PDNedu, Vol. 15, No. 1, Spring 2016

Page 1

Brought to you by PDN and Nikon

Vol. 15 ISSUE 01 / SPRING 2016

the Commercial Photography issue

pg.

34

Make Yourself Carlos Serrao builds a commercial career from the ground up

30

pg.

Keeping up with Nikon Ambassador Blair Bunting

44

pg.

The 13th Annual Student Photo Contest winners’ gallery

THE MAGAZINE FOR EMERGING PHOTOGRAPHERS AND PHOTO EDUCATORS

Nikon and NIKKOR are registered trademarks of Nikon Corporation ©2016 Nikon Inc.

AN OBSERVER OF LIFE

Ever notice how fleeting moments seem to be the best? Capture them with the AF-S DX NIKKOR 35mm f/1.8G. It’s designed to take stunning portraits in all their glory. So you’ll never miss the moments that matter most. And for sharp, beautiful, extreme close-ups, try the AF-S DX Micro NIKKOR 85mm f/3.5G ED VR.

nikonusa.com/nikkor

Contents

VOLUME 15 — ISSUE 01 From Timothy Hutto’s vivid stilllife series, “Things.” Read about

Snapshots

the Pratt M.F.A. student in Storyetllers.

13 News and Views Applying to The Eddie Adams Workshop; Q&A with ICP graduate Mikael Krantz; Star Teacher Ann Cutting from Art Center College of Design.

18 Media Reports Philippe Halsman’s Jump Book reissued; Frances F. Denny’s Let Virtue Be Your Guide; Doug DuBois’s My Last Day at Seventeen.

19 Photo Gigs Maren Levinson, founder of Redeye Reps.

20 Is It Legal? 1DQF\ :RO΍ DGGUHVVHV WKH dos and don’ts of posting client work on Instagram.

22 Ask MVS Mary Virginia Swanson explains what you need to know to license existing work.

24 Project X PBS American Master Pedro E. Guerrero inspires education; Carli Davidson turns her viral “Shake” images into a three-part book series.

Features 40 Special Report

&DUORV 6HUUDR UHȵ HFWV RQ PRUH WKDQ

Three schools that prep students for

Timothy Hutto’s vivid collection of

and portrait and sports photographer

two decades of persistence and inge-

the fast-paced world of advertising

“Things.” BY BRIENNE WALSH

Blair Bunting. BY HAL STUCKER

nuity. BY HARRISON JACOBS

photography. BY AMY TOUCHETTE

18

34

30

PHOTO © BLAIR BUNTING

34 It’s a Living

Keeping up with Nikon Ambassador

PHOTO © CARLOS SERRAO

30 One to Watch

Pratt Institute graduate student

PHOTO © FRANCES F. DENNY

26 Storytellers

Tips & Tech

Dept.

54 Business Smarts

62 What Does It Cost…?

06 Editor’s Letter

Building a website, creating promos and

To study, live and work in Dallas, Texas.

leveraging social media with clients in

BY AMANDA BALTAZAR

08 Contributors

66 Product News

10 Bulletin Board

Also Inside: 44 2016 Student Photo Contest Winners’ Gallery

mind. BY MINDY CHARSKI

58 Step x Step

The latest gear for students and

Three Nikon Ambassadors reveal what

educators. BY GREG SCOBLETE

they wish they’d known before starting their careers. BY JACQUI PALUMBO

72 Out of the Past Guy Bourdin heralds a new age

70 PDNedu Asks Photographers…

of fashion photography. BY HILARY REID

Tips for the best way to engage potential clients. COMPILED BY

WEBSITE © CHRISTOPHER WAHL

TARYN SWADBA

Photographer Christopher Wahl’s streamlined, easy-to-navigate website. In Business Smarts, read up on how to present your work to potential clients.

02

Nikon and NIKKOR are registered trademarks of Nikon Corporation Š2016 Nikon Inc.

A STORYTELLER

Do you have a story to tell? Whatever it is, you can tell it even better with the AF-S DX NIKKOR 35mm f/1.8G. It’s designed to capture stunning portraits in all their glory. So you never miss that perfect moment. And for sharp, beautiful, extreme close-ups, try the AF-S DX Micro NIKKOR 85mm f/3.5G ED VR.

nikonusa.com/nikkor

W

HAT’S

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IN IXIE IXON’S AG

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FOLLOW US!

www.instagram.com/NikonUSA

www.facebook.com/nikon

@NikonUSA

A DV E RT I S E M E NT

THE NIKON AMBASSADOR N A M E S H E R FAV O R I T E G L A S S .

PHOTOS © DIXE DIXON

Commercial fashion photographer Dixie Dixon’s unbridled enthusiasm and passion for her work is as evident in her personality as it is in her images. She received her first camera—the Nikon FG—as a gift from her father when she was just 12 years old. Growing up, Dixon says: “I was a little shy but the camera was my sidekick and got me out of my shell.” By the time she was in high school, she was earning $10 an hour shooting Little League baseball and had joined the yearbook staff. When she landed the cover of the yearbook, she decided that she wanted “to figure out how to do this for a living.” Fast forward to this year: Dixon, a Nikon Ambassador, had the opportunity to be one of the first photographers to shoot with the new 20.8-megapixel Nikon D5—a camera she “absolutely loves”—to photograph part of the camera’s campaign. Prior to the D5, her cameras of choice were the Nikon D810 and D4S for her fashion and beauty assignments. Peek into her camera bag and you’ll also find an assortment of NIKKOR lenses—including an old AF Nikkor 180mm f/2.8D IF-ED lens her dad gave her when she was still shooting film. Unlike shooting weddings, where zoom lenses provide needed focal-length variety, Dixon prefers shooting her fashion and beauty images with prime lenses “because you work methodically—you slow down and think.” And, she adds, “the NIKKOR primes let me capture amazing details.” While she loves her old 180mm lens for outdoor fashion shots because of the “beautiful flare and dreamy look” it creates, if she had to choose only one lens, it would be the AF-S NIKKOR 85mm f/1.4G. “I use the 85mm on almost every shoot,” Dixon says. She loves the “beautifully blurred background” it produces: “It’s so ridiculously sharp you can’t go wrong with this lens.” In addition to headshots, the 85mm is perfect for full-body portraits, too. When a wider angle lens is needed—usually for group portraits—Dixon will pick up the AF-S NIKKOR 58mm f/1.4G, a lens she “fell in love with” when she first used it. Dixon prefers the 58mm to a 50mm in part because it provides a similar look as the 85mm—but with wider scene coverage. Because she shoots beauty as well as fashion, Dixon needs to deliver tack-sharp

close-up images of models’ faces. She originally started using the AF Micro-Nikkor 60mm f/2.8D to capture details such as eyes and lips but found that getting so close to the model’s face would make her subject uncomfortable. Now that she uses the AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED, she can put a little distance between the lens and her subject, which puts the model at ease while still allowing Dixon to capture the shot. Some beauty assignments also require Dixon to shoot the actual product as well as the model; the 105mm macro is perfect for double-duty because its “focus is so precise.” Dixon loves shooting on location and finds that telephoto lenses like the AF-S NIKKOR 200mm f/2G ED VR II and the AF-S NIKKOR 300mm f/4E PF ED VR are the ideal match for working outdoors. The longer focal length— which she uses for headshots and full-body compositions—compresses and blurs the background, which is an asset when she doesn’t have a beautiful backdrop. In Texas, she explains, “the scenery is not always great.” The 200mm f/2—which she often uses for advertising shots since the strong bokeh gives graphic designers plenty of room to add text—is relatively heavy, so she’ll usually mount it on a tripod. But the 300mm f/4E—which is incredibly small at 3.5 x 5.8 inches and 26.6 ounces—offers its own set of benefits. “It’s so lightweight,” Dixon exclaims. “You can shoot handheld and be at a distance from the talent so they forget you’re there and you can capture beautiful moments.” Even at f/4, she adds, the lens is going to blur the background and, equally as important, the lens is extremely sharp. Regardless of what NIKKOR lens she uses, Dixon explains that to capture the fleeting second when the light and the model’s expression come together, “you have to have really fast autofocus, and these lenses let me capture those moments.” Paired with the Nikon D810 and D5, the combination delivers what Dixon needs most: color accuracy, beautiful skin tones and precision focus that reproduces fine details, right down to a model’s eyelashes.

Pictured (above, clockwise from left): A fitness shot using the AF-S NIKKOR 58mm f/1.4G; a fashion image with the AF-S NIKKOR 85mm f/1.4G; Dixie takes the new Nikon D5 camera for a spin with a marching band in New York City.

AF-S NIKKOR 58mm f/1.4G

@www.youtube.com/NikonUSA

AF-S NIKKOR 85mm f/1.4G

AF-S VR MicroNikkor 105mm f/2.8G IF-ED

Nikon D5

WWW.NIKONUSA.COM/PDNEDUSPRING2016

EDITOR’S LETTER

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Landing an ad campaign is a turning point in

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many photographers’ lives. It’s also a juggling

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act, working with both an agency and the cli-

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ent, and becoming a cog (albeit a very impor-

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tant cog) in the larger wheel of production. The meetings with committee after committee, in itself—as our It’s a Living pho-

92/80( Ζ668(

tographer Carlos Serrao points out (pg. 34)—is an entirely

Spring 2016

QHZ H[SHULHQFH IURP HGLWRULDO ZRUN /DQGLQJ WKH È´ UVW FRP mercial job can be challenging for an up-and-coming photographer, but the reward is worth it, leading the way to new

SENIOR VICE

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VICE PRESIDENT &

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opportunities and clients in a lucrative area of photography. So what do you need to know to get into the commercial ȴ HOG" ΖQ WKLV LVVXH \RXȇOO OHDUQ IURP WKH H[SHULHQFHV RI 6HUUDR

Lauren Wendle

and Nikon Ambassador Blair Bunting (pg. 30), who both put in the work to forge successful careers in advertising. You’ll also hear from creative directors and photographer reps on

CIRCULATION MANAGER, CUSTOM

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how to present yourself and your work to potential clients in

shooting for a client or licensing existing work. $OVR LQ WKLV LVVXH \RXȇOO VHH WKH ZLQQHUV RI WKH PDNedu

MANAGER

ASSOCIATE PUBLISHER ASSOCIATE EDITOR Taryn Swadba SENIOR

Student Photo Contest (pg. 44). We received incredible submissions this year, and we’d like to thank the students who entered and the judges who selected the work. Lastly, you may have noticed this issue of PDNedu has JRWWHQ D IDFHOLIWȃRXU QHZ GHVLJQHU 0DXULFLR 9DUJDV KDV updated the magazine with a fresh look. We hope you enjoy the issue!

— JACQUI PALUMBO

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COPY EDITOR

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CONTRIBUTORS

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PDNedu is brought to you by:

Our Mission To bring the real-world inspiration, techniques and business expertise of established pros to budding photographers and their instructors in high school and college programs.

WANT MORE OF PDNEDU ? Access archived issues through our digital edition, digitalmag.pdnedu.com 4XDOLÈ´ HG WHDFKHUV FDQ JHW IUHH FRSLHV RI PDNedu for their students. For further details and to sign up, visit our website, pdnedu.com

CEO AND PRESIDENT David Loechner CFO AND TREASURER Philip Evans CHIEF INFORMATION OFFICER Bill Charles

On the Cover Carlos Serrao photographs American ballet dancer Misty Copeland for Under Armour. Flip to pg. 34 to read about Serrao in It’s a Living.

VICE PRESIDENT, GENERAL COUNSEL AND SECRETARY David Gosling EXECUTIVE VICE PRESIDENT, BUSINESS DEVELOPMENT Darrell Denny

SENIOR VICE PRESIDENT, OPERATIONS Lori Jenks SENIOR VICE PRESIDENT, DIGITAL Teresa Reilly VICE PRESIDENT, MARKETING SERVICES Joanne Wheatley VICE PRESIDENT, CORPORATE OPERATIONS Eileen Deady VICE PRESIDENT, FINANCE Denise Bashem

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CONTRIBUTORS

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BULLETIN BOARD

Letters “Hey, PDNedu: Just a quick note to say thank you to the editors and contributing writ-

Student Photo Op Claudia RubĂ­n Syracuse University, New York

ers and photographers for making PDNedu such a useful resource. I teach a wide range of subject areas: studio and location lighting, video production, and business practices for photographers. Given the broad content covHUHG LQ \RXU SXEOLFDWLRQ , DOZD\V ̼ QG UHOHYDQW information to share with my students and have assigned readings from the magazine for class discussion. I also greatly appreciate the articles related to teaching and learning— the article about incorporating video into a photography curriculum in The Motion & Video Issue was especially helpful for my students.� STEVEN BENSON Professor of Photography Daytona State College

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At 20 years old, Puerto Rico native Claudia Rubín has built up a portfolio of work in both photography and design. Currently studying abroad in London, Rubín is on track for a degree in Communications Design through Syracuse University’s notoriously rigorous program. But photography has been an interest of hers for several years, DQG VKH KDV DQ H\H IRU DUW GLUHFWLRQ LQȾ XHQFHG E\ KHU GHVLJQ EDFN ground. At school, she regularly shoots fashion tests, and has done some behind-the-scenes work for local designers, bloggers and clothing stores. She names photographers such as Cass Bird, Billy .LGG 6HEDVWLDQ .LP DQG 2OLYLD 0DORQH DPRQJ KHU LQȾ XHQFHV DQG KHU RZQ ZRUN PDNHV XVH RI VRIW JUDLQ VKDOORZ GHSWK RI ȴ HOG DQG ample natural light to set the mood. One of her ongoing projects is a portrait and reportage-style New <RUN )DVKLRQ :HHN 2Q WKH ȴ UVW WULS LQ VKH VD\V ȊΖ MXVW WRRN P\ camera to Lincoln Center and started shamelessly asking people for their pictures. To my surprise, they were all very willing.� Last spring, she was sent by a professor, who works in the fashion industry, to LQWHUYLHZ KDLU DQG PDNHXS DUWLVWV EDFNVWDJH Ȋ7KLV ZDV WKH MDFNSRW IRU PH ȋ VKH VD\V Ȋ>EHFDXVH@ Ζ DFWXDOO\ JRW LQ ȋ +HU ZRUN IURP 1<): LQ LV D PL[WXUH RI VWUDLJKW RQ SRUWUDLWV DQG FDQGLG VKRWV RI WKH behind-the-scenes hustle. And, though photography is just a side gig IRU KHU QRZ KHU LQVWLQFW IRU IDVKLRQ VKRRWV LV FOHDU Ȋ7KH GHVLJQ ZRUOG DQG WKH SKRWRJUDSK\ ZRUOG LQWHUWZLQH RQ D GDLO\ EDVLV >LQ@ IDVKLRQ DGYHUWLVLQJ HGLWRULDO ȋ VKH VD\V ȊΖ ZRUN RQ >SKRWRJUDSK\@ ZKHQHY HU Ζ KDYH WKH WLPH EHFDXVH Ζ QHYHU NQRZ ZKHUH OLIH FDQ WDNH PH ȋ

