoot them. Then I imagine what I see as context for a subject. So when I arrive at a location for a client sight unseen and have to make an interesting image happen no matter what, I have a whole catalog of ideas in my mind to draw on.

Do you find that some creatives love your work but the client holds you back?
It seems the work that gets the best response from creatives and peers isn’t always what appeals to a client’s target audience. Just because an image or series of work is cool on tumblr, or gets a bunch of Likes, doesn’t mean it will sell.  The most important thing about photography is being creative.  But with commercial work, you have to consider the client’s goals.  I am providing a service, and incorporating what the client has in mind is the most important thing. I still try to be sure you can see my thumbprint on the final product, since the client chose me to make the image, after all.

What are you doing to get your vision out to the buying audience?
I have a show at the end of April to celebrate the 20th anniversary of Urban Latino magazine. I’m the photo editor of ULM. I’ve worked with them for years. The show will highlight the work I have done for the magazine. I also stay up on social media as much as I can. And I’ve been known to cold call brands that I love and want to work with. I also love to make new connections through editorial work. But what usually works best is sticking with the network I know.

What is your advice for those who are showing what they think the buyers want to see?
Being a photographer is a lot like being a writer. Great writers have a very clear voice. That’s how you distinguish yourself from the crowd. I love looking at other photographer’s work, taking in as many photo books, blogs, and magazines as I can. This process helps me find my voice. So look at as many pictures you can. Know the landscape. Look at your own work all the time, too. Be sure your images speak to your vision. Know what you want to shoot. Be very clear in your mind what it is you want to see before you make it happen. As with all other art forms, there are lots of trends, but honesty never gets old.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Always. One of my favorite things about location shooting is that you have to get an idea of where you are shooting by walking around, and of course you are going to bring your camera. So at that moment, it’s nice to relax and imagine that you are just out in the park, shooting pictures with no pressure, and there is no art director 10 yards away stressing because it’s overcast or the model is late.

Also, I have two young children who are changing by the second — it’s amazing to see them grow. I want make sure that I am changing and developing, too. I don’t want to take the same pictures my whole life. That just doesn’t make sense.

How often are you shooting new work?
At least 3 times a week. In the summer, almost every day. Photography is built into my life. There is always a camera in arm’s reach.

Josh was born in Toronto and grew up in nearby Oshawa. He relocated to New York in 2000, where he was on the grind until 2011. Josh now resides just outside of the city with his wife, Melissa, and their two photo assistants-in-training, Jalen (3) and Janessa (1).

http://joshdehonney.com
jd@joshdehonney.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Daily Edit – Gabriela Herman: Conde Nast Traveler

- - The Daily Edit

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Conde Nast Traveler

Creative Director: Yolanda Edwards
Photo Director: Nancy Jo Iacoi
Photo Editor: Leonor Mamanna

Photographer: Gabriela Herman

Heidi: How did you break into travel photography?How you do you describe yourself: travel/lifestyle?
Gabriela: I’ve always been a traveler. When I was just 10-days old, I was already on a boat headed to the island of Martha’s Vineyard. My mom is Brazilian and we went down every other year for the holidays. In college, I managed to study abroad for three semesters (and they subsequently made a rule limiting students to two semesters only, which I like to think was because of my travel). I never set out to be a travel photographer, but perhaps I was always destined to be one?

Starting out, I used to say that I was a portrait photographer. That I loved the interaction with people and that connection was what it was all about. But then, I started shooting a friend who is a chef and a farmer and ended up with a portfolio of food photography. So I started getting hired, and sent around the country, to shoot outdoorsy food scenes. Now I still get hired to shoot portraits and food, but also travel stories.

Travel photography is actually a perfect mix of everything I love to shoot because you need to have great portraits, great food shots, landscapes, tell stories… basically a bit of everything. I’m still shocked that I get paid to travel. I was in Hawaii in December on a shoot and I thought to myself, ‘wow, I’m actually living me dream.’ I realize how fortunate I am to be able to say that.

When you are on personal travel, are you always shooting? Can you actually turn off work mode?
I am never not working! Even if I don’t have my camera with me, my eyes are always looking for a shot (or, more likely, editing photos, or updating my website, or networking or one of the other million tasks it takes to be a photographer) . And these days with my iPhone, I always have a camera with me and have become hopelessly addicted to instagram. I was recently on vacation in Istanbul and even though I had my DSLR with me, I ended up taking far more shots with my iPhone than with it.

What sort of direction/shot list did you get from the magazine?
This was one of my favorite assignments from last year. I have a great relationship with the editors at Conde Nast Traveler. Many on the team came from Martha Stewart Living, a publication for whom I was already a frequent shooter.

Going into this assignment, I had already worked with the writer, Stephen Orr, and the editors knew my style so everything was very organic. Stephen had previously taken this road trip and had written up notes on each location, so I had those as a guideline. I knew the hotels where I would be sleeping and the restaurants where I should be eating, but there was a lot of freedom to also just shoot what looked interesting along the way. These are my favorite kinds of assignments, where I really get to spend time and explore a place, versus the kind of assignments where there is already an image in mind that needs to be executed.

Do you typically travel with the writer?
It depends on the shoot and the location and the scheduling. I had a travel story here in Brooklyn for French Glamour where the writer came from Paris and the two of us explored the neighborhood of Red Hook together. In Hawaii, the writer happened to be living there at the time, so I was able to meet up with him for one of the days and he showed me some of his favorite spots off the beaten path.

Whether in person or just over the phone, its very beneficial to connect with the writer beforehand, and even be able to reach them throughout the trip as they have usually already done the exact same itinerary and thus can give you tips and reconditions to make your job go smoothly.

How many days was this shoot?
I think it was four or five days. I was actually already in Marfa the weekend prior to attend a wedding, so I was able to shoot some images that I knew were on my shot list ahead of when the job officially started.

What do you love about being a wandered armed with a camera?
I love how photography can take me to the oddest places, ones I would never imagining visiting were it not for photography. Marfa is a great example — it’s a strange little gem of a city located in the middle of nowhere in west Texas. This trip was the second time that photography took me to Marfa. I had been there once before for Phoot Camp, a creative retreat for photographers, so it was wonderful to have the opportunity to be back there shooting on assignment.

After Phoot Camp, I stuck around and went on a little road trip with a few friends. We ended up driving through Big Bend park, arriving in the ghost town of Terlingua and randomly spending the night with a middle- aged man who opened up his gorgeous home to five total strangers. I never thought I would be back there but, lo and behold, guess which ghost town was on my shot list for this assignment? I remembered where his house was and drove by. He wasn’t home, but I left him a note and memories flew back of the morning dance party on his patio.

