summer 2012
A 3D PHOTO ESSAY BY HENRY HARGREAVES
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ALSO: BILL FRAKES-SPORTS SCOTT BOURNE-WILDLIFE THE MEN BEHIND FSTOPPERS SIGMA SD1 MERRILL REVIEW HASSELBLAD BRON STORY 2012 EQ RENTAL GUIDE WEEGEE AT ICP
HIGHLIGHTS Page 158
Page 182
Page 72 Page 54
PAGE 28
BIZ: GET SMART- The Scott Bourne Legacy
PAGE 54
TECH: CAMERA CORNER- Sigma SD1 Merill
PAGE 72
PRO: PROFILE- Bill Frakes, Sport Photographer
PAGE 108
RISE: AWARDS- SVA 5th Year Awards
Wildlife photographer and savvy businessman Scott Bourne teaching us the chords.
There’s no denying the power of the Foveon X3 sensor.
Sports Illustrated photographer Bill Frakes is all about storytelling.
How to Discover the Next Avedon?
Page 28
Page 148
PAGE 148
FEATURE: RESOURCE EQ GUIDE 2012 Best places to get your gear from.
PAGE 158
FEATURE: BREASTS THAT POP
Henry Hargreaves version of Girls Gone Wild—in 3D. PAGE 178
FEATURE: PRODUCTIONS OF THE WORLD- Tel Aviv Tel Aviv is Jerusalem’s younger, cooler, hipper cousin.
Page 108
Astounding resolution. Rich tones and gradation. Vibrant color. www.SIGMA-SD.com
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© 2012 David FitzSimmons | CAMERA: SIGMA SD1, ISO: 100 | LENS: Macro 105mm F2.8 EX DG, Shutter speed: 1/160 sec, Aperture: f11
Revolution.
CONTENTS Page 6 YOUR ESSENTIALS 6 10 18 20 160
Masthead Editors’ Letter Re:Sourced Shoot Talk Directory
Page 28 BIZ 28 34 36 38 40 42 44 46
Get Smart: The Scott Bourne Legacy Behind the Biz: The Man Behind Hasselblad Bron Going Pro: Part III – Your Website You Are Here: Los Angeles Client File: Karen Meenaghan, Freelance Art Producer Graph-Ic: Social Media Super Stars SocioMediaPath: Alan Shapiro Explains The Google+ Circle Pro-Pinion: Online Marketing Tips – Google Boot Camp
Page 48 TECH 48 50 53 54 56 57 58 60 62 64 66 68 69 70
Ask a Geek: Manfrotto 055 Photo/Video Head Gear & Gadgets: Analog Re-adapted Do It Yourself: How to Scan Negatives with a DSLR Camera Corner: Sigma SD1 Merrill What’s In Your EQ Closet? Greg Manis Sick App: Reel Director Gear Heads: Big Rigs – Support for your HDSLR Filmmaking + Beta Shell Review Do It With Style: Lomography’s La Sardinia Cameras De-Constructed: Phase One Camera System Software: OnOne Software – Perfect Photo Suite 6 Gear Test: Pocket Wizard Pus III Bookmarked: The Men Behind FStoppers Do It For Fun: Printstagram Rigged: Derek Shapton
Page 72 PRO 72 78 82 88 92 100 104 107
Photo Pro-File: Bill Frakes, Sport Photographer History: The White Stripes by Patrick Pantano Editor’s Pick: Mark Tipple’s Underwater Technique: Albert Koetsier on X-ray Photography Master Class: Adrian Mueller, Still Life Photographer People in Motion: Andrew Hulme, Film editor Speciality: The Modern Day Weegees Videography: The Token
Page 108 RISE 108 112 114 122 138 142 144 146
Emergent: A Veterans Tale by Sasha Maslov Mobile Photo: Isabel Cruz Rising in: Portrait Photography, Jeff Brown Awards: How to Discover the Next Avedon? – SVA 5th Year Awards Breaking In: Photojournalist, Michael Christopher Brown Capture This: Bandwidth and Connectivity Retouch That: The Principles of Depth (Part 4 of 4) Foto Contest: New York Street Portrait by Mark Leaver
Page 148 FEATURES 148 158 182
Resource EQ Guide 2012 Breasts That Pop Productions of the World – Tel Aviv
Page 192 ARTS & ENTERTAINMENT 192 196 198
Gallery: Weegee “Murder is My Business” Event: Vimeo Video Awards and Festival Flashed: New York Street Style by Jena Cumbo COVER AND END PAGE Shot by Henry Hargreaves: www.henryhargreaves.com
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CONTRIBUTORS 1.