“Having a publication the caliber of PDNedu RQ RXU FDPSXV KDV EHHQ RI XWPRVW EHQHĚĽ W IRU our students here at Brooks Institute. Teach-

See more at www.claudiarubin.com — -$&48Ζ 3$/80%2

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THIS PAGE: Model Zenya Katava backstage at the Nicole Miller Ready-to-Wear Show at NYFW.

students to be able to see what students in other programs are creating; PDNedu is a great VRXUFH IRU WKLV ,Q SDUWLFXODU , ̼ QG WKDW WKH series on what it costs to live and work in various cities to be excellent, as our students not only come from all over the United States but internationally as well. This kind of resource is great to have for our students as they enter their last year of school and start to think about their life after Brooks and where they may start their careers. Keep up the great work!� CHRISTOPHER BROUGHTON Faculty, Professional Photography Program

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PHOTO © CARLI DAVIDSON

“Shake” In today’s cat- and dog-obsessed Internet culture, Carli Davidson’s “Shake” became an instant classic. But viral fame only lasts so long—see how Davidson turned “Shake” into a three-part book deal and ensured longevity for her work.

13

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SNAPSHOTS: +R W ( YH QWV Ζ QV L G H 6 H O H F WL R Q

Hot Events Apply for The Eddie Adams Workshop

30 Days of Photography on the West Coast

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Inside Selection: A Pigeon Flies in Brooklyn ΖQWHUYLHZ E\ JACQUI PALUMBO

Spring 2016

PDNedu: Tell us a little bit about pigeon Ⱦ \LQJ Mikael Krantz: 3LJHRQ Ⱦ \LQJ KDV D ORQJ KLV WRU\ LQ 1HZ <RUN &LW\ EXW KDV GHFOLQHG LQ SDUW GXH WR EXLOGLQJ UHVWULFWLRQV DQG RUGLQDQFHV 7KH GHGLFDWHG 1HZ <RUNHUV ZKR DUH VWLOO D SDUW RI WKH VXEFXOWXUH NHHS WKHLU SLJHRQV LQ FDJHV DERYH WKH FLW\ VWUHHWV WHQGLQJ WR WKHP IHHGLQJ WKHP DQG WHDFKLQJ WKHP KRZ WR Ⱦ \ WKURXJK WKH ODQGVFDSH DQG UHWXUQ >WR WKH@ VDIHW\ RI WKHLU URRIWRS KRPHV PDNedu: How did you become intrigued by the pigeons of New York City? MK: :KLOH OLYLQJ LQ %XVKZLFN Ζ QRWLFHG WKH XQ RUWKRGR[ Ⱦ LJKW PRYHPHQWV RI ELUGV RYHU WKH URRIWRSV Ζ UHFRJQL]HG WKH URRIWRS FRRSV IURP ȴ OPV ΖȇG VHHQ On the Waterfront ZLWK 0DUORQ %UDQGR IRU H[DPSOH DQG Ζ ZDQWHG WR NQRZ PRUH $IWHU YLVLWLQJ D %URRNO\Q VWRUH WKDW VHOOV SLJHRQV DQG SLJHRQ VXSSOLHV DQG JHWWLQJ P\ ȴ UVW H[SHULHQFH RI WKLV WLJKW NQLW FRPPXQLW\ RI SLJHRQ Ⱦ \HUV Ζ IHOW LW ZDV VRPHWKLQJ Ζ ZDQWHG WR ZRUN ZLWK

PDNedu: Why did you opt to take more formal portraits of the birds on colorful backdrops for part of this project? MK: Ζ ZDQWHG WR FKDOOHQJH WKH FRPPRQ ZD\ RI ORRNLQJ DW SLJHRQV HVSHFLDOO\ LQ XUEDQ HQYL URQPHQWV 7KH\ DUH RIWHQ VHHQ DV D QXLVDQFH DQG DUH RIWHQ VSRNHQ RI LQ D QHJDWLYH OLJKW %\ VHSDUDWLQJ WKHP IURP WKHLU FLW\ KDELWDW DQG SODFLQJ WKHP LQ IURQW RI WKH EDFNGURSV Ζ KLJK OLJKW WKH FKDUDFWHULVWLFV DQG QDWXUDO EHDXW\ RI WKHVH ELUGV PDNedu: What was your process for capturing these portraits? Are there any tricks \RX Č´ JXUHG RXW E\ WULDO DQG HUURU" MK: Ζ EXLOW D VPDOO FDJH ZKHUH Ζ FRXOG DWWDFK P\ SDSHU EDFNGURSV DQG OLQHG WKH VLGHV DQG WRS ZLWK GLÎ? XVLRQ PDWHULDO WR JHW D VRIW DQG HYHQ OLJKW 7KHQ Ζ VHOHFWHG SLJHRQV IURP WKH PDLQ FRRS EDVHG RQ WKHLU SOXPDJH 2QFH Ζ KDG HDFK RI WKHP LQVLGH DOO LW WRRN ZDV SDWLHQFH Ζ KDG WR EH YHU\ FDOP DQG VWLOO IRU WKHP WR UHOD[ Ζ LPDJLQH LW ZDV D VWUHVVIXO VLWXDWLRQ IRU WKHP VR Ζ ZDQWHG WR EH DV FRPIRUWLQJ DV Ζ FRXOG EH PDNedu: Any plans for “Flight?â€? What else have you been working on? MK: Ζ KDYH PRYHG EDFN WR 6WRFNKROP EXW Ζ GRQȇW IHHO FRPSOHWHO\ Č´ QLVKHG ZLWK ČŠ)OLJKW Č‹ VR Ζ ZLOO EH UHWXUQLQJ WR 1HZ <RUN HYHQWXDOO\ WR FRQWLQXH ZRUNLQJ RQ LW Ζ ZRXOG OLNH WR PDNH D VPDOO ERRN RXW RI LW ZKHQ ΖȇP Č´ QLVKHG ZLWK WKH SURMHFW Ζ KDYH VWDUWHG ZRUNLQJ RQ WZR ORQJ WHUP SURMHFWV LQ 6WRFNKROP RQH RI WKHP GHDOLQJ ZLWK D FRQWURYHUVLDO VXEFXOWXUH DQG WKH RWKHU DERXW WKH OHJDF\ RI D SXEOLF KRXVLQJ SURJUDP LQ 6ZHGHQ FDOOHG WKH 0LOOLRQ 3URJUDPPH

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3'1('8 &20 ———

Mikael Krantz is a recent graduate of the International Center of Photography. Krantz, who hails from Sweden, spent his year at the acclaimed New York City school developing his series “Flight,â€? about WKH SLJHRQ Čľ \LQJ ČŠVXEFXOWXUHČ‹ LQ WKH city. “Flightâ€? features documentary-style LPDJHU\ RI ELUGV DQG WKHLU Čľ \HUV DORQJ with striking, colorful bird portraits interspersed in the series. Here, he discusses the project, how he photographed the birds and what’s next for him.

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SNAPSHOTS: S tar Teac he r

Ann Cutting The biologist-turned-photographer fosters new talent at Art Center College of Design. by MINDY CHARSKI When Ann Cutting encourages her students at

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Art Center College of Design in Pasadena, Califor-

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nia, to take risks and pursue their passions, she’s

ment with aspects of professional photography

speaking from experience.

such as working with wardrobe stylists, hiring

Cutting began her professional life as a molecular biologist focusing on gene regulation in early

models, obtaining licenses, forming a team and determining estimates.

development. Pursuing a doctorate would be

Cutting is an avid supporter of her students

the next logical step, but before considering that,

and the paths they choose. Los Angeles-based

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photographer Damon Casarez, who shoots as-

had an interest in photography from a young age,

signments for clients like Fast Company, Los

so she applied to Art Center to earn a bachelor of

Angeles and The New York Times Magazine, took her

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When she graduated in 1987, while still work-

a great balance of instruction and freedom on

by a working photographer was very important,�

ing part time as a research assistant in California

assignments and let us interpret them in the style

Casarez says. “We had a realistic view into the

Institute of Technology’s biology department, she

of photography we wanted to pursue.�

commercial photography world from someone we respected and who was doing the work we

decided to start her photography business. “I real-

She still takes that approach. In a recent assign-

ized I should take the path of most risk, the most

ment called “Liquids on Location,� her students

unknown path, because I was young and didn’t

were each asked to create a beverage ad. The

Casarez appreciated the individual attention

have a family yet,� she says.

open-ended project produced a food still life with

his former teacher gave students to help them develop a photographic voice.

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award-winning photographer shooting commer-

and her cocktail and a vineyard scene shot on

cial work for brands like Lexus, Nike and Target,

location.

hoped to do after graduating.�

“I encourage them to be self-motivated and to trust their instincts and their vision,� Cutting says.

and editorial images for print media including

Cutting adds complexity to the requirements of

“I believe their concepts improve when they spend

TIME and The Washington Post Magazine. Her cur-

her production class over the 14-week term. She

a little extra time to purge their minds of things

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wants students to see the value in working with a

they have seen before and think of fresh associa-

still-life photography.

team, delivering high-production images on time

tions and novel approaches to their ideas and pro-

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duction.� EDU

She began teaching part time at her alma mater in 2003, and, in addition, leads workshops at the

for usage.

Los Angeles Center of Photography. At Art Center,

She can speak on these issues because she

as an instructor of a photo production class and

deals with them herself outside the classroom,

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and that’s not lost on her students. “Being taught

THIS PAGE: Cutting’s own work focuses on culinary still lifes and conceptual portraits.

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SNAPSHOTS: Media R e p o rts

Our Picks forYour Shelf Jump Book — by PHILIPPE HALSMAN Damiani / Hardcover, 96 pages, $39 Italian publishing house Damiani has re-published late portrait photographer Philippe Halsman’s famous 1959 Jump Book, a collection of celebrities, artists DQG SXEOLF Č´ JXUHV FDSWXUHG PLG DLU The 2015 edition includes almost 200 images of his jumping subjects—including Brigitte Bardot, Audrey Hepburn, Aldous Huxley, Groucho Marx and Richard Nixon—who were each asked by Halsman to participate in “jumpologyâ€? and take a leap at the end of his or her portrait session. It was rare, notes The New York Times Lens blog, that clients refused to jump. The jumps took place wherever the portrait session was held: in Halsman’s studio, in his subjects’ homes or on location. In one iconic image, which took 28 attempts to perfect, Salvador DalĂ­, easels, paintings and a chair are all frozen PLG DLU DV D VSUD\ RI ZDWHU DUFV LQWR RQH RI WKUHH FDWV LQ Čľ LJKW Halsman believed that “jumpologyâ€? revealed truth in his subjects. “When you ask a person to jump,â€? he wrote, “his attention is mostly directed toward the act of jumping, and the mask falls, so that the real person appears.â€? — JACQUI PALUMBO

PDNEDU.COM ———

My Last Day at Seventeen — by DOUG DUBOIS Aperture / Hardcover, 156 pages, $60

Spring 2016

In the Irish town of Cobh, a seaport that sits along the south coast of County Cork, “everyone seems to be someone’s cousin, former girlfriend, or spouse,� describes photographer Doug DuBois. It was this tightly knit community that DuBois navigated for his second monograph, My Last Day at Seventeen. The collection of photos is a testament to the close relationships he formed within Cobh, permeating the exterior of the community to paint a vivid picture of Irish youth. DuBois’s striking color photos are punctuated by comics from Dublin-based illustrator Patrick Lynch that further explore coming of age in the country. No other text appears except a short script, in place of the last photo, that stages the scene of an endearing debate in which the subject tells DuBois: “That, now, is not being put in the book, Doug.� DuBois can see something in the teenagers he photographs that they do not recognize in themselves, and his presence is palpable in the pages. My Last Day at Seventeen was Kickstarter-funded through Aperture Foundation, and the New York City publisher and gallery will exhibit his work this spring. — JACQUI PALUMBO

Let Virtue Be Your Guide — by FRANCES F. DENNY Radius Books / Hardcover, 128 pages, $45 Since graduating from the Rhode Island School of Design in 2014, Brooklyn-based photographer Frances F. Denny has launched a successful editorial and commercial SKRWRJUDSK\ FDUHHU $PLG KHU FOLHQW ZRUN 'HQQ\ KDV DOVR IRXQG WLPH WR SXUVXH ȴ QH DUW SURMHFWV RQH RI ZKLFK UHVXOWHG LQ KHU ȴ UVW PRQRJUDSK Let Virtue Be Your Guide. With accompanying text by Lisa Locascio, Denny’s monograph focuses on her family’s female lineage, which traces back to the early settlers of New England. Taken between 2011 and 2014, the photographs featured in Let Virtue Be Your Guide were shot in nine private residences in Maine, Massachusetts, New York, and Rhode Island. These delicate, sunlit photographs feature the women in Denny’s family and the spaces they inhabit. Her subjects bear witness to Denny’s own exploration of femininity and what it means to be a virtuous woman, and the text often challenges the veneer of privilege and propriety in her heritage. Let Virtue Be Your Guide has been recognized by Magenta Foundation Flash Forward 2015, LensCulture Emerging Talent 2015, Photolucida 2014 Critical Mass Top 50 and the International Photography Awards 2015. — TARYN SWADBA

18

SNAPSHOTS: P h o t o G igs

Maren Levinson

PDNedu: When did you found Redeye Reps? How many artists did you start with and how many do you have now?

that by taking agency trips around the country to show new work, and by publicizing our artists through newsletters and mailings and

PDNedu: When should a photographer in the commercial field begin seeking representation?

social media, but Redeye really makes a long-term

Maren Levinson: I founded Redeye in early 2006

investment in our artists. We help with the edit-

ML: I always tell people not to look for a rep

in San Francisco with three artists on the original

ing of their books and promos. We remind them

until they need one. Reps do not want artists who

roster. Noah Webb, one of the original three,

when they need to update or do a new mailer,

have no work. We also don’t want artists who are

is still on my roster and is pretty much a family

and when they need to travel to meet people

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member at this point. Now we have ten photog-

who have shown interest in their work. We also

income, which is the industry standard. The

raphers, in addition to two set designers and two

assist when it’s time to make a perception shift

prime time to take an artist on is when they have

illustrators.

and rebrand.

begun to work commercially and can’t handle all

Day to day, we work hard on landing the jobs

the requests.