For Me Shooting Still Images And Motion Simultaneously Changes Everything

- - Working

Guest post by Scott Pommier

Until recently I had no interest in the convergence of stills and motion. I bought a Canon 5d mark II well after the surge of photographer-made videos, and owned that camera for more than a year before I switched it to video mode. That was at the urging of my agent who had been telling me that it was becoming important to have some examples of moving-image to show clients. I shot one crummy video and went back to using my 35mm film SLR. I’d heard that photographers of the future would be shooting with magical hybrid cameras, but it didn’t seem relevant to my process (my camera of choice when shooting a portrait or a fashion story is still a Pentax 67). I knew that some photographers had been extracting stills from RED footage, but that was all purely academic, something that the Steven Kliens of the world were doing that made little sense for the way that I worked.
 
November of last year a friend let me know that RED was selling off their old Red One cameras at shockingly affordable price. These were cameras that company had taken as traded-in, and they’d been outfitted with a new sensor. Bigger and heavier than RED’s current models but fully capable of shooting a Hollywood feature. It seemed like an amazing opportunity and without nearly enough thought, I launched into a whole new dimension of my career. It’s now been a year since my first small moving-image production, and looking back it’s amazing to see how my mindset and how my way of working has changed. I thought I would share my understanding of what the latest breakthrough in cameras means for me.
 
I was looking to upgrade to a newer cinema camera, having outgrown the Red One. RED had recently announced an entirely new sensor. Current owners of the RED Epic could have their camera-bodies upgraded with the new 6k Dragon sensor (The Dragon camera is also available new, but, well, it’s complicated.

dragon still life 2014

RED has sort of tiered approach to ownership, which is a topic for another day.) I bought a camera from a guy who was already waiting in the upgrade line, he had quite a good spot as it turned out. Overnight I went from being 15-years behind the times to using a camera that only a handful of people in the world had access to.
 
Red has been claiming that their cameras were capable of producing a usable still image for some time now, and to be fair that was sorta’ true. With the best resources it was possible and there are Vogue covers to prove it, but, having pulled stills from both Red One and Epic cameras I have to say, the results were, maybe not underwhelming, but not exactly overwhelming either, maybe just whelming? But for anyone tempted to dismiss the latest hype about the Dragon camera as nothing more than the same predictable public relations blast, I will tell you, for me, this camera changes everything. The Dragon allows you to shoot still images and motion images simultaneously.
 
A few numbers, for the uninitiated: RED’s new Epic ‘Dragon’ is capable of producing 6k files. What that means is that each frame can be up to 19.4 megapixel or 6144 x 3160 which gives you a 20.48” x 10.53” image at 300dpi. The sensor boasts a 16.5 stop dynamic range.  Where the original Epic had a native ISO of 800, the Dragon performs well between 200 and 2000. Less impressive than the latest 35mm DSLRs but far more forgiving than current medium-format offerings (it is worth noting that DSLRs make use of ‘in-camera’ noise reduction, and which still results in significant loss of detail at high ISO settings.)
 
There are all kind of color-charts and controlled tests that plot one camera or film or digital back against another. I leave that kind of testing to people who are a good deal more thorough than I am. But after taking this thing out for a spin the difference was obvious. Shooting under the hot-noon sun yielded very similar results to print film, in terms of color rendering and contrast. There is also a sharp yet smooth quality to the images, like a high-resolution scan of medium-format film. In fact this ‘movie camera’ produces the best digital stills I’ve ever seen. I include in that list the Sony f55, the Arri Alexa, any and all DSLRs, Leica’s M9 and S2, The new Phase One back and even the Hasselblad that looks like a Ferrari, all of them. The Dragon is the first digital camera that has made me hopeful that I will be able to continue shooting images that match the look and feel of my current work even with the impending demise of film.
 
What does this all mean? Potentially it could mean a lot of things. One thing it could mean is that in many cases, photographers could be replaced. Talented DP’s who shoot day-in-day-out, use the sharpest lenses known to man and have a team of people to light a scene, they know how to take pictures, really good pictures. Now extracting those pictures is easier than ever, and the resolution of those pictures is greater than ever. Why bring in a photographer who’s going to disrupt the workflow when you could just reset, quickly change your shutterspeed/ISO (if that’s even necessary.) Imagine a 1st A.D. yelling out “Capturing for print! Okay, moving on.” Scary right?
 
Alternatively… say you’re hired to shoot stills but in addition to the stills you end up with broadcast-quality footage, footage that you could license to the client. Exciting right?
 
It’s what Homer Simpson might call a “crisi-tunity.” You can make of it what you will, but there’s every chance the world will change a little bit, for better or for worse, or perhaps for better and for worse.
 
Thrilled as I am with my new camera and all that it does, I will be the first to tell you that having your still camera wrapped up in a movie camera creates some difficulties. Here are a few things to consider:
 
Cost
Crisis: Expensive, buying the camera is just the start
 
Opportunity: Two cameras for the price of one.  As expensive as the Dragon is, when is the last time Canon or Nikon allowed you to swap out your sensor rather than simply selling you a new camera? Or offered a factory trade-in program? The fact is for a camera that shoots capital M Movies the Dragon comparatively cheap. Red has also kept the same form factor, despite criticisms (believe it or not) that the camera is too small. The advantage there is that accessories carry over between models, even after upgrades. There are also a number of third-party manufacturers such as Wooden Camera that make some very clever and affordable components.
 
Storage
Crisis: You’ll need lots of it, backed up even. See above.
 
Opportunity: N/A
 
Workflow
Crisis: If you like to chimp in the field (you know: shoot, look, shoot, look) it’s not nearly so quick to review footage, especially slow motion to double-check that you’ve got the shot.
 
Opportunity: When you’re editing you have the opportunity to find moments you hadn’t considered during capture. On slow-motion takes you’ll be able to pinpoint the exact timing you’re after. Also, programs like Premiere Pro 6 handle the native RAW files in a really interesting way, allowing your to review and edit the footage at a lower resolution, if you edit at say ¼ resolution, the footage is still sharp (HD sharp actually) but even a laptop is often able to play everything in real time. This is a huge leap forward from the old days of RED footage, the memory of which still haunts a lot of people who will tell you that the post workflow with RED cameras is prohibitively cumbersome. These are the people who thought that Elvis’ pelvic gyrations on the Ed Sullivan show were too obscene for the viewing public. Feel free to ignore these people.
 
Lenses
Crisis: Cinema lenses are expensive and heavy.
 
Opportunity: Interchangeable mounts allow you to use your ‘still’ lenses, also cinema lenses can be incredibly sharp. Also, when collimated the ‘witness marks’ (distance scale) are accurate, so you can measure to ensure focus, or set marks on the lens to track focus on moving subjects. Inferior to tracking autofocus in some ways, better in others.
 
Weight
Crisis: Heavy! Hand holdable, but flying with cinema gear is a drag. Lugging it around a set is a drag.
 