4.
2.
1. Greg Manis : Greg Manis
just bought an old motorhome (1986 Coachmen) and is doing a cross-country photo project. He hopes to do a book of Americana and to follow that with some gallery shows. He also has some ideas about doing a magazine— old school, newsprint, street ‘zine style. www.gregmanis.com
2. Adrian Mueller :
5.
Photographer Adrian Mueller grew up in Lucerne, Switzerland and currently resides in NYC with his wife and son. In contrast to his concise still life work, Adrian’s aim with his food photography is to create images that connect with a viewer’s personal memories to ensure an emotional and lasting impression. www.amueller.com
3. Michael Corsentino :
7.
Michael Corsentino is an awardwinning wedding, portrait and editorial photographer, Adobe Photoshop & Adobe Photoshop Lightroom expert, author, speaker and workshop leader based in Northern California. Shooting digitally since 1999, he made his first exposure when he was 12 years old and hasn’t put his camera down since. www.corsentinophotography.com
3. 4. Sivan Askayo :
Sivan Askayo, originally from Israel, is a freelance New York-based photojournalist, specifying in writing and photographing for travel, design and lifestyle magazines. She is currently involved with ICP where she works as a teacher assistant and attends classes. Her work has been exhibited both in NY and in Israel. www.sivanaskayo.com
5. Derek Shapton :
Photographer Derek Shapton works for a wide range of advertising, corporate and editorial clients. His images have been featured in Applied Arts Magazine, the Communication Arts Photography Annual, Art World China, and American Photography. He is represented in North America by Westside Studio and in Asia by FACT Photography. www.derekshapton.com
6. Alan Shapiro : Alan Shap-
iro is the Founder and Chief Creative Officer of HeadOverHeels, an Elationship Marketing Agency in NYC. He picked up a camera to reduce the stress of his day job
and is now an award-winning, published photographer with over 1,475,000 followers on Google+. www.alanshapiro.photoshelter.com
7. Marie-Anne Aizac :
Marie-Anne Aizac, a Parisian in L.A., started Velvet Artists Reps 18 years ago. With an art buying background, she focuses on matching her team of photographers to creative advertising campaigns. When she is not “schmoozing” art buyers, you can find her collecting eggs from her coop or honey from her hives. www.velvetartists.com
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EDITORS
letter
How do you create great art? Sometimes we look at a photo and say, “This is such a rip off of [INSERT FAMOUS PHOTOGRAPHER’S NAME HERE]. Why can’t people come up with anything new?” It’s true, why can’t people come up with anything new? But then again, our art is just the product of our life experience; therefore, it’s almost inevitable that some of the art we love will shine through into what we create. I’m going to take this one step farther by reaching into the most honest part of my life for an answer, my childhood. When I was a young child, shy and deeply thought provoked, I used to sit in my room and understand my toys and possessions through the essence they gave off. I never considered anything to be just what it appeared to be, but rather existed as the feeling I got from it. From my own mind, I determined at a young age that the key to creating good art is through a very complex interpolation of what you consider your life experiences and environment to be. Now that I’m older, I’ve had many life experiences that have contributed to my deliberation of: How do you create good art? My father has been a huge influence on my photographic and artistic upbringing. He’s given me lots of advice and insight throughout the years, but one that has most influenced my career is his perception of how graphic design and photography interconnect. In my father’s words, “ There were some great designers who changed the whole concept of design and visual art, like Milton Glaser and Willy Fleckhaus. Photographers in the ‘60s and ‘70s were familiar with these names because they influenced the way you shot and saw things. The work of Willy Fleckhaus in the magazine TWEN was revolutionary and carried out incredible imagery and eye-popping visuals.” He continues, “Alexey Brodovitch, the art director of Harper’s Bazaar, ranks really high—he brought design into the photo world in the ‘60s. He used to teach a course at The New School, which was split into two sessions, one for design, and one for photography. Some of his students were Diane Arbus, Richard Avedon, Lisette Model, Hiro, and Eve Arnold.” Hiro is a photographer my father mentions often. Hiro recalls about Brodovitch, “I learned from him that if, when you look in your camera, you see an image you have never seen before, don’t click the shutter.” Art Kane, another former student of Brodovitch, states, “He taught me to be intolerant of mediocrity. He taught me to worship the unknown.” My father talks about classic and now lost magazines, such as Viva, an erotic magazine for women heralded by Anna Wintour who brought in photo talents such as Helmut Newton. Egoiste was created by Nicole Wisniak, and featured Helmut Newton, Richard Avedon, and Guy Bourdin. My father recalls, “It was large like a newspaper size, printed very well with big black and white photos.” He ends, “You have to know the history—if you don’t know the history, then you make fun of it.” Now, being a magazine owner, I have to make judgments on a daily basis as to what “good photography” is. When it comes to judging images, I admire one person for her intuition and that is my business partner, Aurelie. I asked her on ichat earlier (in what was seemingly a rant of