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We often work with people freelance before

producer for the job, work on them with num-

we take them on as a sort of dress rehearsal as

bers and budget, and we interface with the client,

to what it would be like to partner together. Our

making sure they have everything they need to

experience with an artist is generally similar to a

ML: My last full-time job before founding Redeye

present our artist as the best choice for any given

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was serving as the photo editor of Dwell. I spent

job.

with a particular artist, the client will too. We need

PDNedu: What was your founding mission, or what gap were you looking to fill with your agency?

to know that before signing someone, because at

a lot of time reviewing photographers’ portfo-

PDNedu: When you first sign a photographer, what are some initial steps you take to make sure your photographer is marketing themselves best to clients?

a small agency like Redeye, we rely on each of

tion, and I wanted to bridge the gap between the

ML: We push them to go further with one to

two. I wanted artists to be paid for commercial

three promos a year, personal projects and main-

campaigns and to use that work to fund their

taining a social media presence. Sometimes we

PDNedu: What are some steps a photographer can take to get noticed by potential reps?

artistic endeavors.

push them to update their graphic design pre-

lios. They often showed me what they thought I wanted to see, and inevitably what interested me the most was their personal work. At the same time, I also noticed that many major advertising

our artists to make up a successful agency and we spend a great deal of time with each person on our roster.

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sentation, or to put a great personal project into a

ML: It’s always good to reach out to agents you

promo piece or get a book published. Artists like

admire. Show some samples of your work in the

to make work, but sometimes they fail to see it

body of an email plus a link. It always helps if you

through. They are already sick of it before pack-

have an attractive newsletter or mailer that the

aging it into a show or a book or a promo piece.

rep has seen because it lays the groundwork out

ML: 5HGH\H LV D OLWWOH GL΍ HUHQW WKDQ RWKHU DJHQ

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for the artist. Magazine spreads and campaigns

cies in that we like to have a lot of creative input.

the utmost importance to make the project their

show that the artist is hustling—even without an

Most artists think the role of an agent is simply

own and not have it be lost in a sea of dabbling in

agent—to further their career. EDU

to get them more work. We certainly help with

ideas and experimentations.

PDNedu: What are some of your roles as a photographer’s rep? What types of photographers do you seek to represent?

19

PDNEDU.COM ———

Interview by JACQUI PALUMBO

Spring 2016

PHOTO ©RYAN YOUNG

Q&A with the founder of Redeye Reps, a Los Angeles artist agency aiming to bridge the gap between commercial and personal work.

SNAPSHOTS: Is it Leg al ?

Is it Legal? Can I post outtakes from client work on Instagram? I took them with my smartphone, not the camera I used on set, so are they even part of the shoot?

A:

Q:

If you work as a freelance photographer and are not employed by a company, you own all the work you create. The client hir-

ing you is granted rights to use the photographs you make, but you retain the copyright. How the Š MAURICIO VARGAS

client hiring you can use the photographs created on assignment is controlled by the terms of your agreement. Having an agreement in writing that clearly explains what each of you can do with the photographs avoids misunderstandings that can arise from an oral agreement. If the hiring party

requests any exclusive rights, the agreement

rights to publish the images in any way you wish. If

any work is part of the public campaign, you can

must be in writing to be valid.

you want to use the photographs from the shoot

always link to that work and identify your contri-

If a client wants to own the copyright and

on your own social media channels during the

bution.

requests an assignment of all rights, you would

embargo period, you should request to do this in

You don’t need to worry about Instagram own-

not be able to use the photographs, even on

the publishing agreement. You may be asked to

ing photographs you post on your account. The

Instagram, unless you receive an exception for

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terms of service you agree to by joining contain

personal use, including your portfolio and self-

published by the assigning publication.

a “grant of rights” clause that permits the social

promotion. Whether to assign all rights is a busi-

When working on an advertising assignment,

media platform to use your images as part of its

ness decision, but you should understand that

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service, which usually includes the ability for you

you lose the right to use your photos in the future

the client, and the client may not want any pho-

and others to share and like images and other

without an agreement. You should request the

tographs posted on your social media accounts

content. It does not give these platforms the right

right to use any photograph taken on assignment

until the media campaign has been launched.

WR VXEOLFHQVH \RXU LPDJHV IRU DQ\ SURȴ W 6R HQMR\

for self-promotion, in all forms of media.

You should carefully review the contract and, in

posting on your account—just make sure your

Because Instagram, as well as other forms

particular, the “grant of rights” clause to make

client does not have any limited restrictions be-

of social media, is a form of self-promotion and

sure you can post your photographs on your own

fore the campaign goes live. EDU

marketing, it functions as a digital portfolio, just as

social media channel after the work is made pub-

much as any personal website. Often photogra-

lic. Some advertising contracts contain very broad

phers are hired just because of their social media

“assignment of rights” clauses, which will restrict

following. Some clients will want the photographs

the use of all photographs taken on the shoot

taken on assignment posted on your social media

and could include photographs taken on a smart-

account to create interest about a story. This may

phone.

be more frequent for editorial assignments where

Some contracts may require you to ask permis-

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sion before posting the work on your personal

in a story ahead of time. Many agreements with

website or social media channels. Typically cli-

publishers provide that a publisher will receive

ents will grant permission once the campaign is

exclusive publishing rights for a limited period

launched, but may want to reserve the right in a

of time, and after this embargo period you have

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“Whether you’re a passionate enthusiast or pro, Nikon School lets you explore & expand your skills on any camera.” Join experts and enthusiasts in discovering and sharing new techniques, smart tips, great fun and true passion.

* 20% off discount on Nikon School Class Ticket offer is subject to applicable taxes, if any. Ticket availability is subject to event capacity and is limited. Offer may be discontinued at Nikon Store’s sole discretion. Offer is subject to all applicable Nikon Store Terms and Conditions of Sale for Nikon School Event Tickets. The Promotional Code PDN-EDU20 must be entered at checkout. Offer cannot be combined with any instant savings, promotional code and/or other offers for Nikon School Class Tickets. Offer valid February 12, 2016 at 12:00 A.M. ET through June 25, 2016 at 11:59 P.M. ET. Offer valid only in the 50 United States and the District of Columbia. Offer not valid on previous purchases. Void where prohibited by law.

Nancy E. Wolff is a partner at Cowan, DeBaets, Abrahams & Sheppard, LLP. Her practice focuses on intellectual property and digital media law.

cdas.com

GOT A LEGAL QUESTION? E-mail jacquelyn.palumbo@emeraldexpo.com.

SNAPSHOTS: A sk MVS

SSIC

AT AM

Advises on Licensing Existing Work

PHOTO Š JE

Mary Virginia Swanson

PA

S

Q:

A new client is interested in licensing some of my photographs. What do I need to know before signing a contract? Photographers can generate

CONTRACT BASICS

revenue from both securing

When you are contracted to create new work, you

by two overriding factors: the size of your image

commissions to create new

will decide and negotiate what rights the client

within the overall design, and the size of the

photographs and generating

has to reproduce the images you create: Can they

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income from managing the value of existing

be featured only once (the cover of one issue of

selling novel will have more value than the book

photographs. Understanding the value of

a magazine) or multiple times (an ad campaign

of an unknown author, as more copies will be

copyright is key to success as a professional

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printed. The full front cover of a book or magazine

photographer, along with negotiating fair

you agree that upon completion you will transfer

has more impact and value than an interior

terms and maintaining accurate sales records

copyright of the work to the commissioning client

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to support and protect the value of your work.

(which I do not recommend, as you are giving

placement on the home page of a website

up any chance for future revenue from those

commands more value than being featured deep

COPYRIGHT BASICS

images), you continue to own the rights to the

within the website.

You hold the copyright for your original works, and

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There are a few other things to consider

have the right to control the commercial rights to

buyers, renegotiating terms with each usage. The

when licensing your work. If you do not wish for

same principles apply when you are asked to

your image as presented to be altered (cropped,

additional years by your heir(s) or designated

license work from your personal projects.

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A:

Value for reproduction rights is determined

PDNEDU.COM ———

your images throughout your lifetime, plus 70 representatives. After this ownership period

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the conversation. It is also important to prove

expires, your original works become “public

that when reproduction rights are requested you

you possess any applicable model or property

domain� with the rights to your work shared by

are able to state with authority that you have or

releases. You can also request to see the layout

everyone.

KDYH QRW DOORZHG D VSHFLČ´ F LPDJH WR EH IHDWXUHG

that will feature your images; this will allow you to

Spring 2016

Images for which you own the copyright can

within ad campaigns for a particular market (i.e.

FRQČ´ UP WKH GHWDLOV \RX DJUHHG WR

be licensed again and again. Opportunities can

healthcare, travel, sports), and if so, when the

These essential business details may be better

include advertising campaigns, magazine or book

rights you granted expire (six months, one year,

handled by a licensing agency that will advocate on

covers, product packaging design, communication

three years and so forth).

your behalf and secure essential documentation

graphics in museum or institutional settings and

If you allow an image to be featured in a

to accompany every sale. I encourage all of you to

images produced as wall dĂŠcor for hotel chains,

campaign for a particular airline for example,

plan on being your own agent, however, until such

among many other uses. Keep precise records of

LW ZRXOG QRW EH ZLVH WR RÎ? HU WKH LPDJH WR D

time that you have amassed a collection that an

what works you’ve licensed, the fees, terms of use,

competing airline, or even a cruise line. Similarly,

agency wishes to represent. EDU

where and how the image was featured and the

if an image is featured on the cover of a work of

license expiration dates. Lastly, I encourage you

Č´ FWLRQ WKH DFFXUDF\ RI \RXU UHFRUG NHHSLQJ ZLOO

to register your images with the U.S. Copyright

prevent you from accidentally granting permission

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to feature the same image on a book produced by

to defend your copyright against a violation.

a rival publisher unless those rights have expired.

Mary Virginia Swanson

is the director of LOOK3 and an award-winning educator, author, mentor and entrepreneur LQ WKH ĚĽ HOG RI SKRWRJUDSK\ 9LVLW KHU website at mvswanson.com.

Got a Marketing or Business Question? Send your inquiries to our editor at Jacquelyn.Palumbo@emeraldexpo.com

NIKON NEWS —

$W WKH &RQVXPHU (OHFWURQLFV 6KRZ LQ /DV 9HJDV WKLV SDVW -DQXDU\ 1LNRQ XQYHLOHG LWV ̼ UVW SURGXFW LQ WKH DFWLRQ FDPHUD PDUNHW IRU WUDYHO VSRUWV DQG DGYHQWXUH SKRWRJUDSKHUV 7KH 1LNRQ .H\0LVVLRQ LV D GHJUHH . 8+' YLGHR FDPHUD WKDW ZLOO ZLWKVWDQG UXJJHG FRQGLWLRQV 6KRFNSURRI ZDWHUSURRI IUHH]HSURRI DQG GXVWSURRI WKH .H\0LVVLRQ IHDWXUHV DQ LPDJH VHQVRU DQG OHQV RQ RSSRVLWH VLGHV RI WKH GHYLFH WR SURGXFH GHJUHH VWLOO LPDJHV DQG YLGHR 0RUH IURP 1LNRQȤV QHZ OLQHXS RI DFWLRQ FDPHUDV DQG DFFHVVRULHV ZLOO EH DYDLODEOH WKLV VSULQJ

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instagram.com/nikonusa

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22

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SNAPSHOTS: Pr o ject X

Learning From an American Master PHOTOS Š 2015 PEDRO E. GUERRERO ARCHIVES

PBS honors the life of photographer Pedro E. Guerrero with a documentary and national educational program. by HILARY REID

Pedro E. Guerrero was one of the most in-demand architecture and interior photographers in the

THIS PAGE: Pedro E. Guerrero self-portrait, circa 1950s, New York City (above); Young Guerrero with camera at Art Center School in Los Angeles, 1935 (below left).