Opportunity: Solidly built, steadier than your 7d footage. The system is modular and can be configured in all kinds of ways, from a fairly portable one all the way to a Hollywood technocrane setup.
 
Learning Curve
Crisis: Lots to learn, from the gear to the workflow, to the jargon.
 
Opportunity: Lots of support to help you learn. Learning is fun. Mashing buttons is learning!
 
The Dragon is just the first of many cameras will further blur the line between still and motion capture. No matter how you feel about that, this is not the time stick your head in the sand, or to wait for the storm to pass, or to hope that the genie will go back in the bottle. Quite the opposite, which I guess means that, it’s time to emerge from the sand during a storm and unleash a genie? What I’m trying to say is that sooner or later this kind of technology will become commonplace, and you should think about what that will mean for how you work and how you market your talents.

Sample Images:

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This Week In Photography Books: Anne Noble

by Jonathan Blaustein

Speaking of Australians, I re-watched “LA Confidential” the other day. Really great film. Noir through and through, but with California color and light. What more could you ask for? How about some serious Russell Crowe action.

What’s that you ask? Haven’t I mocked the faux-Aussie on at least one prior occasion? Yes. Yes I have. But in this film, as he broke into the living room of a global audience, the guy had charisma. He was hulking and visceral. A movie star in the making.

He parlayed that into “Gladiator” a few years later. I saw that one too, back when I still watched studio blockbusters. What was his famous line? “Are you not entertained?” Jon Stewart glommed onto that at some point, because it’s so good.

I could ask the same question here, but I won’t. Because that’s not my point today. Whether or not I’m trying to entertain you, this column is built upon a situation that never ends. I look at a book, and if it catches my fancy properly, I tell you about it. Year in, year out, that’s happened. Which means with every passing week, there’s less out there that I haven’t seen yet.

That’s the real question I want to ask. Can a photo book show me something I’ve never seen? If so, you can bet I’ll write about it, because then it might be something you haven’t seen either.

Honestly, I don’t know where I heard that Russell Crowe is actually from New Zealand. It’s true, though. He’s a Kiwi.

As is Anne Noble, the photographer responsible for “The Last Road,” a new book published by Clouds, in New Zealand. The photos were made during a frigid residency in Antarctica. Better her than me, I say.

This is one of those books that has really excellent writing, but you’ll be hard pressed to have the patience to read. The pictures are witty and new; thoughtful in a manner that suggests she didn’t approach her tenure with pre-conceived notions. Rather, I’d guess she actually investigated the place.

What’s so new? Well, the opening salvo of images was made of piss poles. The kind of poles that made Bill Murray exclaim “It’s in the hole” so intensely in “Caddyshack” are hereby employed as targets for streams of urination. (As opposed to streams of consciousness, in which I occasionally engage.)

Piss poles in a frozen forever? Pee targets, so you don’t get lost in the eternal snow? Awesome. As are the pictures of snow billowing in the air, set against snow and more snow. They’re called “White Noise,” in a shout out to Don DeLillo, which I also enjoyed.

There are some documentary-style pictures that are just OK, with the standout being the truck crate full of Halloween decorations. Later, we see a set of pictures called “Bitch in Slippers,” which I’m guessing is the nickname for the industrial machines that follow. All of which have nicknames of their own. It’s the kind of detail you only think of as strange when you come from somewhere else. (Anywhere else that’s habitable for humans.)

The names are mostly of women, but others are silly, like Basket Case, Wild Thang, and Shagnasty’s Nightmare. (Of which I’d rather know nothing. If Shagnasty lives there all the time, he can keep his suffocating nightmares to himself.)

Anyway, I like this book a lot. You might find piss poles in poor taste, or “Spool Stonehenge” as too cheeky for your liking. I thought it was downright refreshing.

Bottom Line: Antarctic book of things I’ve never seen before

To Purchase “The Last Road” Visit Photo-Eye

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

Art Producers Speak: Max Dworkin

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Max Dworkin. He is a great up and coming photographer who I had the pleasure of working with him on a very large project for a major account. Its exciting to watch his career develop as well as be selected in PDN’s-Emerging Photographer’s Spring 2014 issue.

This was a shot from a story I did on a farm to table restaurant at Stone Barn in upstate New York.

This was a shot from a story I did on a farm to table restaurant at Stone Barn in upstate New York.

This is a portrait of Richard Kern I shot for Remember Paper magazine, he was one of the first photographer I assisted when I came to new york. I loved working with him and he was a big help along the way, learning from on set and talking with about making a living in photography.

This is a portrait of Richard Kern I shot for Remember Paper magazine, he was one of the first photographer I assisted when I came to new york. I loved working with him and he was a big help along the way, learning from on set and talking with about making a living in photography.

This is a shot from an ongoing series called “anonymous”

This is a shot from an ongoing series called “anonymous”

Another shot from the same series, this wasn’t a project I started intentionally I ended up realizing I was drawn to these shots of people with their faces hidden in natural ways.

Another shot from the same series, this wasn’t a project I started intentionally I ended up realizing I was drawn to these shots of people with their faces hidden in natural ways.

This is a shot from a vacation with a bunch of friends, I love having people around who are always up for adventure, I was fully out the passenger window on the hood going about 30 on tiny back roads, it was great.

This is a shot from a vacation with a bunch of friends, I love having people around who are always up for adventure, I was fully out the passenger window on the hood going about 30 on tiny back roads, it was great.

This was from a personal project I worked on and pitched to Greenpointers where we would sneak into abandoned Brooklyn factories, construction sites, and new buildings going up around the neighborhood.

This was from a personal project I worked on and pitched to Greenpointers where we would sneak into abandoned Brooklyn factories, construction sites, and new buildings going up around the neighborhood.

This was a detail shot from some commissioned work I did for Red Clouds Collective, I have been really into working with different artists and companies documenting the design, making, and finished product. I enjoy watching the process and figuring out how to best tell the story, what the strongest images will be and how it all comes together.

This was a detail shot from some commissioned work I did for Red Clouds Collective, I have been really into working with different artists and companies documenting the design, making, and finished product. I enjoy watching the process and figuring out how to best tell the story, what the strongest images will be and how it all comes together.

I used to shoot a lot of skateboarding and I still like to try and incorporate some of that action into my work, this was from an apparel look book I shot with some friends. I have started to notice that a lot of times work I shoot for myself will end up helping me out in work situations, I found this location while shooting the Abandoned Brooklyn series.

I used to shoot a lot of skateboarding and I still like to try and incorporate some of that action into my work, this was from an apparel look book I shot with some friends. I have started to notice that a lot of times work I shoot for myself will end up helping me out in work situations, I found this location while shooting the Abandoned Brooklyn series.