theoretical questions) how she would explain what the key to good art is. She responded jokingly, “Chemical imbalance ;)” And then, “Seriously now, the line between genius and madness is very thin.” So I dug further and asked, “ Isn’t it strange that people can relate so strongly to the art of someone who has gone mad?” She replied, “Well in these cases, that madness brings out beauty or joy or scientific progress, these are things that people can appreciate.” Aurelie always makes me think just a little harder and she adds, “Plus, is the question really how to create good art or how to create art? When you create you don’t know if it’s good or not, that comes later.” My mother, who is a painter, Polaroid photographer, and prop stylist, is also one of the most intuitive artists I’ve ever met. I asked her what she thought was the key to making great art and she said, “Great art is not an accident. If someone is able to repeat something that touches you, that makes that person a great artist.” A huge part of art is the feeling it produces: “You feel the passion when you look at something that touches you.” This approach may sound naive, but for some, art is just that simple. And maybe that’s how it should be? “How do you create great art?” Maybe not knowing is the key. Maybe finely dissecting the science of art is the key. But in this day and age, creativity is impaired by large quantities of information and competition, which leaves us with only one reliable tool—our passion. “I don’t have to agree with you to like you or respect you.” Anthony Bourdain.
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Editors’ Columns II- This Time, It’s Personal:
Making a magazine is an extremely deep and personal experience for our editors. In their quest for editorial perfection, they have to reach into the darkest recesses of their heart, pull forth their creative demons, and wrestle them onto a printing press, all for your enjoyment. But lately, there have been whispers that this is not nearly personal enough. Our editors want to give you a glimpse into their world; they want to sit you down, look you in the eye, and pour their soul into your hands, willing you to see and truly understand who they are. But they can’t. So they’ve decided to write some pretty neat online columns instead. These columns comprise our new Point of View section of resourcemagonline.com. Like all the best things in life, POV comes in three parts. On Monday, we treat you to the thoughts and musings of our very own Editor-in-Chief (and Mother-of-Two), Alexandra Niki, in her column Embrace Photography. Next, get your mid-week dosage of tech advice and news from Adam Sherwin, in a little segment we like to call Ask A Geek. Last, but not least (and most French), native-Parisian-turnedResource-Editor-in-Chief Aurelie Jezequel rounds off POV with Pardon My French, an exclusive look into her thoughts and stories about photography, the image industry, and how baffling Americans can be at times. So go to our website to check them out. It’s not exactly a Vulcan Mind Meld, but you’ll still get to know our editors better, and (who knows?) you might even learn something along the way!
Got talent? Get shooting: There comes a time in every student’s life when
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APP EXTRA
Putting the “Boobs” back in “Charity Auction”: Our crack team
of researchers at Resource has recently reached a breakthrough. We have found the one thing in the world that everybody can agree is awesome: boobs. Seriously. Do you like boobs? Of course you do. Do your friends? You bet they do. Show me someone who dislikes boobs, and I will show you a hate-filled robot disguised as a human. At first, we were uncertain how to put this discovery to good use. Then after seeing Henry Hargreaves 3DD Book it hit us: what can you do to boobs to make them more awesome? Answer: make 3D prints of them! And what can you do with 3D prints of boobs? Auction them off for charity! Which is what we’re doing. As a celebration of boobs (and in defense of them), Resource will be auctioning off 3D-prints of boobs, all shot by Henry Hargreaves (see his article on page 126), to support breast cancer research. So stay tuned for more details, and help us support boobs across America!
he or she has to step up to the plate; a time to go for gold, to break the mold; a time to shoot for the moon and eclipse any doubters; a time to stop mixing metaphors. This is one of those times.
(BONUS GAME: Take a shot each time the word “boobs” appears in this blurb. Then sit back, close your eyes, and immediately regret your decision.)
Resource Magazine is proud to announce its 2012 EDU Student Photography Contest. The competition will be fierce, and will focus on six distinct categories: fashion, portrait, tabletop, fine art, photojournalism, and landscape. Winners in each category will be selected by a panel of judges, and a grand-prize winner will be chosen from the best of the best. Prizes include being featured in Resource, as well as amazing gear and gifts from Broncolor, Sigma, DFStudio, Sunsniper.com, Tiffen Dfx, Gotham Imaging, Gitzo, CRU, Lowel, Phase One, Avenger, Manfrotto, liveBooks, Sunbounce.com, Gura Gear, and APA. I f y o u ’ re l o o k i n g to launch your photography career, this is a great way to do it!