United States during the “Mad Men� era of the PDNEDU.COM ———

1950s and ‘60s. At 22 years old, at the suggestion

American photographer. In the documentary

their rights as workers and residents in New York

of his father, Guerrero visited Frank Llloyd Wright

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City. As a part of the series, the women visited the

at Taliesin West—the architect’s winter home

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Metropolitan Museum of Art to photograph the

in Scottsdale, Arizona—and began working for

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Wright collection.

him, sparking their close relationship and igniting

his career in New York City, working for magazines

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Guerrero’s career. Now, his six-decade career

including Harper’s Bazaar, House and Garden and

photography workshops in total, including a

Spring 2016

is chronicled in the PBS documentary American

Vogue. He shot for these publications for several

bilingual photography workshop in partnership

Masters: Pedro E. Guerrero—A Photographer’s

years until he was barred from most editorial

with the Guggenheim in New York City. Workshops

Journey.

work for his adamant opposition of the Vietnam

in other states, including Arkansas, California,

The documentary is a collaboration between

War. But as explained in A Photographer’s Journey,

Florida, New Mexico and Texas, were hosted by

Latino Public Broadcasting’s VOCES series and

Guerrero’s loss of editorial jobs led to some of

local PBS stations and arts organizations. WNET

THIRTEEN’S American Masters series, and brings

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DQG /DWLQR 3XEOLF %URDGFDVWLQJ DUH DOVR RÎ? HULQJ

new attention to the life and work of the Mexican-

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Calder and Louise Nevelson. Guerrero’s story is

teachers, and a sample plan for a classroom

contextualized with commentary from Dixie Legler

photography workshop at pbslearningmedia.org.

Guerrero, his wife and archivist; sculptor Maria

The Guerrero program aims to reach a diverse

Nevelson, granddaughter of Louise Nevelson; and

audience, with the hope that the photographer’s

architecture critic Martin Filler.

story will excite and inspire new photographers.

To celebrate the release of A Photographer’s

As Guerrero says in the documentary, “I’d get up

arts

every morning when I was working and‌I knew

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that whatever I did that day was going to be

photography workshops and screenings of

exciting‌because it involved photography.� EDU

Journey,

PBS

stations

partnered

with

the documentary. One workshop in Flushing, New York, was co-hosted by WNET Education WKDW RÎ? HUV SKRWRJUDSK\ FODVVHV WR LPPLJUDQWV

Watch the Episode

from Hispanic countries. Artist and educator Sol

—

and Project Luz, an educational organization

Aramendi led an eight-part series in Spanish with the theme “The Dignity of Labor,â€? inspired by Guerrero’s photographs of laborers and buildings. 2Î? HUHG WR /DWLQD ZRPHQ DW ΖPPLJUDQW 0RYHPHQW International,

the

workshop

focused

American Masters: Pedro E. Guerrero—A Photographer’s Journey, is available to watch at pbs.org. Stream it at to.pbs.org/1ZQDUxM

on

photography, but also taught participants about

24

From a Viral Series to a Book Series PHOTOS Š CARLI DAVIDSON

How Carli Davidson gave her “Shake� portraits longevity online and in print.

by TARYN SWADBA

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a “full-time job.� She explains: “I did interviews

wallpaper when she was struck with an idea that

almost every day, and put together press packs

would eventually become a wildly successful viral

and contracts. Everyone that I shared the work

series. “I thought, I bet it would be pretty amazing

with would have to have my name on or below the

WR VHH ZKDW P\ GRJȇV MRZO\ GURRO ȴOOHG IDFH ZRXOG

images, links to my website and agree to image

look like in a photo,� Davidson explains in a recent

usage for just the one article.� Davidson believes

interview with PDNedu.

that these parameters are what kept her images editorial

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photographers at age 17 in 1998. A few years

gave her name lasting visibility. “It built a brand,

Davidson

began

assisting

for

later, she attended school at

and a business,� she says.

The Evergreen State College

After the series went viral,

in Oregon, and she also took a

Davidson worked with her agent

job at the Oregon Zoo, where

to negotiate a contract with

she cared for and trained

HarperCollins to turn “Shake�

animals, in addition to teaching

into a book, which was published

conservation education classes.

in 2013. Having an agent, she

In 2009, a car accident forced

says, was “invaluable� for getting

her to leave her labor-intensive

her work on the radar of editors

job at the Oregon Zoo. It was

and negotiating her rights as an

during this time that she began taking animal

DXWKRU 6LQFH KHU Č´UVW Shake book, featuring all

portraits, and that the idea for what would

dogs, Davidson has also published Shake Puppies

ultimately become her viral series, “Shake,� began

in 2014 and Shake Cats in 2015. Currently working

to bloom.

on books with Chronicle Books and HarperCollins,

Featuring adorable canines mid-head-shake, WKH LPDJHV LQ WKH VHULHV RÎ?HU YLHZHUV D GHWDLOHG

THIS PAGE: Shake dogs and cats, including Lil Bub, below. Davidson freezes their faces with her Nikon D4 and D4S.

Spring 2016

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Davidson notes both publishers have been “really amazing to work with.�

look at a moment that usually passes in the

While there are currently no plans for another

blink of an eye: a freeze-frame of a dog in all of

installation of “Shake,� Davidson says that she

LWV VSLW Čľ\LQJ MRZO ČľDSSLQJ JORU\ ČŠ6KDNHČ‹ LQLWLDOO\

never knows what she might be inspired by in

went viral in 2011, shortly after it was named a

the future. Whatever she sets her sights on, she’ll

winner in the animal category in the PDN Faces

commit to it fully. “I’ve never really seen anyone

photography competition, and after The Daily

succeed in photography as a career without

Beast ran some of the images. From there, The

being totally immersed in both the medium and

+XÉ?QJWRQ 3RVW UDQ D SLHFH WKHQ UHTXHVWV VWDUWHG

whatever subject you are shooting,� she says, “and

pouring in. “I had one day where my website got

I’m no exception.� EDU

6KDNH ΖW 2Î? Davidson has spent close to a decade working with animals—here’s how she gets them to shake:

+

Become familiar with the animal’s general behavior. “For new animal photographers I recommend walking animals at a local shelter to build this skill set.�

+

Let the animal come to you. “If you run up to a shy animal and scare them, you might not be able to recover that relationship at all.�

+

Get your subject used to the OLJKWLQJ ĚĽUVW 'DYLGVRQ VWDUWV RXW with animals off set and offers WUHDWV DIWHU WULJJHULQJ WKH ĚŚDVK IURP a distance. Sometimes it takes up to an hour to get the animal comfortable.

+

7U\ WKH HDVLHVW PHWKRG ̼UVW Davidson’s vet technician musses up the dog’s hair, blows on its face or plays with its ears to get them to shake. The last resort is an EpiOptic ear cleaner, which usually does the trick. She notes to never use water in their ears, and suggests having a professional on set for the safety and comfort of the animals.

D TXDUWHU RI D PLOOLRQ KLWV Č‹ 'DYLGVRQ VD\V $QG LW

25

NEXT Storytellers

PDNEDU.COM ———

Photographer Carli Davidson was reaching for a

STORYTELLERS

TIMOTHY HUTTO

by BRIENNE WALSH

On Romance and Things

imothy Hutto describes his relationship

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shoulders. It was meant to express Hutto’s own

with photography as a “crazy, romantic

had a powerful realization: “You don’t have to be

weariness with the government—and it worked.

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a portrait photographer, you don’t have to be a

Like a newspaper cartoonist, Hutto intuitively

out my life,� he begins over the phone from

fashion photographer,� he says. “You can say what

understood that simple, clean compositions

Brooklyn, New York, where he’s currently living

you want to say, and have fun doing it.�

would make the punch line of a joke funnier.

T

while working towards his MFA at Pratt Institute.

Soon after, the work that set him apart

The process for developing the series, which

Hutto was in Paris on medical leave from the

from his peers, his multi-part series, “Things,�

currently consists of four parts, was cheap,

Navy, which he had joined right before September

was conceived. It began with a desire to

solitary, and very hands-on. Every image began

11, 2001. It was in May 2011

with a rough sketch and a trip to

that he received the phone

the 99-cent store (“I love cheaply

call announcing his discharge

produced objects,� he confesses),

thanks to an inner-ear injury

followed by the art-supply store

that

for paint. “The colors had to have

caused

him

constant

a common thread,� he explains.

Hutto had been interested in

“Either punchy and saturated or

photography since childhood,

toned down, so that they’d work

but had never considered it a

together.� Color theory, which

real career possibility. While

he learned as part of SCAD’s

stationed in Bahrain, he spent

curriculum, became increasingly

leave time photographing local

important to the work. Unique—

kids riding their skateboards.

and

Being

combinations

from

the

sometimes

jarring—color

enlivened

the

military left his life wide open;

compositions. Doing the “wrong

rather than emptiness, Hutto

thing�

saw an opportunity. “‘You’ve

break rules he’d learned in class.

emboldened

Hutto

to

Each of the images in “Things�

always had a passion for recalls

was photographed in a studio

thinking. “‘Explore it now or

against a backdrop of colored

you’ll never do it.’�

paper. Hutto described his early

[photography],’�

he

That day, he began applying

lighting setups as “daft.� “I was

to art schools. He ended up at

XVLQJ IRXU RU Č´ YH OLJKWV DOO ZLWK

the Savannah College of Art

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and Design, where he began

brightly colored set.� Eventually,

to experiment with style and

he switched to Profoto strobe

develop a voice.

lighting and honed his technique.

$W Č´ UVW KH IRXQG KLPVHOI

Although the images look like

frustrated with the work he

they’ve been digitally retouched,

was producing. His instinct

Hutto did very little work in post-

was to create portraits that

processing. The images became more

mimicked the styles of some of the 20th century’s greatest

sophisticated

photographers—such as Richard

titles more elusive, the color

Avedon

and

Irving

Penn—

which he thought would make

THIS SPREAD: Hutto’s graphic approach to still-life photography, seen in “Beauty� (opposite) and “Sexuality� (above) from the series “Things.�

over

combinations

time,

more

the bold.

Ȋ6DFULȴ FH ΖΖȋ IURP Ȋ7KLQJV IV,� depicts the black bust of an owl

him more appealing to potential future clients. But his portraits didn’t work. “I

photographically illustrate idioms and tongue-in-

set against a backdrop of purple and turquoise,

couldn’t establish the rapport I needed with my

cheek jokes using mass-produced objects painted

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subjects,� he explains.

in bright colors. Hutto began experimenting with

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Around the time he realized he needed to

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an unusual combination of colors—lime, peach,

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props, arranged as still lifes in a studio. The

sky blue, mauve, purple—and depicts a sheath

as the student photographer for the college’s

images themselves were often elusive; the titles

of photocopy paper torn from its wrapping only

media department. It freed him from the

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in the top right corner. In “Synergy,� something

pressure of having to make what he thought

to understand what he was trying to say. For

greater has been created than the sum of its

was “commercially salable work�—as an adult

H[DPSOH ČŠ3ROLWLFVČ‹ RQH RI WKH Č´ UVW ČŠ7KLQJVČ‹

parts: alone, photocopy paper is mundane,

putting himself through school, he had to be

images, is a photograph of three dinosaurs

but juxtaposed in such a color environment, it

practical—and provided him with an income.

painted red, white and blue, and looking over their

becomes a painterly abstraction.

27

Spring 2016

released

PDNEDU.COM ———

vertigo.

THIS PAGE: (clockwise from left) “Laurels,� “Attraction� and “Narrative� from the series “Things.�

Tech Specs “‘Things’ is about many things,� Hutto laughs

time to shoot personal work has shrunk. Still, he

—

when I asked him if together, the images told a

continues to sketch out ideas for future tableaus

Cameras: Nikon D800, D7100

single story (about America, or mass production?).

to add to his “Things� series. He has also begun

“They are complex but not complicated. They

ZRUNLQJ RQ D OD\RXW IRU D ČŠ7KLQJVČ‹ ERRN Č´ QGLQJ

DUH DERXW REMHFWV DQG KRZ WKH\ GHČ´ QH WKH ZRUOG

the time to write rough copy for the book while

around me. The beauty of mass production, the

riding the train from his apartment in Greenpoint

restoration of aura through artistic processes,

to the Barney’s studio in Long Island City. “I’d [like

Lighting: Nikon SB-910 speedlight

glamour and isolation, humor‌.�

to] have the book 80 to 90 percent done before I

Drives: LaCie 2TB Rugged Thunderbolt

start schlepping it around to publishers,� he says.

HDD, Seagate Backup Plus Fast 4TB HDD

thesis project, and after graduation, Hutto moved

Hutto has all of the things required to “make�

to New York City. “If you want to catch elephants,

it in New York—drive, a vision and a voice.

you have to go where the elephants are,� he says.

“Ultimately, as an artist, I’m showing the world

Along with enrolling at Pratt, he began a steady

my soul,� he says. “Mine happens to be brightly

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colored, cheap, cheerful, intellectual and playful.�

With a full schedule at school and at work, his

EDU

AF-S NIKKOR 85mm f/1.8G, AF-S NIKKOR 28mm f/1.8G, AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED, AF Nikkor 180mm f/2.8 IF-ED

Editing Software: Adobe Creative Cloud, Capture One Pro 9

PHOTOS Š TIMOTHY HUTTO

“Things� closed his chapter at SCAD as his

Lenses: AF-S NIKKOR 50mm f/1.4G,

NEXT One to Watch: Blair Bunting

TOOLS FOR CREATION

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ONE TO WATCH

by HAL STUCKER

PHOTO © BLAIR BUNTING

From Self-– Taught To The Top

31

ONE TO WATCH

by Hal Stucker

L

ike many successful photographers,

sitting on his desk. “It’s heavy as a brick and I

Č´ UVW \HDUV RI FROOHJH VKRRWLQJ SLFWXUHV DQG

Blair Bunting’s life behind the lens was

love every bit of that,� he says. He still picks the

every spare dime he could scrounge went into

shaped by chance. Some of his most

camera up and shoots with it, though the camera

equipment purchases. “I ate these bean burritos

crucial formative experiences he ascribes to

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they sold in the commissary at my dorm because

“extremely good luck� and confesses that, for

since the year 2000. “There’s a lot of passion that

they were the cheapest thing they had, and

a long time, he remained unconvinced that

exists within that camera. And I’ll walk around the

sometimes I’d eat those three times a day,� he

photography could even provide him a viable

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recalls. “Finally, I was able to buy a set of Profoto

career. But it’s not just luck that added brands

way of practicing, setting the camera, considering

Acutes, and I started to teach myself lighting.�

like

my breathing, thinking about framing, about light,

Chevrolet,

Discovery

Communications

and Muscle Milk to his client list—the Nikon

about how and when I should push the button.�

Around this time, Bunting made contact with photographer Laurence Bartone, who was living

Ambassador has a head for business and a drive

Despite his interest in photography, Bunting

in the San Francisco Bay Area. The two had initially

that has transformed him from a young, curious,

did not seek formal photographic training—the

become aware of each other’s work through their

self-taught shooter to a force to be reckoned with

degrees he holds from Arizona State University

postings on a photography forum.