Traveling has always been really important to me and getting to go out on the road has been a dream come true, this was from a 3 month shoot for Visa where I got to travel all through the US and Canada. It was the first big job I ever got and its what allowed me to make the full transition from assisting to shooting full time.

Traveling has always been really important to me and getting to go out on the road has been a dream come true, this was from a 3 month shoot for Visa where I got to travel all through the US and Canada. It was the first big job I ever got and its what allowed me to make the full transition from assisting to shooting full time.

This is a portrait of my friend Maggie, Im lucky to have friends who put up with me pulling them into situations and letting me shoot them.

This is a portrait of my friend Maggie, Im lucky to have friends who put up with me pulling them into situations and letting me shoot them.

How many years have you been in business?
I am happy to say this was my first year shooting for myself full time, I have been getting work for the past 3 years or so but it was hard to fully transition out of assisting.

Are you self-taught or photography school taught?
School, I went to the school of visual arts for photography, but I was getting into experimenting with photography way before I had considered any formal training. I was really into the dark room and built one in my bathroom during high school.

Who was your greatest influence that inspired you to get into this business?
That is hard to say as I had a lot of great teachers who were very encouraging and gave me opportunities that opened my eyes to the different ways I could work with photography. I was a TA for Sarah A. Friedman right after I graduated and also started assisting her, that was a great leaning experience as far as seeing what it looked like to make a living in the business, she is a great friend and still always down to give advice or get an honest opinion from.

I did have an experience early on at SVA during a portfolio review where I was asked very straight forward “what was it that I want to do”? It seems like a basic question that I would have already asked myself but being put on the spot and seriously considering it made me realize what I wanted most was to be able to work and support myself as a photographer.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I try to see new and different art as much as possible. It can get daunting at times to be so involved in my own process of shooting editing and retouching, seeing other work helps to break it up.

It gives me more confidence to try new things and take some chances, sometimes when I let go a bit and stop thinking so much about where I’m going with an image or series, I stumble across a fresh perspective. I like to go sit with a pile of magazines somewhere and just see whats out there from the ads to the stories, the internet has so much content available but to physically see who is shooting what and how the photos are run seems to help my process and inspire me.

Do you find that some creatives love your work but the client holds you back?
I have never experienced this to the point where I feel like I’m compromising my work but having someone who may not share the same vision can either hold you back or push you further. Personally I have had good luck working with clients that are on board with what I do, and if certain things do come up, I welcome the challenge to problem solve and shift things so everyone involved feels like they are being heard and are happy with the results.

Probably not enough…. As I’m learning more and more about how the promotional side of this business works I’m trying to come up with creative ways to get my work seen. I love having the outlet of a blog and website but I like the idea a making something physical and putting it out into the world. I’m working on editing and printing small editions of books with different themes or subject matter and sending them out as gifts or giving them away to anyone interested. Email me and I would love you send you one! maxdworkinphoto@gmail.com

What is your advice for those who are showing what they think the buyers want to see?
This can be especially tricky and in the past I have found myself going in a direction I may not necessarily have gone because I thought it was what people were looking for. At times it can be harder to stay true to yourself and show what you feel is your best work because it dosnt seem like its what people are responding to. In my experience, the payoff has been so much bigger when someone connects with work I have put a lot of myself into, In the end those are the people I want to work with anyway.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes I am shooting all the time, if I’m not booked for a job I’m going out on self-assigned projects or helping out anyone who is interested in collaborating. I have a blog Pictured.tumblr.com where I have been posting a photo a day since 2011 it has been a great outlet for work that doesn’t really have another place to go. The work could be from a recent trip, an outtake from a job, or just a photo I shot that day. Having the structure of an ongoing project like this has kept looking at photos and made sure I always have a camera in my hand. Another unexpected thing I enjoy about it is that it serves as a visual journal for the past week, month, and even year, I can go into the archive section and see 30 or so images from the past month that show where I have been or what I was working on. There has been some great feedback from this and I like that it can showcase a really large range of work that I wouldn’t necessarily want on my website. I don’t like to be labeled as a photographer who does just one thing…. Part of the reason I love this job is because it allows freedom and creativity to work with so many different kinds of people and explore new places… I can be shooting a portrait in the studio one day and be out in the street shooting skateboarding the next. It’s really what keeps me going.

How often are you shooting new work?
As much as possible, maybe 3-4 times a week. If I’m not shooting for a client I’m usually out shooting for a personal project or for someone who has reached out about working together. I like to keep really busy and having the luxury of working with digital and not paying out of pocket for jobs with no money I take on almost any project I’m approached with as long as I’m interested in the subject matter and have creative control.

—————-

Max Dworkin is a NYC based photographer who lives and works in Brooklyn. He is the photo editor of Remember Paper magazine and co founder of Get Summered an arts and lifestyle company.
He is currently looking for representation.

Max Dworkin
Maxdworkinphoto@gmail.com
413 822 1480
maxdworkin.com
pictured.tumblr.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Weekly Edit- The Hollywood Reporter

- - The Daily Edit

Screen shot 2014-03-24 at 8.43.47 PMPhotographer: Mary Rozzi

 

Screen shot 2014-03-24 at 8.48.43 PMPhotographer: David Needleman

 

Screen shot 2014-03-24 at 8.49.07 PMPhotographer: David Needleman

 

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Photographer: Mary Rozzi

 

Screen shot 2014-03-24 at 8.44.11 PMPhotographer: Blossom Berkofsky

 

Screen shot 2014-03-24 at 9.09.20 PMPhotographer: David Needleman

 

Screen shot 2014-03-24 at 8.47.30 PMPhotographer: Joe Pugliese

 

Click here for galleries and video of the issue.

The Hollywood Reporter

Creative Director: Shanti Marlar
Photography&Video Director: Jennifer Laski
Design Director:  Peter B. Cury
Deputy Photo Editor: Carrie Smith

Answers compiled by:
Photo/Video director: Jennifer Laski 
And Photo Editors/Producers:
Carrie Smith
Moira Haney
Audrey Landreth
Michelle Stark
Kayt Fitzmorris

Heidi: This portfolio is comprised of variety of photographers, and you had several different photo editors working on this. How far out did you have to start planning and since it’s so fluid how did you direct and unify this project?
THR: Being that we’re a weekly, shoots are generally last minute but with special issues, we usually have a little lead time. Thankfully, our Style Editor, Carol McColgin, is very organized. That said, our last shoot with Dakota & Elle Fanning and stylist Samantha McMillen was done 2 days prior to closing. We are accustomed to the hectic schedules of our subjects and their availability so turnaround on many shoots is insane. There often isn’t time to map out a grand plan, but as each shoot comes in all of the photo producers are able to discuss and collaborate on what is going to work best for the package. Having produced 400 photo shoots just last year, the photo department has a shorthand when it comes to a unifying aesthetic. It’s a total team here and we bounce ideas off of each other all the time.