Thank you to our sponsors, Ilford Paper and Gotham Imaging, for their support (pun definitely intended).
Entries will be a cce p t e d t h ro u g h October 2012. Check out our website for m o re i n fo : www. resourcemagonline.com
RESOURCEMAGONLINE.com
SHOOT TALK: Words by Camille Augustin I Research by Rachel Gurchin
01 A P R I L Canon EOS 60Da DSLR Is A Shining Star.
APR
03
This new camera caters to “astrophotographers” and hobbyists alike who enjoy capturing the beauty of the night sky. It features an 18-megapixel CMOS sensor, improved infrared-blocking filter, and ISO speeds of up to 6400 expendable to 12800.
$60+ Million Worth Of Smuggled Camera Gear.
APR
06
Fourteen suspects are arrested i n C h i n a ove r a ca m e ra smuggling operation. Due to the expensive prices on camera equipment in Hong Kong, smugglers make huge profits by selling them through “the gray market,” avoiding custom taxes. Photo courtesy of NDDaily
RESOURCEMAGONLINE.com
Google Sees Into The Future.
APR
04
“Project Glass” is the latest product from Google, which will allow its users to snap and share photographs using augmented reality “glasses.” Users will also be able to view information on the Internet and stay connected directly through what is, essentially, a wearable computer! Photo by Google+
Instagram Is Worth $1 Billion!
APR
09
At least that’s how much Facebook buys the photo editing and sharing application for. Instagram boasts 27 million users, but the motivation behind Facebook’s stock and cash purchase was Android’s new installment of Instagram, which garnered the application a new 1 million members… in the first 24 hours. And the fact that Facebook has money to burn.
Blackmagic Cinema Camera Announced.
APR
16
The dynamic digital camera is equipped with a high resolution 2.5K sensor and a wide 13 stops of range that allows for film quality images. The large LCD display allows for easy focus.
Sony NEX-FS700.
APR
16
With its “super-slow motion and 4K video,” the camera has the ability to shoot 1080p footage at 240 frames per second. The 4K aren’t included yet but an upgrade will be available later this year. The camera is selling for under $10,000.
31 And The 2012 Pulitzer Prize Winners Are…
APR
17
Massoud Hossaini wins the award for Breaking News. His image is of a young girl crying while surrounded by dead bodies following the aftermath of a suicide bomber’s attack in Kabul, Afghanistan. Craig F. Walker won in the Feature Photography category for chronicling Scott Ostrom, a Colorado resident who struggles with sever PTSD as a result of two deployments to Iraq as well as four years serving as a Marine Corps reconnaissance man. Photo by Massoud Hossaini
Creative Suite 6 Comes With A Few Perks.
APR
23
Fujifilm Increases Its Film Prices.
APR
24
Adobe launches Creative Suite 6, now with Creative Cloud. This application has a 20GB online storage and is connected to Photoshop, allowing users to view work and projects on their iPad.
The raised price is a result of the decrease in the demand of film products as well as the steady increased cost in raw materials, oil, and energy. The rise in prices will vary depending on market. Photo by Fernando de Sousa
Two Heavyweights in the Photo Industry Merge.
Jim Marshall Estate Sues Mr. Brainwash.
APR
24
Hasselblad and Bron Imaging Group decide to merge their US departments to capitalize on joint marketing efforts. Read our interview with Michael Hejtmanek, Hasselblad Bron Inc’s new President, on page 42 to learn how Resource played a role into this.
APR
Google’s Photo Contest Winner Is Announced.
APR
30
Sweden native Viktor Johansson was declared the winner of the Google Photo Contest for his “Loneliness of Competitive Diving” i m a g e , w h i c h fe a t u re s Sweden’s top male diver Christoffer Eskilsson. Photo by Viktor Johansson
27
M u s i c p h o to g ra p h e r J i m Marshall’s heirs sue over the unauthorized usage of his photos. The photos were replicated in the form of drawings, but closely resembled the original works. Could this be the end of Mr. Brainswash’s hype? One can only hope. Photo by Jim Marshall. Illustration by Mr. Brain Wash
SHOOT TALK: ”A Photographic Timeline of the Last Quarter” Page 21
SHOOT TALK:
01 M A Y Three Photographers Found Dead in Mexico.
MAY
04
Mexican police find three dead photojournalists this month, the first occurrences this year in the city of Veracruz. Two of the bodies were identified as Gabriel Huge and Guillermo Luna. This gruesome event shows the vulnerability of journalists covering the drug war and violence in Mexico. Photo by Felix Marquez/AP
New CS6 Is Released.