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are in business and sociology. “Even though I

“Blair sent me an email saying he admired

Bunting describes himself growing up in

loved photography, and at that point was hoping

my work and [asked if I] could teach him about

Phoenix, Arizona, as a “shy, church-going boy�

I might be able to make a career out of it, I had

lighting,� Bartone says. “I had a studio in the

who was involved in competitive diving up until

to be realistic,� Bunting explains. “If it didn’t work

basement [of my house], and I’d seen his work

he quit his sophomore year in high school. “My

out, I knew I’d need some way to make a living,

and was impressed by it.â€? Bartone invited Bunting to stay with him for a few weeks, and said he was immediately struck by the young man’s intensity. “He caught onto everything quickly. He was tenacious and very VHULRXV DERXW ZKDW KH ZDV GRLQJ 7KH Č´ UVW WLPH we went into the studio and set up a wineglass and a bottle on a table top, and started to experiment with how to light it, I could see the wheels start turning in his head.â€? Bunting

credits

Bartone

with

“a

very

profound appreciationâ€? for the technical side of photography. He also learned from Bartone the importance of mastering his images incamera. While he calls Photoshop “a wonderful tool,â€? Bunting says his eye and his camera are more important, and always aims to deliver RAW images to the client that are technically sound. “If you do that, you’re not going to have WR VWDQG WKHUH DQG VD\ Ȇ:HOO ZH FDQ Č´ [ WKDW LQ post.’ Relying on retouching like that shows a lack of respect for your own technical ability and for what you can achieve as a photographer.â€? THIS PAGE: $Q LPDJH IURP D ĚĽ WQHVV FDPSDLJQ IRU QXWULWLRQ EUDQG ($6

While he was still in school, Bunting caught a

parents were very upset,� he says in a phone

and business skills seemed the best route to that

who put him touch with the ASU sports

interview with PDNedu, “as I could easily have

end.�

marketing department and had the opportunity

earned a scholarship that would have paid for

Those business skills, as it’s turned out, have

to photograph football player Rudy Burgess. The

FROOHJH %XW Ζ ȴ QDOO\ KDG WR DGPLW ΖȇG QHYHU UHDOO\

been as crucial to his success as his ability to light

department provided more players for Bunting

liked diving very much and my heart just wasn’t

and shoot. “They’ve been huge for my career.

to photograph, which eventually led to a series

in it.�

Many of the jobs we’re taking on now, they

of posters and an ad campaign for the college

The next year, though, Bunting took a photo

involve negotiations and they involve lawyers,� he

sponsored by Wells Fargo and Coca-Cola. It’s a

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VD\V $QG %XQWLQJ Č´ QGV KLPVHOI DV FRPSOHWHO\ LQ

campaign he still shoots to this day.

His parents were supportive. “My Dad had this

tune with the business aspects of photography

By the time he received his diploma in 2006,

vintage 1972 Nikon F, though he hardly ever used

as he does the artistic. “There are times when I’ve

Bunting had taken on assignments for Discovery

it. And he sat me down in our living room and

found myself loving the business part of it and

and was under contract with Getty Image

handed it to me and said, ‘Here’s my camera, if

the negotiation part more than the picture-taking

completing world-class assignments, including

you’d like to use it.’�

part.�

one photographing socialites Paris Hilton and

Bunting still has his father’s Nikon camera

Bunting spent most of his free time in those

Nicole Richie. He was steadily working until 2008,

32

PHOTOS Š BLAIR BUNTING

tremendous break when he met a photographer

THIS PAGE: An advertising campaign image for Discovery’s Deadliest Catch.

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NEXT 33

It’s a Living: Carlos Serrao

IT’S A LIVING

O

S O L CAR . R HE REER P A R A CA G O T G O H P ORGIN F ON S COB by

JA SON I R HAR

RA R E S

THIS PAGE: A campaign image for the fall/winter line of Nike Tech Pack sportswear.

OS ARL

OTO

PH

35

©C

RAO

SER

IT’S A LIVING

W

hen Carlos Serrao began making

in Pasadena, but upon realizing that he only had

pictures in the 1980s in Miami, the

enough money to last him a semester, decided

The “Big Break� —or a Series of Small Breaks

resources for aspiring photographers

it was the time to pursue photography full time

After years of “scraping by,� he had the

instead.

opportunity to present his work to photography

were slim. If that was the career path he wanted, he

After weeks spent trying to meet editors at

agent Laura Hinds, who had heard about Serrao

Today, Serrao is one of the most sought-after

major publications, he found success with L.A.

from a friend. Hinds netted him assignments in

SKRWRJUDSKHUV LQ SRUWUDLW IDVKLRQ DQG Č´ WQHVV

Reader, an alternative arts newspaper. The photo

national fashion magazines like Glamour and

photography, shooting one-of-a-kind imagery

editor agreed to put him on the freelance roster,

Mademoiselle, and promised him an advertising

for brands like Gap, Nike and Under Armour,

sending Serrao to press junkets, theater and

client by the end of the year. In the meantime, he

and editorial features for FLAUNT, GQ and ESPN’s

restaurant openings. It wasn’t lucrative, but it was

had to shoot non-stop.

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The Body Issue. Look at his

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career now and it may seem like

Serrao recalls. “I was shooting

a smooth ascent, but Serrao will

so many assignments that I was

tell you it was a turbulent ride.

practically broke, because I had to pay for everything up front before

Do It Yourself

getting reimbursements.�

6HUUDRȇV ȴ UVW FDPHUD ZDV D 6XSHU

But Hinds made good on her

8 that he begged his parents for

promise. Delta Air Lines had seen

after seeing Star Wars in theaters

Serrao’s work and wanted him for

in 1977. Serrao spent his childhood

their next campaign. Serrao was

making animations, and at age 13,

introduced to concept meetings,

took an interest in skateboarding

casting calls and committee upon

that would prove formative for his

committee for creative direction.

work.

In comparison, the shoot itself

Skateboarding culture was just

was a piece of cake. After years

getting underway in Miami. There

of living check to check, the shoot

were no international competitions

was a game-changer: Delta ended

or celebrities, and the skaters built

up buying all 36 images he turned

a community on a shared do-it-

in—33 more than they contracted

yourself principle. Serrao became

KLP IRU 6HUUDR Č´ QDOO\ KDG VRPH

WKH VNDWHUVȇ GRFXPHQWDULDQ ȴ OPLQJ

money to put back into his

them in every playground, park and

business.

emptied-out pool they skated in. ELJ VNDWH FRPSDQLHV GLG ΖȇG ȴ OP

Breaking Out of Typecasting

amateur skate videos and edit

After a year of working with Hinds,

them crudely with two VCRs. I’d

he realized that editors were hiring

shoot photos of my friends skating

him to do the same beauty shots

and then Xerox the photos for our

for every assignment. He wanted

zines,� Serrao tells PDNedu in a

to shoot big fashion stories and

recent interview.

cover portraits, but it wasn’t going

“I wanted to emulate what the

skaters’

do-it-yourself

to be handed to him.

mentality made a deep impression on Serrao. His high school guidance counselor told him if he wanted to

“It was a constant struggle. I THIS PAGE: Russian athletes Darya Klishina and Adelina Sotnikova shot for Vogue Russia.

JR LQWR D Č´ HOG OLNH PHGLFLQH EXVLQHVV RU ODZ VKH

hands-on training like he’d never had before.

always had to push for the bigger stories,� Serrao says.

For years, he shot experimental assignments

could help him, but for photography, he was on

“I would have 15 minutes to shoot this celebrity

to showcase his talent alongside the stock

his own. Serrao was undeterred, enrolling in

in a bland hotel room. I learned to work fast, to

assignments that became his livelihood. In 1999,

Florida International University to pursue a B.A.

make interesting compositions with light and

when PAPER RÎ? HUHG 6HUUDR D ELJ IDVKLRQ VSUHDG

degree. When he found his art courses lacking,

shadow,� Serrao says. “I had to make something

he knew he had to make the most of it, and

he supplemented his education with photography

out of nothing.�

decided to conduct a shoot he had wanted to do

classes at Miami Dade Community College. In his

Serrao spent nearly half a decade shooting

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spare time, he conducted shoots with models he

for arts papers and alternative magazines in Los

Miami Dade Community College, which had the

met at school and equipment from the photo

Angeles, then Miami, then Los Angeles again.

Brutalist architecture of a futuristic dystopia.

department to build out his portfolio. He knew he

Serrao took each assignment as a chance to

wasn’t going to be able to make it if he didn’t take

experiment.

the initiative. “I was always very competitive,� Serrao says.

“Back then, most of the photographers were

“Occasionally, you get those shoots that come out exactly how you imagined it. Those are rare. This was one of them,� he says.

these old-school photojournalists that shot

His editor at PAPER loved the shots and gave

everything the same way,� he says. “I was this

Serrao regular fashion stories and portrait

Heading Out West

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assignments, which in turn lead to more

In 1992, Serrao shipped out to California with the

and new techniques.�

advertising clients who gave him the creative

intention of attending Art Center College of Design

control he wanted. In a short amount of time, he

36

PHOTOS Š CARLOS SERRAO

The

THIS PAGE: Actor Mads Mikkelsen shot for FLAUNT magazine.

37

IT’S A LIVING

THIS SPREAD: Out in the snow for Nike’s “All Conditions Gear� campaign.

picked up assignments from IBM, Ecko Unltd. and WIRED.

right decision for a high-pressure shoot where

Serrao’s forward thinking left an impression on

the creative team would want to see what Serrao

the client.

was producing right away. His clients were

The Nike campaign proved to be a huge hit in

Upping the DifďŹ culty

skeptical, but he lobbied hard and in the end, they

the wider advertising community, and soon he

In 2003, Serrao got a call from the client that

agreed.

was working on campaigns for adidas, Gatorade

changed his career: Nike. After years of working

“Very quickly, I went from, ‘This is going to be

for incrementally larger brands, his work had

great,’ to, ‘Oh wait, how are we actually going to

and PUMA.

gotten on the radar of creative director Heather

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Building the All-Star Team

Amuny-Dey, who was heading up the major

to do it fast.�

In the years since Nike, Serrao’s list of clients

2004 Olympic Games initiative at the company.

Serrao went to Samy’s Camera in Los Angeles

has grown and his shoots have become more

According to Serrao, she was tired of the blurry

for a consultation and came out of the store with

elaborate. While the sports-fashion esthetic that

motion look that Nike had been using since the

a digital tech. Photographer Damon Loble, a sales

he pioneered with Nike has become a mainstay,

‘90s and wanted a crisp, fashion esthetic.

rep for Samy’s at the time, impressed Serrao with

his pursuit of challenges has become his calling

Perhaps what most sets Serrao apart from

his expertise, so Serrao suggested he leave his job

card.

other photographers is his inexhaustible desire

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“I’ve become the guy that clients call when they

to experiment. When Nike called Serrao to shoot

ultimately agreed. His role was to make sure the

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the biggest project of his career, he suggested

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he shoot the entire campaign digitally, at a time

to apply to new images so Nike could see a rough

problems that I have to solve,� he says.

when the vast majority of campaigns were shot

draft as Serrao shot. At the time, digital techs were

Those challenges range from “beast� lighting

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unheard of except for the biggest shoots, and

setups to requests for complex art direction.

38

Tech Specs — Cameras: Nikon D4, D810 Lenses: AF-S NIKKOR 85mm f/1.4G, AF-S NIKKOR 24-70mm f/2.8G ED, AF-S NIKKOR 70-200mm f/2.8G ED VR II Lighting: Broncolor Scoro S, Profoto Pro-8, Arrisun 40/25 2.5/4K HMI PAR, Arri 18KW HMI Drives: LaCie 1TB & 2TB Rugged Thunderbolt HDDs Digital Memory: 32GB, 64GB SanDisk and Lexar memory cards

Computer: Mac Pro 12, 15-inch Macbook Pro with Retina Display

Editing Software: Adobe Photoshop,

PHOTO Š CARLOS SERRAO

Adobe Lightroom, Adobe After Effects, Capture One, Final Cut Pro

When Reebok wanted to shoot Kendrick Lamar

York City wearing items from the collection in rain

One Step at a Time

landing in a cloud of dust and smoke, they called

and snow. The creative team at Nike loved the

Serrao has always been someone who never looks

Serrao. When FLAUNT wanted to shoot a high-

idea, but, after the budget arrived, Serrao realized

too far into the future, and takes his work day by

fashion spread of Alice in Wonderland actor Mia

that the location was too costly.

day. In truth, he never thought he would make it

:DVLNRZVND LQ WDQGHP ZLWK D VKRUW HWKHUHDO Č´ OP

Instead of dropping his concept, Serrao scouted

as far as he has.

locations in Los Angeles that could double as

“When I was working, I would always look at

Serrao, in part, owes his accomplishments to

Manhattan and Brooklyn, settling on the famous

the next biggest shoot and think, ‘I’ll never shoot

the team he has built around him. Some members,

New York City set in the Paramount Studios back

something that big. That’s crazy,’� he says.

like Loble or chief lighting technician Ron Loepp,

lot and a series of pre-war buildings in the city’s

When Serrao looks back, he says that there’s

have been with him for a decade.