What was the overall direction for the project, and where did the essence of the idea come from? 
This issue is a great opportunity to celebrate the behind the scenes ‘magic-makers’ who aren’t normally in the spotlight. Carol McColgin, comes up with her wish list of top stylists and books all of the talent. It’s great, because the talent is enthusiastic and grateful to participate simply to support their stylist. The stylists and their celebrity clients are usually good friends so its a fun collaboration from beginning to end. The general direction for this years package was beautiful portraits as usual but taken to another level with High fashion. It was fun to get the stylists out of their usual functional on-set uniform and glam them up to give them the star treatment usually reserved for their talent and to showcase them in a way that no other magazine does.

Was that cover image shot specific for the cover or was this an outtake?
Everything is a ‘cover try’at THR. In the end, the art always dictates what works best for cover. We shoot 2 looks with variations and then we see….. The beauty and sweet dynamic of the trio and the  buzz of Lupita at the time made it the obvious cover for us.

You have several different photographers in the portfolio, were they selected on their work alone or  did talent have a preference?
Fortunately people trust the work that we do at THR. With 50 original covers a year, people can see the kind of work that we continuously churn out. We find them saying to us “We trust you, we love what we see on The Hollywood Reporter covers..” A portfolio is a great opportunity to hire a balanced mix of our tried & true photographers with a few newer talents.

How important is video at THR  and what roles does it serve?
Video is vital to THR and a large part of what we do on a daily basis. Video is part of the complete experience now, no longer an afterthought. The content created on individual shoots is original and it allows our photos to come to life in a way that goes well beyond B-roll. Additionally, we have our successful Roundtable Series (which aired on PBS SoCal this past Oscar season) and a major video presence at various festivals and award shows with our THR video lounge.

You are a weekly, with a ton of shoots each week.  The title seems to be getting bigger all the time, which is rare for magazines these days.  And, now you’re working on Billboard too. How big is the team? Does Jennifer use a team of freelancers?
It’s kind of like being on a crazy train or roller coaster ride. Everyone we work with is with us on this  fast-paced locomotive and any photographers that come on the train with us,  go on the ride with us, and understand our deadlines. With the support of our Creative Director, Shanti Marlar, and her team, there is a definite collaboration between photo and art department which is extremely important. She is willing to take risks and we brave exciting ideas together. We are super busy managing two titles now. Its about having a team of people (staff and freelance) who truly trust each other and we can get the work done. There’s no time to micro-manage or second guess. Being budget conscious makes us more thoughtful about what we want and need to get. We don’t need to be overwhelmed by the do-dads of production. It’s liberating in a way that as it forces you to take simple, honest and beautiful portraits. We are excited about photography and luckily we have the opportunity to do it week after week.

This Week In Photography Books: Trent Parke

by Jonathan Blaustein

I used to have an Aussie friend named Pappy. We met when I was still impressionable, and were the best of mates for nearly 15 years. He looked like a pirate and drank like a Marine, so I did too.

Having an Australian wingman is kind of like having a criminal for an accountant. You might feel proud of yourself, for putting one over on the powers that be, but in the end, it’s not likely to work out very well. Australia is a culture in which drinking, partying, fighting and meat-binging are the norm.

Think about that for a second. All cultures have their oddities. Like the French and their extra-marital affairs, or the Puritans with their hatred of dancing. That’s part of what makes a culture distinct, as we’ve discussed here previously.

But an entire country, nay, Continent, filled with the descendants of law-breakers, all of whom like to get wasted and crash motorcycles? Can you imagine? What would that look like?

I’m so glad you asked.

I’ve just put down “The Christmas Tree Bucket,” by the Australian photographer Trent Parke, so we have a good chance to peek in on things. The book was published by Steidl, which does make me wonder what the production meetings might have looked like. (Perhaps some pursed German lips at the sight of such class-less behavior?)

The title refers to the bucket kept around, presumably, to be grabbed by the next person to vomit on Christmas. At the very least, we do get one photo of the putative subject filled with vile goop. (Has anyone started a satirical Gwyneth Paltrow blog with that title yet? Vile goop?)

One can only imagine the subtitle, “Trent Parke’s Family Album” is a truthful moniker. In which case, the many excellent photos within give us an inkling of what life is like at that time of year. The dude in the Borat suit in front of the open swimming pool reminds that Christmas comes in summer Down Under, and that’s enough to make your head spin. (As opposed the the bed spins. Which I’m sure were in evidence here too.)

Meat on the grill, dead mice on the floorboards, screaming kids, oddly placed blow up dolls, denuded Christmas trees: it’s all here. The run of pictures where everyone’s sleeping was a particular favorite. Great rhythm.

There are a lot of photos in the book, and they all have that hipsterish-off-kilter vibe. The awkwardness of a record store clerk who knows so much about esoteric music, but can’t quite figure out how to ask a girl out. So what does he do? He downs a bottle of Jack Daniels and drives to her house, where he sits in the driveway, idling the car, and scaring the bejeezus out of her dad, who comes out with a shotgun after 45 minutes of wondering who the asshole is on his driveway.

Sorry. I got off topic. That doesn’t actually happen here. But if it did, I’m guessing the father wouldn’t wait 45 minutes to see what’s going on. He’d come out after 90 seconds, with a baseball bat, pull the dude out of his car, beat him senseless, and then ask what the hell he was doing there anyway. Goodonya.

Bottom Line: Absurd Aussie take on Christmas in summer

To Purchase “The Christmas Tree Bucket” Visit Photo-Eye

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

Art Producers Speak: John Davis

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate John Davis. His demeanor and professionalism, combined with his creativity and flexibility, make John our top choice for many different types of projects. He has literally turned a cloudy day into a sunny one! His work always exceeds our hopes and it’s a pleasure to review photography knowing that John sets out to deliver something truly impressive.

Wesleyan Student for Wesleyan University Marketing Materials and still to be used in student profile video.

Wesleyan Student for Wesleyan University Marketing Materials and still to be used in student profile video.

Baltimore Musician Katrina Ford of 4AD band Celebration.

Baltimore Musician Katrina Ford of 4AD band Celebration.

Tufts University for Marketing Materials.

Tufts University for Marketing Materials.

CEO of Mayorga Coffee for Inc. Magazine.

CEO of Mayorga Coffee for Inc. Magazine.

Runner for personal project.

Runner for personal project.

Junior Olympic Championships

Junior Olympic Championships

Junior Olympic Championships

Junior Olympic Championships

Student for University Alumni Magazine.

Student for University Alumni Magazine.

This is something we shot for online education company, 2U inc. for their Semester Online Ad Campaign.

This is something we shot for online education company, 2U inc. for their Semester Online Ad Campaign.