Arts District. Next his crew had to make the sets

one lesson that he wishes he learned a lot

Serrao was game.

“My digital tech, my lighting tech, my assistants

look like SoHo in the middle of the winter in the

earlier—and that he would pass on to anyone

have all grown with me,� Serrao says. “We are very

California heat. On top of this, Serrao was shooting

looking for advice.

well orchestrated on set because we all know each

stills for print, and video for a web campaign at the

“Limit the amount of time you spend on

other so well.�

same time. It was a dizzying set to be on, but for

SURMHFWV WKDW GRQȇW ȴ W \RXU ZRUN ȋ KH DGYLVHV

A recent shoot for Nike was one of the most

6HUUDRȇV VHDVRQHG FUHZ LW ZHQW RÎ? ZLWKRXW D KLWFK

“People will pigeonhole you and the more time

complex he’s ever undertaken. The campaign

“It was a lot of fun because I was photographing

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required Serrao to shoot a new line of all-weather

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apparel called “All Conditions Gear.� Serrao and

segment and then I’d grab my camera and shoot

the art director envisioned a shoot that would

for 15 minutes and then we’d do it again,� Serrao

have models running through the streets of New

explains. “We were in a great rhythm.

39

break out.� EDU

NEXT: Special Report

SPECIAL REPORT

40

Getting Ready for a Career in Commercial Photography Three programs that teach photographers how to thrive as a professional.

by AMY TOUCHETTE

VENTURA, CALIFORNIA

Brooks Institute

“Learning by doing� is the philosophy that underpins

professional photography resources, including

Brooks Institute’s BFA in Professional Photography.

partnerships

Designed to educate aspiring professionals in

(which have contributed to Brooks’ camera and

visual, new media and communication arts, the

lens inventory), a lecture series that brings in

program utilizes a multi-disciplinary approach,

top professionals to share their experiences

integrating liberal arts, professional business

with students and ongoing relationships with

practices and ethics with a core curriculum in

organizations such as American Photographic

photography and media, so that graduates develop

Artists (APA) and American Society of Media

the creative, business and technical skills necessary

Photographers (ASMP).

to succeed as professional photographers.

with

camera

manufacturers

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“Brooks Institute’s Professional Photography

Annie Leibovitz and Mark Seliger, and alumnus

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John Kelsey was fortunate enough to land an

workplace,� says program director Bill Robbins,

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who has been a full-time faculty at the institution

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for 15 years. In fact, the institution it’s housed in

upon graduating. Kelsey’s appreciation for his

was previously home to a notable workplace: the

education at Brooks runs deep for many reasons,

Buena Vista Film Studios just outside Ventura,

but perhaps most of all because of its reputation

&DOLIRUQLD (TXLSSHG ZLWK WKUHH IXOO VL]H VRXQG

and networking opportunities. “No matter who I

stages, as well as multiple individual shooting bays

talked to in the industry, everybody knew at least

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someone who attended Brooks, and there seemed

School Stats

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to be an expectation of competency if it was on

world structure of its facilities, in addition to its real-

your rĂŠsumĂŠ,â€? he says. “The levels of expectation

—

world curriculum.

and detail were so high, the learning curve so steep,

Website: brooks.edu

“Graduates have a solid foundation in the technical aspects of photography, the math and

'HJUHH 2Î? HUHG Bachelor of Fine Arts

one of the best technical educations in the world.�

science, but, from the very beginning of their

The program culminates with a capstone

education, critical thinking and problem solving

course in which students present work, a complete

Length of Program: Four years

are emphasized,� Robbins says. In one class,

marketing package and a vetted contact list to a

Size of Department: 200 students

students work on set with a food stylist, solving

panel comprising instructors, outside professionals

visual themes by shooting a variety of layouts, and

and

submit estimates and invoices to get the feel of an

Students also exhibit their work to the whole school

DVVLJQPHQW IURP VWDUW WR Č´ QLVK

and public, which, Robbins says, “encourages

in Professional Photography

Annual Tuition: $19,620

Brooks’ impressive facilities and rigorous, targeted curriculum is bolstered by an array of

41

that you couldn’t help but come out of Brooks with

Brooks’

career

services

representative.

our lower division students to see what the expectations are to become Brooks graduates.�

PHOTOS Š ŠRALPH A. CLEVENGER

THIS SPREAD: A student in the Brooks In-Water class captures a model diving into the pool (opposite); Instructor Paul Meyer demos the splash tank and triggering system to students in the Stop-Action class.

SPECIAL REPORT

ROCHESTER, NEW YORK

Rochester Institute of Technology

Years ago, when The New Yorker VWDÎ? SKRWRJUDSKHU Pari Dukovic was still living in Istanbul and

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researching schools to attend, Rochester Institute

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of Technology (RIT) stood out. Its “incredible

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allows students to feel like they have their own

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rigorous technical education and a well-rounded,

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brings together 3D-digital-design students and

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good technical background when I graduated

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School Stats — Website: photography.rit.edu 'HJUHH 2Î? HUHG Bachelor of Fine Arts in Advertising Photography

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Length of Program: Four years

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Size of Department: 130 students

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Annual Tuition: $36,596

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42

3+272 k $0%(5 '2(55

THIS PAGE: Behind-the-scenes shot of a classroom video demo in RIT’s teaching studio. The shots are streamed live on the projection screen shown in the background.

by Amy Touchette

CHICAGO, ILLINOIS

Columbia College Chicago

At Columbia College Chicago, students who choose

cast, produce, style and photograph their model

the commercial concentration while receiving their

while their class cohorts work as crew,� Andree

Bachelor of Arts in Photography are surrounded

McArthur says. “Rotating roles each week allows

by a wealth of opportunities, both in the classroom

students to experience the many aspects that go

and out. Professors Andree and John McArthur,

into the production of a commercial shoot.� Later,

who have been a commercial photography team

the creative team at Hilton Worldwide selects

in Chicago for over 20 years, are one such example.

images for exhibition on the hotel’s giant 15 x 25-

Not only do the McArthurs train students in how

foot billboard.

to succeed in the industry based on their own real-

“Having our facilities located in the heart of

world experience, but they also connect students

Chicago is another advantage for the visibility

to the many professionals with whom they have

of our program and the career possibilities of

relationships. Their students have access to local

our students,� explains Fitzpatrick, and that was

talent agencies, allowing them to book models

most certainly a draw for current student Henry

directly for weekly assignments, as well as access

Leatham. “I wanted a setting that would meet

to potential prospects for internships, some of

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which have led previous graduates to full-time

diversity and perspectives,� Leatham says, noting

jobs.

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Chair of photography Peter Fitzpatrick explains:

the bill. Plus, Columbia’s small class size (classes

“We are continually in the process of developing

comprise eight to 16 students) means everyone

the internship program that supports the

gets to know each other well. “Being able to watch

professional aspirations of our students and those

your body of work grow alongside others provides

School Stats

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you with a very personal experience. The same

that simulate professional production that provide

goes for faculty,� he adds, noting their kindness,

—

students with the valuable experience of working

engagement and genuine interest, as well as “their

Website: colum.edu

in a team environment. Students are on location

invaluable resources and information about the

frequently and collaborating with professionals to

economical aspects of the art.�

'HJUHH 2Î? HUHG Bachelor of Arts in Photography, Commercial Concentration

achieve tangible products.�

At the end of the program, students enroll in

Such is the case with a collaboration-rich fashion

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Length of Program: Four years

photography course taught by the McArthurs.

students attend a portfolio review event, where

Size of Department: 65 students

Students photograph professional fashion models

they network with industry professionals and

(commercial concentration)

wearing clothing created by Columbia’s fashion

present their work to them in one-on-one review

Annual Tuition: $23,640

design students and local designers at Hilton

sessions. Students also have the pleasure of

Worldwide’s downtown Chicago location. “As

participating in a senior exhibition held on campus

instructors, we take on the role of art director and

at the end of the academic year. EDU

client, and our students each have the chance to

NEXT 43

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3+272 &2857(6< 2) &2/80%Ζ$ &2//(*( &+Ζ&$*2

THIS PAGE: Columbia College Chicago students on location for a collaborative fashion shoot.

PDNedu Student Photo Contest 2016

Winners’ Gallery

PRESENTING THE WINNERS OF THE 13TH ANNUAL STUDENT PHOTO CONTEST. These talented rising photographers hail from high school, undergraduate and graduate programs across the U.S. and internationally. All grand-prize winners will receive a DSLR camera courtesy of Nikon, $150 to B&H Photo and Video, and the opportunity to have a portfolio consultation with an editor or judge. All winners and honorable mentions are also published in an extended online gallery and promoted to PDN’s network of 200,000 followers. See the gallery at contest.pdnedu.com.

G R A N D P R I Z E ——— F A S H I O N / P O R T R A I T

Grand-Prize Winners Art Center College of Design

Joy Newell “Sunshine Isn’t Sweet” A photo series shot for a compilation album by NERO magazine and Universal Records Japan. 44

SPONSORED BY:

EVERARD WILLIAMS Publisher & Founder Acuity Press

KAYT FITZMORRIS Artist Rep Redeye Reps

Emily is an artist and creative director based in Brooklyn, and currently leads the photo department at The FADER. Past clients have included MTV, TIME, MADE and Bloomberg Businessweek, where she also worked as deputy photo editor.

Everard is the founder of boutique book publisher Acuity Press, an instructor at his alma mater, Art Center College of Design, and a photographer, whose clients include Nike, Seattle Film Festival, A&M Records, Sony Music and Twentieth Century Fox.

Originally from Washington, D.C., Kayt relocated to California to study politiFDO VFLHQFH DQG ̥QH DUW DW Occidental College. She cut her teeth at DSREPS and was associate photo editor at The Hollywood Reporter before joining Redeye.

MICHELLE BOGRE Associate Professor Parsons The New School for Design Michelle is a documentary photographer, author and lawyer specializing in copyright and media law. She is the author of two books, Photography as Activism and Photography 4.0, A Teaching Guide for the 21st Century, both published by Focal Press.

G R A N D P R I Z E ——— D O C U M E N T A R Y / P H O T O J O U R N A L I S M

J U D G E S

EMILY KEEGIN Director of Photography The FADER

Syracuse University

Michael Santiago “A Promise” A series featuring Santiago’s father, who battles cancer while requiring three days of dialysis a week. Santiago says: “The time that I have spent photographing him while on my breaks from school when I return home have been a way for me to deal with the time spent apart.” 45

PDNedu Student Photo Contest

G R A N D P R I Z E ——— S T I L L L I F E

Maryland Institute College of Art

Bryn Dunbar “By the Numbers” “By the Numbers” is an investigation into the issue of privilege in light of gender, race and class. Dunbar says: “[This series] helped me think about my personal demographic and how the rest of America is living in comparison.”

46

G R A N D P R I Z E ——— T R A V E L / L A N D S C A P E

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Columbus College of Art & Design

Kaitlyn Jo Smith “In Green Pastures” 7KHVH LPDJHV DUH D UHȵHFWLRQ RI WKH ȊSXUH FRQWHQWPHQWȋ 6PLWK H[SHULHQFHG ZKLOH VWXG\LQJ DEURDG LQ ΖUHODQG

47

PDNedu Student Photo Contest

G R A N D P R I Z E ——— F I N E A R T / P E R S O N A L W O R K

Columbia College Chicago

Grace Allen “Interferences” A series that focuses on interferences in the landscape, and the presence of the human hand in these changes, throughout all environments. The work aims to look at pollution, the environment and the passive relationship we are sustaining with it.

48

G R A N D P R I Z E ——— H I G H S C H O O L : A N Y S U B J E C T

Winners’ Gallery

Jackson Hole Community School

Syler Peralta-Ramos “Landscape in Flux” From a series of aerial and landscapes images shot in the Sonoran Desert in Arizona, Yellowstone National Park, Greenland and Iceland.

49

PDNedu 6WXGHQW 3KRWR &RQWHVW

G R A N D P R I Z E ——— M U L T I M E D I A / V I D E O

Bilder Nordic School of Photography

Maria Gossé “@fitnessophiee” %LNLQL ȴWQHVV KDV H[SORGHG LQ SRSXODULW\ VLQFH LW ZDV LQWURGXFHG LQ 1RUZD\ LQ 7KLV YLGHR ZKLFK IROORZV \HDU ROG ELNLQL ȴWQHVV DWKOHWH $PDOLH 6RSKLH +DQVVHQ H[SORUHV WKH PRWLYDWLRQV EHKLQG FRPSHWLQJ DQG KRZ LW D΍HFWV WKRVH ZKR SDUWLFLSDWH

50

:LQQHUVȇ *DOOHU\ FASHION / PORTRAIT

Honorable Mentions DOCUMENTARY / PHOTOJOURNALISM

University of the Arts London -$':Ζ*$ %5217Ô “Invisible People of Belarus” ΖPDJHV IURP %URQWÕȇV VHULHV ȊΖQYLVLEOH 3HRSOH RI %HODUXV ȋ ZKLFK VHUYHV DV D JOLPSVH LQWR WKH OLYHV RI WKH GLVDEOHG SHRSOH DQG &KHUQRE\O YLFWLPV OLYLQJ LQ JRYHUQPHQWDO LQVWLWXWLRQV FDOOHG internats ZKLFK VKH GHVFULEHV DV ȊVRPHWKLQJ EHWZHHQ DQ DV\OXP RUSKDQDJH DQG KRVSLFH ȋ KLGGHQ IURP WKH SXEOLF %URQWH VD\V ȊȇΖQYLVLEOH 3HRSOH RI %HODUXVȇ LV D VWRU\ RI XV KXPDQ EHLQJV ȋ

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MULTIMEDIA / VIDEO

Appalachian State University TAYLOR GILL, BEKAH CARSWELL, DELMIS RIVERA Ȋ3LFQLFȋ *LOO VD\V Ȋ%\ RSHQLQJ \RXU H\HV VLPSOH HYHQWV OLNH D SLFQLF FDQ EHFRPH D FLQHPDWLF H[SHULHQFH $V SKRWRJUDSKHUV WKLV LV KRZ ZH VHH RXU HYHU\GD\ ZRUOG DQG KRSHIXOO\ WKLV ȴOP FDQ VKDUH WKDW ZLWK WKRVH ZH ORYH ȋ

51

PDNedu Student Photo Contest

STILL LIFE

School of Visual Arts YIMEI WANG “Restructured Fast Food” A study on fast foods reconstructed with newspapers and magazines, commenting on both consuming behavior and today’s direct access to information using collage montage.