This is from an image Library we shot for an East Coast Restaurant chain, The Green Turtle. They were trying to rebrand themselves as more than just a sports bar.

This is from an image Library we shot for an East Coast Restaurant chain, The Green Turtle. They were trying to rebrand themselves as more than just a sports bar.

The Green Turtle

The Green Turtle

From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.

From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.

From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.

From Anhinga

How many years have you been in business?
More or less, 15 years with the requisite assisting overlap.

Are you self-taught or photography school taught?
I started as a Fine Art major at the University of Maine and transferred to The Maryland Institute, College of Art (MICA) where I graduated with a BA in Photography.

Who was your greatest influence that inspired you to get into this business?
I didn’t really have a professional influence until I was already in the flow of the photo assisting world. The business of photography, at least my perception of it at the time, seemed like my only option at the time. I knew I wanted to make a living doing something creative and I had just graduated with a degree in photo so that was that. There were definitely photographers that inspired me, but they were mostly fine artists/teachers of art that didn’t push the business side of things. Helen Levitt, Sally Mann, Emmit Gowin and my first Basic Photo professor at U. Maine were big ones for me artistically. Professionally, I would say Dan Winters and Chris Buck.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Is this a trick question?

I try to keep an open mind and let things happen organically. If I’m shooting a lot of higher ed or people, I’ll force myself to do a multilple exposure light test with still life.

A couple of years ago I decided to work with a consultant to completely overhaul my website and put together a new book. The goal was to steer my business away from a certain kind of client. Within two months of the new site launch I was caught in an avalanche of RFPs to shoot for exactly the clients I was lookin for.

Do you find that some creatives love your work but the client holds you back?
I’ve been pretty lucky. The last few years clients have been mostly on board with my take on things. I think a lot of times they are hiring me because they want me to do what I do best.

What are you doing to get your vision out to the buying audience?
Everything. Networking, Direct mail, Email promos, Social Media and other online resources like Wonderful Machine, Photoserve and ASMP Find a Photographer.

What is your advice for those who are showing what they think the buyers want to see?
If it’s original it will stand out. If it isn’t, it won’t.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, as often as I can. I wouldn’t be in business right now without it.

How often are you shooting new work?
I’m always making pictures and keep a notebook / Evernote of ideas and images that inspire me. I love a good Moleskin but the Evernote app is great because it syncs across all my computers and devices. Realistically, I try to shoot a project every few months and don’t worry too much about whether the personal projects jive with my current paid gigs. I’m always thinking about how to change things up. I also try to collaborate with other artist friends.

———–

John is a photographer based in the Baltimore/Washington, DC Corridor and is represented by Wonderful Machine. He specializes in telling stories with images for a wide range of clients, from higher education and advertising to national editorial publications. On his “off” days he keeps busy by training for his next Marathon and photographing his fellow athletes.

You can see more of John’s work and a list of clients here http://www.jdph.com
Contact: john@jdph.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

 

The Daily Edit – Julia Fullerton-Batten: Blink

- - The Daily Edit

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Ikebana: Ikebana is commonly known as the Japanese art of flower arrangement and origami the art of folding paper. However, the Korean term for paper folding is ‘ikebana’. In Korea the spiritual aspect of ikebana is considered very important to its practitioners. Things in nature are appreciated. Koreans are inspired to identify with beauty in all art forms. In this image we see a two-fold use of ‘ikebana’, the paper folding and using the end product for decoration of a tree.

 

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Fish: Koreans love raw fish and raw shellfish. They are a staple component of the Korean diet, especially raw fish, ‘hweh’.

Forest:  In this scene the artist skilfully hijacks a hoarding hiding an industrial site that is artistically painted as a forest. Reflecting back to the past, the women are burdened with bundles of wood to fuel the fire at home.

 

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Ladder: Beset by invasions from neighbouring countries, including most recently by North Korea, their blood brothers to the north,  this image symbolises the resistance of the South Korean folk to these attacks.

Harvest: Like its neighbouring countries, Japan, China, and Indochina, Korea is also a tea-drinking country with a rich ceremonial tea culture. In this image Fullerton-Batten captures the impression of Hanbok-clad women harvesting tea in the middle of Seoul. In reality the tea plants are boxwood plants.

 

 

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Rickshaw: For many thousands of years Korea was a single, independent kingdom  and resisted many invasions. But the country was defeated by Japan in 1910 and occupied to the end of WW II in 1945. At the end of the war Korea was divided into two nations, south and North Korea along ideological lines. This image reflects back on the Japanese occupation with a Japanese ‘rickshaw’ being drawn by Korean bearers.

Rope: At the end of WWII Korea was split into two separate nations along ideological persuasions, South Korea and North Korea. Tensions built between the two countries. On June 25, 1950, North Korea invaded South Korea, starting a bloody war that lasted more than 3 years and involving more than 20 countries. The image ‘Rope’ symbolises this war and the continuing political struggles between the two nations in the form of a tug-of-war between the two participating countries.

Blink Magazine

Creative Director: and Founder: Aram Kim
Photographer: Julia Fullerton-Batten

Heidi: What drew you to Korea to create this body of work?
Julia: I was asked to exhibit work from several of my projects and host a ‘talk’ at the Dong Gang Photofestival, curated by Louise Clements and Joanne Junga Yang, title, UK PHOTOGRAPHY NOW: The Constructed View. The Festival is held at several venues in the city of ‘Yeongwol”. I try to organize a personal shoot whenever I am asked to travel somewhere specifically for an exhibition opening. In this instance I decided to extend my stay in Korea by  eight days and complete the planning of my project, as well do an unplanned visit to “Everland” for a shoot there, similar to one I had done in Tokyo on a similar visit several months prior.

Korea has fascinated me for a while now, with its history, and its long term unresolved tensions between North and South Korea. I therefore decided to use this opportunity to combine the Festival with a personal shoot in Seoul. I had quite some time in which to prepare my ideas for the project. This I finally decided would be an attempt to combine the traditions, culture and history of South Korea against the modern architecture of Seoul. I did a lot of research online and also liaised closely with people in Korea.

In the three months of preparation for this project did you work with any native Koreans that had cultural knowledge?
I worked very closely with a local Korean producer, a location finder, local stylists and hair and make-up artists. This cooperation also helped me with ideas for the shots. For one thing, although I had heard of the Hanbok traditional dress before, I had never actually seen it. Many of us in the West are aware of recent Korean history – the Korean war and the current political tensions between South and North Korea, but minor cultural details such as not using green paper for wrapping presents I found by searching on Google.

I also worked with Kim Aram, the editor and owner of the Korean ‘Blink’ Magazine. She helped me find the girls for the shoot by blogging about my visit to Korea on Facebook. We had many responses. Although I didn’t meet the girls until the day of the shoot, I had a lot of contact with them by email beforehand. The props that I used were sourced from prop houses in Korea, as I wanted to give a feel of authenticity.