TRAVEL/LANDSCAPE

Art Center College of Design KIU KA YEE “My City” An ongoing photo series featuring Yee’s friend exploring their home city, Hong Kong. Yee says: “Hong Kong is changing so fast without us even realizing it. It’s a project about memories, relationship and home.”

52

Winners’ Gallery

FINE ART / PERSONAL WORK

Savannah College of Art and Design JOSHUA RASHAAD MCFADDEN “BLACK(MALE)SELFHOODâ€? A series that examines the idea of “blacknessâ€? imposed by cultural stereotypes, and poses the question: “What happens when a black man self-interprets his own identity based upon ideology, reality, memory and experience?â€? McFadden explores the LGHD RI D ČŠIDWKHU Č´JXUHČ‹ LQ WKLV VHULHV DQG KRZ LQWHUQDO DQG H[WHUQDO IRUFHV KDYH VKDSHG WKH EODFN PDOH LGHQWLW\

HIGH SCHOOL : ANY SUBJECT

Niskayuna High School BECA PIASCIK “Lost Items� Photographed in the Ninth Ward of New Orleans, ten years after Hurricane Katrina hit Louisiana, this series is centered around the items that people have left inside Saint Roch’s Cemetary, as symbols of their experiences with miracles.

53

TIPS & TECH: Business Smarts

How to Win Friends Clients and Influence People —

Marketing your photography services is a lot like paying taxes: If you don’t do it, things could get ugly. After all, it’s really hard to build a business when potential clients don’t know about you and your work. Building a website, sending promos and staying on top of social media are the standard trifecta when it comes to getting noticed by your target audience. Standing out from the pack and building the foundation for client relationships, however, takes both persistence and a good understanding of your RZQ EUDQG DQG ZKDW \RX KDYH WR R΍ HU

PRESENTING YOUR WORK ONLINE AND IN PRINT.

54

by MINDY CHARSKI

55

3+272 k 69(7/$1$ %/$68&&Ζ

TIPS TIPS & TECH: & TECH: Business Business smarts Smarts

NEXT Step X Step

TIPS & TECH : Step x Step

What I Wish I’d Known (

Before Starting My Photography Career

Three Nikon Ambassadors get candid. by JACQUI PALUMBO Last October, a panel at New York City’s PhotoPlus Expo brought together SUR SKRWRJUDSKHUV 7DPDUD /DFNH\ &OL΍ 0DXWQHU DQG -RH 0F1DOO\ IRU D IUDQN GLVFXVVLRQ DERXW VWDUWLQJ RXW LQ WKH SKRWRJUDSK\ LQGXVWU\ +RVWHG E\ 1LNRQ DQG PDNedu, WKH KRXU DQG D KDOI VHVVLRQ ZDV JHDUHG WRZDUG SURYLGLQJ DFWLRQDEOH DGYLFH IRU KLJK VFKRRO DQG FROOHJH VWXGHQWV /DFNH\ D NLGV DQG IDPLO\ SRUWUDLW SKRWRJUDSKHU KDV EHHQ LQ WKH EXVL QHVV IRU \HDUV 0DXWQHU D ZHGGLQJ DQG SRUWUDLW SKRWRJUDSKHU IRU DQG 0F1DOO\ DQ HGLWRULDO DQG FRPPHUFLDO SRUWUDLW SKRWRJUDSKHU IRU 7KH\ FRPH IURP GL΍ HUHQW EDFNJURXQGV DQG SLFNHG XS GL΍ HUHQW VNLOOV DORQJ WKH ZD\ EXW WKH\ DOO DJUHH WKDW EXLOGLQJ D EXVLQHVV PRGHO HDUO\ LV LPSRUWDQW +HUH WKH\ UHȵ HFW RQ WKHLU FDUHHUV DQG VKDUH LQVLJKW RQ KRZ

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58

(

Syracuse University’s venerable S.I. Newhouse

his education to the “school of hard knocks�

School of Public Communications, McNally spent

while working as a photographer at a weekly

WKH Č´ UVW WKUHH \HDUV DW New York Daily News as a

newspaper, followed by a stint at the The

copyboy before hitting the street as a reportage

Philadelphia Inquirer. Starting out, he says, “I had

photographer for clients like The New York Times

no real experience or photographic education.

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I hadn’t mastered anything.� The two years

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he spent at the weekly paper allowed him “to

Television, where he began to build the foundation

make plenty of mistakes,� while he got more

for his now revered lighting techniques (though,

comfortable behind the camera.

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But as much as Mautner learned working on

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the job, he says “without hesitation�

them in�). McNally then quit to freelance full time

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in 1981, covering several major stories in just a

a more solid foundation in business

few short months: the attempted assassination of

and marketing practices. “Take as

Ronald Reagan, the launch of the Columbia space

many business courses as [you]

shuttle and the attempted assassination of Pope

can,� he says. “These classes will be

John Paul II.

invaluable.�

simple: magazines use your images once, then

together a business model early

\RXU DJHQW Č´ QGV RSSRUWXQLWLHV WR UHOLFHQVH WKHP

will help you manage budgets and

“I was unprepared, I think, for how complex the

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business ultimately became,� McNally says. “I

years shooting full time from 2003-

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2006 were busy, and she says she

started.�

didn’t implement a sound business

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today will face the same decisions that McNally

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faced then: how much to invest in your business,

from that heavy workload, but to decrease the

and how much to save. “There’s the tendency to

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pour everything back into your business,� he says,

around the clock.�

mentioning both new technology and funding self-

McNally was swept into a similar tide of “shoot Č´ UVW SODQ ODWHUČ‹ HDUO\ LQ KLV FDUHHU $ JUDGXDWH RI THIS SPREAD: Tamara Lackey comes across a mountain goat taking in the view at Glacier National Park, Montana (opposite); Lackey’s portrait of I’Kia at Eno River State Park, North Carolina (above); McNally’s portrait of Bill Gates holding MicroVRIWȤV ĚĽ UVW ODSWRS LQ (right).

59

But back then, McNally says, the deal was

Lackey agrees, and says putting

assignments. “Make sure there’s enough money to live, and not just to shoot.�

3+2726 k 7$0$5$ /$&.(< /()7 -2( 0&1$//< 5Ζ*+7

Taking Care of Business

Mautner is completely self-taught, and credits

TIPS & TECH : Step x Step

Being a One-Man (or -Woman) Band

Mark your calendars... 7+Ζ6 3$*( 0DXWQHU SODFHV WKH EULGH WR EH KHU PRP DQG KHU GUHVV DJDLQVW WKH OLJKW

Today, Lackey, Mautner and McNally all have

Bootcamp, an annual workshop at his New Jersey

a team of professionals and assistants who

studio that covers not only lighting and technique,

6DQWD )H :RUNVKRSV www.santafeworkshops.com

work with them to do the dirty work, such as

but how to interact with clients, pitch your work,

negotiating pricing and managing licensing. But

price your packages and build a referral base.

SPE Conferences www.spenational.org

every photographer should be their own agent

All three photographers recommend shows

and manager starting out, McNally says. McNally

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Photo L.A. January, Los Angeles www.photola.com

also highly suggests assisting a professional

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been to as both attendees and speakers. These

shooting, talk to clients and run a business.

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6XPPLW :RUNVKRSV www.photographyatthesummit.com

:33Ζ &RQIHUHQFH ([SR March, Las Vegas www.wppionline.com Month of Photography L.A. April, Los Angeles www.monthofphotography.com 3DOP 6SULQJV 3KRWR )HVWLYDO April, Palm Springs, California www.palmspringsphotofestival.com Flash Forward Festival April/May, Boston ZZZ ̌ DVKIRUZDUGIHVWLYDO FRP LOOK3 Festival June, Charlottesville, Virginia www.look3.org Filter Photo Festival September, Chicago ZZZ ̼ OWHUIHVWLYDO FRP Photoville September, New York City www.photoville.com 7KH (GGLH $GDPV :RUNVKRS October, Jefferson, New York ZZZ HGGLHDGDPVZRUNVKRS FRP 3KRWR3OXV ([SR October, New York City www.photoplusexpo.com Fotoweek DC November, Washington, D.C. ZZZ IRWRZHHNGF RUJ PhotoNOLA December, New Orleans www.photonola.org

When you are ready to build a team, starting

your schedule with a range of classes that suit your

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needs. Lackey says it’s also valuable to sit in on live

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shoots at these events, even if the photographer’s

hours a week, but eventually became an associate

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photographer. All three photographers started

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with one assistant and slowly built their teams,

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WDNLQJ WLPH WR Č´ QG WKH ULJKW SHRSOH IRU WKH MRE

be very enlightening,� she says.

McNally warns not to commit until you know what

For print and online resources, McNally

you’re looking for. “Everyone’s gone through a bad

suggests everything from photography history

agent,� he says.

books to creative and entrepreneurial TED talks.

But running your business on your own doesn’t

Lackey would agree—while she built her portfolio,

mean you need to feel overwhelmed. It can take

her appetite for photography resources was

photographers years to get comfortable with all

insatiable. In fact, she hesitates to call herself

aspects of shooting, networking, marketing and

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administrative work. Lackey says she excelled at

manuals and tutorials she consumed. “I learned

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from a wide variety of photographers, authors,

her exposure each time. Likewise, McNally went

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own pace for it,� she explains.

knowledge of how to light the celebrities he was

What can’t be learned, however, and what

asked to shoot, and took the two years he was

these photographers have plenty of, is drive.

there to build his repertoire.

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motivation and persistence will come into play in

workshops and classes can supplement your

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working knowledge. McNally has taken Jay Maisel’s

an acclaimed photography program, he says that

workshop at his famous former home at 190

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Bowery in Manhattan, and is a faculty member of

professional photography: “[The skills I learned],

the competitive Eddie Adams Workshop. Mautner

while wonderful to have, did not prepare me

imparts his knowledge to wedding and portrait

for the speed, the intuition, the tenacity and the

photographers through his Lighting and Skillset

ferocious work ethic that you have to bring.� EDU

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What Does It Cost?

by AMANDA BALTAZAR

TO STUDY, LIVE AND WORK IN DALLAS, TEXAS.

PHOTO COURTESY OF ISTOCK

Dallas, the third largest city in the Lone Star State, is known for its barbecue, sports teams, warm weather and larger-than-life culture. Everything is bigger in the sprawling city—the “Big D” has one the largest and busiest airports in the world, the largest contiguous urban arts district in the nation and the Trinity River Corridor Project, an enormous environmental, recreational and economic development along the city’s Trinity River that will be ten times the size of New York City’s Central Park when completed. “Dallas is a very livable city,” says Stewart Cohen, a portrait and lifestyle photographer and director. “One of the reasons I’ve stayed here is I would not have been able to have WKH W\SH RI VWXGLR RU WKH VWD΍ ΖȇYH EHHQ DEOH WR maintain over the years if I’d lived in a city like Los Angeles or New York.” Kim Clarkin, a fashion and portrait photographer who serves on the board of the Dallas chapter of American Society of Media Photographers (ASMP), agrees. “Dallas is a great place to be a photographer right now,” she says. “[The city] is booming. Portraiture is the largest photography industry in Texas, but the commercial industry is beginning to make a name for itself.”

62

To Study... Un niverrsity y of Texas at Dalla as — www.utdallas.edu 3KRWRJUDSK\ LV RÎ? HUHG XQGHU WKH %$ GHJUHH LQ $UWV DQG 3HUIRUPDQFH DW WKH 8QLYHUVLW\ RI 7H[DV 7KH SKRWRJUDSK\ SURJUDP RÎ? HUV ERWK GDUNURRP EDVHG DQG GLJLWDO SKRWRJUDSK\ ZLWK D IRFXV RQ Č´ QH DUW 6WXGHQWV OHDUQ KRZ WR UHČ´ QH WKHLU SRUWIROLRV DQG GHYHORS FULWLFDO UHVSRQVHV WR LVVXHV LQ FRQWHP SRUDU\ DUW DQG KDYH WKH RSSRUWXQLW\ WR H[KLELW WKHLU ZRUN LQ JURXS DQG VROR VKRZV ΖQ WKH JUDGXDWH SUR

ANNUAL TUITION UNDERGRADUATE: $11,800 (in state); $32,000 (out of state) GRADUATE: $15,250 (in state); $31,706 (out of state) HOUSING Freshmen live in University Commons, which features three-bedroom furnished suites with common living areas. COST: $6,336 per year MEAL PLANS: $3,422-$4,062 per year

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Graduate students can live in University Commons or University Village, which has options ranging from a one-bedroom, one-bathroom

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apartment.

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COST: $505-$795 per month

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ANNUAL TUITION UNDERGRADUATE: $7,850* (in state); $18,700 (out of state) GRADUATE: $9,350 (in state); $20,200 (out of state) HOUSING There are a 14 residence halls at the University of North Texas, which include private rooms, semi-private, double and triple rooms. COST: $4,014-$6,220 per year MEAL PLANS: $2,955-$3,486 per year

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Da allas s Sch hool of Phottogrraphy —

Dallas Center for Photography —

www.dallasschoolofphotography.com

www.dallascenterforphotography.com

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COST: From $180 (one-day) $270 (multi-week) $360 (summer)

63

COST: $240 (one-day) $480 (two-day) $220 (four-class) and up

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THE BOTTOM LINE: TO BUY: $150,000 and up TO RENT: $1,000 and up

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64

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TIPS & TECH: What Does It Cost?