I took my London assistant, John, with me to Korea as we work very well together and we were able to prepare many details of the shots ahead of time.

You had mentioned you arrived during monsoon season, how difficult was that for you personally and your equipment? 90% humidity seems quite high and yet the women look so cinematic and perfect. What were the obstacles in those conditions?
The date of the Festival was, of course long fixed, and it just happened that it took place in the middle of the Korean monsoon season so there as no way to avoid that at all. Before we flew to Seoul there were heavy rainstorms. I was told that 6 people had sadly been washed away by severe flooding along the river.

Upon arrival in Korea, my producer told me that some locations would be too dangerous to shoot at, and that I would have to rethink my ideas. This was worrying as I had each location, each model and each prop all mapped out in my head. However, I was very lucky as the weather changed and the dangerous areas were opened again by the authorities.  We just needed to go there and see if it was possible to shoot.

I feel now that a lucky star was following me during those intense 5 days of shooting. The rain seemed to hold off until the moment that I put my camera back in its case. On other occasions, we would get up at 4am and it was bucketing down with rain, and I prepared mentally to drop a shot or two. But again, upon reaching the location the weather had miraculously cleared and we could shoot in the dry after all.

The humidity was very tough. As neither John  nor I were used to it, the humidity was quite a challenge for us both. John suffered in particular as there was considerable physical effort involved in moving lighting from one location to another, and in setting up and changing power-sources when daylight changed.

The girls also suffered. They wore layer upon layer of material in their Hanbok dress. Fortunately, we had hired an air- conditioned bus for them to escape into and cool down. I also tried to prepare everything and then get them on to the set at the very last minute.

As you explained, the contrast of the austere backgrounds and Korean traditions is at the core of this work.
On your site  Images 1-8 PERSONAL section 3  it looks as though some were shot during your three month stay. How was your approach to these images different from the Korean traditions body of work? 

 

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I spent two days with my London assistant in a fascinating place called “EVERLAND” We were accompanied by a local assistant from Seoul, who helped to  translate and set up the lighting. Yong-sik Shin from Hasselblad also joined us as he wanted to see me on a shoot and he very kindly organised access to the location, as well as a loan of a Hasselblad camera.

“Everland” is a huge theme park in Yongin, Geyeonggi-do province. It is South Korea’s largest theme park, with about 6.6 million visitors annually. It is a truly spectacular place to visit, filled with fantasy buildings, thrill rides, fairground attractions, African safari bus rides, parades and festivals. I didn’t have enough time to see it all, so I concentrated mostly on one area, the “Caribbean Bay”. I approached this shoot in a totally different way from how I normally arrange a shoot – nothing was planned or organized, we just turned up and walked around (with permission of course!) with a suitcase full of lighting and approached visitors to photograph. It was very refreshing to be more carefree with the approach. This is probably the closest I will get to being a reportage photographer, except when I photograph my boys!

This Week In Photography Books: Linda Fregni Nagler

by Jonathan Blaustein

Have you ever seen “After Life,” the Japanese film by Hirokazu Koreeda? If not, you probably ought to slap it up on your Netflix queue. Or go to the video store, if such things still exist in your neck of the woods.

I saw it some time ago, and it has stuck with me ever since, as its premise bores down deep into your soul, like a groundhog. The idea is that we all get to choose one memory to re-live, forever, in the afterlife. Good movie, sure, but once you hear that concept, who wouldn’t begin to contemplate?

Now that my daughter is beyond the baby stage, there are far more opportunities to stare in wonder at her beauty, as the initial stress chemicals have mostly receded. My son’s a looker too, so I often find myself trying desperately to cherish the time, as it recedes from my grasp.

I often ask myself, might this be the moment?

We all know what I should be doing, right? I need to document the crap out of the next few years. Photos, videos, audio clips. You name it. That’s the done thing. Try to defeat time by selecting moments, culling them from the herd, and permanently enshrining them in binary code.

But I don’t do that as much as I should, because I secretly hope that if I pay enough attention, as it’s happening, I might have the chance to relive one of these brief periods of intense happiness. That blasted film really stuck.

This urge, or impulse, has existed at least since we’ve had cameras. And likely before.

Close your eyes, and you can almost see a bearded man with spectacles looming above you, entreating you to hold still. He smells like a mixture of sweat and tobacco, with a hint of peppery bacon. Then he disappears under a black curtain, and POOF, there is smoke everywhere. You begin to cry, and reach for your mother, who is conveniently beneath you, enveloped by a different black cloth.

What?

That’s the rub, when you look at “The Hidden Mother,” by Linda Fregni Nagler, a new book published by MACK, in conjunction with the Nouveau Musée National de Monaco. From what I could tell from the end notes, it might have also been the Italian pavilion at the Venice Biennale last year. (In case you were wondering.)

There is no text to set up the premise, except the title. They saved the essays, by Massimiliano Gioni and Geoffrey Batchen for the end. To contexualize what you just saw. But is it necessary?

I’d say no. Page after page gives us images of anonymous children, perched upon their hidden Moms. Ghosts, phantasms, KKK figures too stupid to know the proper sheet color, all those ideas pop into your head. But you always know what’s going on. The mothers are there to help the children hold still, as the exposures at the time were most certainly not 1/8000 of a second.

Will the book hold your attention? I can’t really say. It is fascinating and chilling at the same time. All those babies, gone forever. All those memories brought together by a futuristic stranger, so it can be called “Art.”

Is it? Undoubtedly. A compelling project too, if only for the manner in which it so clearly subverts the intentions of the long-dead shrouded sitters. All they wanted was a piece of paper to help them remember what their dear children looked like, when they were little.

I’ve got pictures of my own too. Don’t you worry. You do to, I’m sure. But the act itself, the desire to will something into a memory that will last a lifetime, is the part that makes us human. Because Elephants can’t operate a camera. Right?

Bottom Line: Very interesting archive, creepy and smart

To Purchase “The Hidden Mother” Visit Photo-Eye.

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

Art Producers Speak: Helen Cathcart

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Helen Cathcart who is a wonderful talent who deserves greatly to be recognized as she is an incredibly well-rounded photographer who can shoot just anything and make you want to either eat it/visit it/or meet it.

I chased this candy floss seller down Chowpatty beach like a madwoman. I was out there photographing for Mr. Todiwala’s Bombay Cookbook and this image made it onto the cover.

I chased this candy floss seller down Chowpatty beach like a madwoman. I was out there photographing for Mr. Todiwala’s Bombay Cookbook and this image made it onto the cover.

I have photographed backstage for Nicholas Oakwell Couture since his first show. He produces the most beautiful clothes. I love the crescendo that builds up backstage until the models walk out on the runway.

I have photographed backstage for Nicholas Oakwell Couture since his first show. He produces the most beautiful clothes. I love the crescendo that builds up backstage until the models walk out on the runway.

This shot was part of an Australian themed recipe shoot for House and Garden. I have a wonderful picture editor there and he has given me many opportunities in shooting a range of different things for the magazine.

This shot was part of an Australian themed recipe shoot for House and Garden. I have a wonderful picture editor there and he has given me many opportunities in shooting a range of different things for the magazine.

This was an advertorial shot for John Lewis and commissioned by the Guardian. I love to make my images look painterly and was particularly pleased with this one.

This was an advertorial shot for John Lewis and commissioned by the Guardian. I love to make my images look painterly and was particularly pleased with this one.

Conde Nast Traveler US sent me to shoot this amazing hotel in the desert in Israel and my poor friend got roped into donning a swimsuit and posing for me.

Conde Nast Traveler US sent me to shoot this amazing hotel in the desert in Israel and my poor friend got roped into donning a swimsuit and posing for me.

I really like this shot of Derren Brown standing in front of a painting he has done of his father. I think it captures a moment which shows his personality, which is actually quite shy, and also that it showcases the fact that he is an amazing portrait painter which not a lot of people know him for.

I really like this shot of Derren Brown standing in front of a painting he has done of his father. I think it captures a moment which shows his personality, which is actually quite shy, and also that it showcases the fact that he is an amazing portrait painter which not a lot of people know him for.

This is one of my favourite recipe shots of Limbu Pani, which I shot back in London for the Mr. Todiwala Bombay Cook Book.

This is one of my favourite recipe shots of Limbu Pani, which I shot back in London for the Mr. Todiwala Bombay Cook Book.

I absolutely fell in love with the Isle of Skye on this commission. This shot is of a deerstalker on the hunt for some venison.

I absolutely fell in love with the Isle of Skye on this commission. This shot is of a deerstalker on the hunt for some venison.

I shot a lovely book this year which was a bit of a departure for me called ‘The House Gardener’. This was an interior shot from a great location house we used.

I shot a lovely book this year which was a bit of a departure for me called ‘The House Gardener’. This was an interior shot from a great location house we used.

I got up at 4am to go out with Olivier Parpillon on his boat. It was for a feature on Bourget du Lac, a village with 4 Michelin starred restaurants. He supplies them all with Lavaret, a fish only found in that lake.

I got up at 4am to go out with Olivier Parpillon on his boat. It was for a feature on Bourget du Lac, a village with 4 Michelin starred restaurants. He supplies them all with Lavaret, a fish only found in that lake.

This was one of my favourite shots from a Cookbook I shot on recipes from the Amalfi Coast by the Caldesi’s. It was in fact my first of many cookbook’s, commissioned by Hardie Grant who I love working for.

This was one of my favourite shots from a Cookbook I shot on recipes from the Amalfi Coast by the Caldesi’s. It was in fact my first of many cookbook’s, commissioned by Hardie Grant who I love working for.

This image was part of a shoot for a Corney and Barrow Christmas Catalogue. It was the first time I realized the feel I could get if I was shooting in near darkness!

This image was part of a shoot for a Corney and Barrow Christmas Catalogue. It was the first time I realized the feel I could get if I was shooting in near darkness!

How many years have you been in business?
I actually started out as a photo editor for 5 years and when my boss found out I did photography too, he let me commission myself for some features, but I made the leap to full time photographer about 3 years ago.

Are you self-taught or photography school taught?
I did a degree in Photography but I would not attribute that in any way to me making a living from Photography today. It was a very fine art based course with no interest in actually teaching you how to get a job at the end of it. I spent 8 hours a day in the dark room which isn’t very useful to me now. I followed it up with an MA in Design and Art Direction in order to get me out of waitressing and I learnt much more from that!

I gained most of my technical knowledge from two photographers I worked with on my picture desk but mainly I believe you learn on every shoot and that there is a way of seeing things that you can’t really teach.

Who was your greatest influence that inspired you to get into this business?
I was given Eve Arnold’s Book ‘In Retrospect’ my by Aunt when I was quite young. I absolutely loved her style and what she captured and how she had just gone out there and put herself in situations. I think that was definitely my main inspiration that I could be a photographer. Although I don’t shoot fashion, fashion photography always inspired me and especially the early fashion photographers such as Richard Avedon and Herb Ritts.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I have to say this can be quite difficult when you become busy and are shooting commissioned work all the time. For me I make sure to mix up the work I am doing which is why I shoot a lot of different things.

I am trying to be more strict with myself to shoot more personal work but I made a concerted effort at the end of last year that I was going to take some time away from shooting altogether to get my creativity back. I went to Cape Town for 6 weeks at the start of this year just to get to the light, get into a different way of life, even paint! It was just what I needed.

I find that somehow my work has always been inspired by nature and going back to that always helps me.

Do you find that some creatives love your work but the client holds you back?
Every shoot is so different but this can definitely happen. At the end of the day you and the creative are usually on the same page so you will try to push the boundaries as much as possible. A lot of it is about dealing with people and explaining your point of view on the shoot. Almost selling it I guess. Once they see what I am doing they usually go with it. I have very rarely felt restricted and having been on the photo editor side of things I think I can see things from both sides quite well.

What are you doing to get your vision out to the buying audience?
It is sometimes so hard to find time to update the buying audience on your work but so important. I try to do a little newsletter every so often. I use instagram a lot and I have a blog that I like to show personal work and recent shoots, and this goes out to art buyers I have worked with and would like to work with.

What is your advice for those who are showing what they think the buyers want to see?
I think you can easily slip into this, especially because it is very important to listen to what the buyer has asked for and make sure they get it, but I have always found that when you produce something that is entirely your point of view and you are really happy with it, it is usually different to anything else and that is the work attracts other work.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I’m not shooting for myself as often as I would like. I really want to get a film camera so that when I shoot for myself it doesn’t feel like work, it feels completely different. I find it takes me a few days to unwind, not shooting at all for me to see things for myself again so I try to block out days where I don’t take commissions for this to happen. I get a lot of inspiration from travel though and this usually keeps my work fresh. I have been planning for ages to shoot behind the scenes at a strip club but can’t find any strippers! If anyone knows any, let me know!

How often are you shooting new work?
At the moment I’m shooting almost every day. I love what I do and keep getting commissions that I love which are very hard to say no to!

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Helen specialises in photographing food, travel, interiors and portraits. She started her career as a photo director, followed by freelance picture editing and photo direction on various news stand titles including British Vogue. After a move to Sydney she made the transition to full time photographer and now shoots for numerous magazines and brands and has photographed a number of cookbooks. Helen is currently based in London.
www.helencathcart.com
www.helencathcart.blogspot.com
twitter and Instagram: @helencathcart

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.