To Work... Sttudio o —

Photographers in Dallas are transitioning back to

Hayner shares a studio with two other

having their own studios, having largely given them

photographers. It’s 5,000 square feet and costs

up during the recession, says Brian Cline, equipment

$5,000 per month, split three ways. He only uses it

THE BOTTOM LINE: TO RENT: $450 (half-day) $650 (full day)

manager at Bolt Productions. “What we’re seeing

about 20 times a year, but it saves him a lot of time.

TO SHARE: Varies

now is a lot of photographers are going in together

Clarkin no longer owns a studio but she used to

with shared spaces, so they’ll have three or four

have access to one at WELD, a community space

people and book among themselves,” he says.

for artists, for which she paid $400 a month for

Bolt’s two studios welcome a lot of out-of-town

a membership, and another at Anchor Studios,

business. The most popular is its 2408 Converse

which was $215 per month. “Most freelance

Studio, which has natural light, but both it and its

photographers in Dallas rent studio space as

1350 Chemical Studio have a 3,000-square-foot

needed,” she says. “The spaces I’ve been part of

shooting area and 14-foot ceilings. They rent for

have been groups of photographers joined together

$450 per half-day and $650 per day.

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Eq quipm men nt —

The most frequently rented Nikon camera body

per week. The most commonly rented lights are the

at Competitive Cameras in Dallas is the D800, says

Profoto monolights, Jabbour says, which cost $75

owner Eugene Jabbour, and it costs $100 a day or

per day. EDU

THE BOTTOM LINE: TO RENT: $210 per day

$400 for the week. The most popular Nikon lens is the 70-200mm, which costs $35 per day or $140

What it Costs for:

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NEXT 65

Product News

PHOTOS © SPOOK BOLT (LEFT); © TOM LEININGER (RIGHT)

THIS SPREAD: OHIW WR ULJKW $ ̥ WQHVV VKRRW E\ &OD\ +D\QHU RQ WKH VWUHHWV RI 'DOODV 7KH FLW\ȤV '$57 OLJKW UDLO WUDQVLW 1DWXUDO OLJKW DW %ROW 3URGXF WLRQV $ VWXGHQW DW 8QLYHUVLW\ RI 1RUWK 7H[DV KDQJV SULQWV

TIPS & TECH

by GREG SCOBLETE

Product News

66

Nikon D500 :DQW WKH SRZHU DQG SHUIRUPDQFH RI 1LNRQȇV ȵ DJVKLS

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D5 DSLR in a more compact body? The DX-format

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D500 delivers it. From the speedy 153-point AF system

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electronic stabilization system that can be paired with

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memory card slots for both SD cards and the speedier

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Nikon SB-5000 AF Speedlight 7KLV LV 1LNRQȇV Č´ UVW Čľ DVK WR RSHUDWH XVLQJ UDGLR IUHTXHQF\ VR it has a bunch of new and creative tricks up its sleeve. First, it can operate without a direct line-of-sight at a range of 98 feet when used with select Nikon cameras (the D5 and D500, IRU QRZ DQG 1LNRQȇV :5 5 DQG :5 $ ZLUHOHVV UHPRWH control set. That means you can drop them in another room, around a corner, on a rooftop—basically anywhere you QHHG WKHPČƒDQG EH FRQČ´ GHQW WKH\ȇOO Č´ UH 2ZQHUV RI ROGHU Nikon models can still use the SB-5000, but you’ll rely on an optical trigger so you will need to stay within view of the Čľ DVK WR Č´ UH LW ΖI \RX XVH WKH QHZ VSHHGOLJKW ZLWK WKH :5 5 ZLUHOHVV WUDQVFHLYHU DQG WKH ' \RX FDQ FRQWURO XS WR VL[ JURXSV $ ) RU Čľ DVKHV LQ DOO %HVLGHV UDGLR FRQWURO the SB-5000 sports a new, more compact design and a new FRROLQJ V\VWHP WKDW HQDEOHV LW WR Č´ UH XS WR FRQWLQXRXV Čľ DVKHV DW VHFRQG LQWHUYDOV 2ZQHUV RI ROGHU 1LNRQ VSHHGOLJKWV ZLOO QRWLFH WKH UHGHVLJQ H[WHQGV WR WKH Čľ DVKȇV exterior as well. There’s now an “iâ€? button for quick access WR FRPPRQO\ XVHG VHWWLQJV 7KH Čľ DVK KHDG FDQ EH SRLQWHG down at -7 degrees or up to 90 degrees as well as rotate

AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR This high-end lens is a great complement for a D500, D7200 or any other DX-format camera in Nikon’s lineup. It features VHYHUDO ȴ UVWV IRU 1LNRQȇV '; OHQV VHULHV ΖWȇV WKH ȴ UVW '; IRUPDW glass to use Nikon’s Nano Crystal Coat, an exclusive optical FRDWLQJ WKDW UHGXFHV JKRVWLQJ DQG OHQV Ⱦ DUH ΖWȇV DOVR WKH ȴ UVW '; OHQV WR LQFRUSRUDWH DQ HOHFWURPDJQHWLF GLDSKUDJP which electronically adjusts the aperture in the lens and helps improve exposure during high-speed shooting. This lens’ 24-120mm (FX-format equivalent) focal length makes it a versatile shooter for everything from landscapes to tight close ups. In fact, you’ll enjoy a minimum focusing distance of 1.2 feet throughout the zoom range. The lens’ maximum aperture is variable from f/2.8-4, depending on your focal length, and the seven-bladed aperture diaphragm creates a circular bokeh when shooting with a shallow depth of ȴ HOG 7KH OHQV XVHV 1LNRQȇV 9LEUDWLRQ 5HGXFWLRQ WHFKQRORJ\ to deliver up to four stops of image stabilization per CIPA standards and can automatically detect when you’ve mounted the camera on a tripod. If you’re prone to making D PHVV WKH OHQVȇ Ⱦ XRULQH FRDWLQJ RQ ERWK WKH IURQW DQG UHDU elements make it easier to wipe away any dirt, moisture and ȴ QJHU SULQWV WKDW JORP RQWR \RXU JODVV

67

3'1('8 &20 ———

a wide latitude to direct your light as needed.

Spring 2016

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Glow ParaPop 38 The Glow ParaPop 38 is a portable parabolic VRIWER[ WKDW FUHDWHV D GHJUHH VSUHDG RI OLJKW ΖWȇV DQ LGHDO NH\ RU È´ OO OLJKW IRU VWXGLR RU HQYLURQPHQWDO SRUWUDLWV 7KH VLGHG VKDSH DQG SDUDEROLF SURÈ´ OH RI LWV LQFK GLDPHWHU DQG LQFK GHSWK ZLOO HQVXUH WKDW WKH SKRWRQV VWUHDPLQJ IURP \RXU ȵ DVK ODQG HYHQO\ IURP HGJH WR HGJH ΖW SDFNV GRZQ TXLFNO\ WKDQNV WR MRLQWHG SRVLWLRQLQJ URGV WKDW ORFN ZLWK D VLPSOH FOLFN LQWR WKH GHGLFDWHG VSHHG ULQJ ΖW HDUQV LWV ÈŠSRSÈ‹ PRQLNHU E\ WKH SRSSLQJ VRXQG \RXȇOO hear when you collapse the softbox using twin safety tabs. Adorama promises that setting up WKH 3DUD3RS ZLOO WDNH WKUHH PLQXWHV WKH È´ UVW WLPH \RX WDNH LW RXW RI WKH ER[ DQG FROODSVLQJ LW WDNHV D PHUH VHFRQG &XVWRP LQWHUFKDQJHDEOH rings (sold separately) let you use the ParaPop with a variety of speedlights, monolights and VWXGLR VWUREH KHDGV ΖW LQFOXGHV D EUDFNHW IRU hot-shoe mounted speedlights. The ParaPop is built from heat- and water-resistant material DQG IHDWXUHV D UHLQIRUFHG VXSSRUW URG SRFNHW seams and Velcro closures. At 2 pounds, the ParaPop is easy to carry with you wherever your SKRWRJUDSK\ WDNHV \RX

Tenba Cooper Messenger Bags Tenba’s Cooper messenger bags are made from peach-wax cotton canvas with full-grain leather accents and trim. The canvas is water repellant— DQG WKHUH DUH UDLQ ȵ DSV WKDW IROG GRZQ WR NHHS \RXU JHDU GU\ȃDQG ZKHQ WKH VNLHV UHDOO\ RSHQ up, you can use the included WeatherWrap cover to shield your bag. It can also protect your JHDU IURP WKH VXQ ZLWK D UHȵ HFWLYH VLOYHU VLGH RQ the reversible cover. There’s also a secondary zippered enclosure inside the bag for a bit more security. The leather base panel is water and scratch resistant and the interior is lined with a water-repellent ripstop nylon. The padded camera insert can be customized depending on your lens size and can be removed entirely, and the shoulder pad is removable as is the hand strap. The bags also have MOLLE-compatible side loops to attach accessory pouches. Sizes range from the petite Cooper 8, large enough IRU D PLUURUOHVV RU UDQJHÈ´ QGHU FDPHUD ZLWK XS WR WKUHH OHQVHV DQG D ȵ DVK XS WR WKH &RRSHU which can store a pro DSLR with battery grip, WKUHH WR IRXU OHQVHV D ȵ DVK DQG LQFK ODSWRS

68

Multitasking is our modern imperative, a truth

Manfrotto’s Digital Director turns your iPad Air/

top-of-the-line inkjet photo paper collection. The

that holds as much for photo gear as it does for

Air 2 into a giant remote control and live-view

papers feature a micro-porous inkjet receiver

personal life. The LP605M is a photographic

monitor for your DSLR, giving you a huge screen

layer that Epson claims will produce deep blacks,

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to check focus and navigate camera functions.

an expanded color gamut and smooth tonal

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The Director uses a dedicated CPU housed in

gradations. The paper lineup includes Legacy

for your DSLR. As a monopod, the LP605M can

an iPad bracket and connects to your camera

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support a camera and lens up to 5 pounds. It

via USB. Once connected, you use a free app to

optical brightener additives (OBA) and a smooth

extends from a minimum height of 24.8 inches to

gain remote-control, live-view and touch-focusing

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a max height of 6.4 feet. The monopod features a

capabilities over your camera. The app provides

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live, dynamic control over white balance, shutter

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your camera in place or panning smoothly during

speed, image quality, ISO, aperture and more.

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video shots. When you’re ready to illuminate your

You’ll be able to view a histogram, audio levels and

and, unlike other baryta-based papers on the

scene, simply retract the monopod’s feet. As a light

use touch-focusing as well. The Digital Director

market, is more durable thanks to a pair of layers

stand, the LP605M can extend from its minimum

can save high-resolution JPEGs to your iPad as

separating the baryta base and inkjet coating.

height of 19.5 inches up to 7.5 feet, and it features

well as generate and save high-res preview JPEG

Last but not least, Epson’s Legacy Etching paper

built-in ground spikes to secure the stand on semi-

images if you’re only shooting RAW (RAW images

has the feel of traditional etching papers, no

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won’t be saved to the iPad). The app can play

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back videos stored on a memory card too, but

Legacy Papers have already been tested for print

the center column to give the LP605M maximum

won’t save video locally to an iPad. The app has

permanence by Wilhelm Imaging Research with

portability. The LP605M’s aluminum build weighs

some basic sorting functions, such as star ratings,

encouraging results: Color prints made using

in at a very portable 3.6 pounds. It collapses

and supports email, FTP and saving to the iPad’s

Epson’s HD and HDK inks on the Legacy papers

down to 24.6 inches with the adapter attached

camera roll so you can share your work on social

should last for 200 years if properly cared for;

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networks. A nice bonus: If you use Manfrotto’s

black-and-white prints will reach 400 years of light

and four risers. The monopod feet are made of

Bluetooth-enabled LYTRO LED lights, you can

fastness. The paper will be sold in cut sheets from

aluminum and have rubberized ends. The LP605M

control them wirelessly through the Director app.

8.5 x 11 inches up to 17 x 22 inches and in 50-foot

features a standard 5/8-inch top with 3/8-inch

rolls in 17-, 24- and 44-inch widths. Custom sizes

thread and includes a platform mounting adapter

are also available.

and the LP605-3 3/8-inch to 1/4-20 adapter.

NEXT 69

PDNedu Asks Photographers

Spring 2016

Epson’s Legacy Paper is the company’s new,

PDNEDU.COM ———

Epson Legacy Paper LumoPro LP605M

Manfrotto Digital Director

TIPS TI IIPS S & TECH E H

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With so many routes to market your work today, from print promo campaigns to endless new social media platforms, what do you believe is the best strategy for photographers to engage new clients?

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OUT OF THE PAST

[1928-1991]

Guy Bourdin The father of contemporary fashion photography.

by HILARY REID

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THIS PAGE: A summer 1978 campaign for shoe designer Charles Jourdan. Bourdin incorporated test Polaroids interacting with the subject in the images from this series.

THIS PAGE: Cutting’s own work focuses on culinary still lifes and conceptual portraits.

PHOTOS © ESTATE OF GUY BOURDIN REPRODUCED BY PERMISSION OF ART + COMMERCE

shooting for Vogue.

Art That Works Earn a Degree or Take Classes in San Francisco or Online School of Photography // Advertising / Documentary / Fashion / Fine Art / Still Life Student Artwork by Maria Kanevskaya, School of Photography

Academy of Art University | Founded in San Francisco 1929 | 888.680.8691 | academyart.edu | Yellow Ribbon Participant Visit www.academyart.edu to learn more about total costs, median student loan debt, potential occupations and other information. Accredited member WSCUC, NASAD, CIDA (BFA-IAD, MFAIAD), NAAB (B.ARCH*, M.ARCH), CTC (California Teacher Credential). *B.ARCH is currently in candidacy status.

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