MAY
07
New features from this updated suite version now includes the “Content-Aware Move.” With this tool, you can move or shift objects in your photo, which can be used in Photoshop CS6.
Leica Reveals its M-Monochrom Black & White Digital Rangefinder.
MAY
10
The 18-megapixel monochrome CCD sensor camera captures life in black and white. No color. The first of its kind, the camera costs $7,950.
RESOURCEMAGONLINE.com
Pulitzer Prize-Winner Photographer Horst Faas Dies.
MAY
12
At the age of 79, combat photographer Horst Faas passes away. Faas was most known for his Vietnam War photo coverage, and won his second Pulitzer Prize for his pictures of torture and executions in Bangladesh. Photo by Horst Faas
Going Once, Going Twice, Sold for 2.8 Million Dollars!
MAY
14
An auction in Austria hosts the highest sale of a camera in history. The Leica model was part of the 0-series and was made in 1923.
Sony Releases NEX-F3, A37.
MAY
17
Ideal for self-portraits, with a 180-degree tiltable screen, the NEX-F# and A37 is equipped with 18-135mm f/3.5-5.6 lens. The “Clear Image Zoom” sustains full pixel count with up to a 2x digital zoom ability and a 7fps high-speed shooting ability.
31 Hasselblad Cuts Its Prices.
MAY
19
The company decreases their prices by 22.9% as a means to make their camera more affordable and commonplace.
New York Photo Festival 2012.
MAY
16-20
This year’s festival hosts an array of exhibitions, programs, and viewings, and took over the DUMBO neighborhood in Brooklyn, NY. Highlights include a panel discussion “The Razor’s Edge: Form and Content in Documentary Photography,” and leading editorial photographers and documentarians revealing their experiences covering the country after 9/11.
Google+ Photographer’s Conference.
MAY
22-24
Produced by Kelby Training, the 2-day conference focuses on helping photographers master new skills, get i n s p i r a t i o n f ro m w o r l d renowned photographers, and learn how to best utilize Google+ for branding and marketing purposes.
NEw Camera App On Facebook.
MAY
24
After buying Instagram for $1 billion dollars just weeks ago, Facebook releases its “Facebook Camera,” which allows users to upload pictures to their profile straight from their cell phone. So, where does that leave Intagram?
Calvin Hicks Dies.
MAY
30
Co-founder of the Black Photographers of California, Hicks passes away at the age of 71. He extensively documented the lives of African-Americans in Los Angeles. Photo by Calvin Hicks
Kodak Celebrated 35 Years In Digital Photography.
MAY
20
On May 20, 1977, Kodak submitted a patent for “an e le c t ro n i c st i l l ca m e ra . ” The patent was granted on December 26, 1978. Photo courtesy of Kodak
SHOOT TALK: ”A Photographic Timeline of the Last Quarter” Page 23
SHOOT TALK:
01 J U N E Nan Goldin Gets An Award.
JUNE
04
N a n G o l d i n re ce i ve s t h e Edwin MacDowell Medal for lifetime achievement in the arts. Goldin is known for her autobiographical and raw photographs. Self-portrait by Nan Goldin
Nikonians Workshops.
JUNE
05
The photography-training i n s t i t u t e ’s g o a l s a re t o familiarize and guide camera enthusiasts as well as to host discussions. For one trip, students went to the Yellowstone and Grand Teton National Parks, using the Nikon D4/D800 to document their experience.
Phase One IQ Photography Conference.
JUNE
JUNE
06
MoMA commemorates the centennial of Gordon Parks’ birth with a high-profile gala. Parks is best known for his riveting photojournalism from the ‘50s and for directing “Shaft,” the defining ‘70s Blaxploitation movie. Selfportrait by Gordon Parks
Olympus Settlement to Former Chief Executive.
05-15
Taking place in various cities across North America and spanning over 10 days, the conference provides technical overviews as well a chance to engage in hands-on shooting.
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Gordon Parks Remembered.
JUNE
08
Michael C. Woodford receives a $15.4 million settlement f o r i m p ro p e r f i r i n g a n d discrimination. He was fired after he disclosed Olympus’ dubious accounting and potential ties to yakuza groups (Japanese mafia). Photo by C Cheesman
Canon Releases EOS Rebel T4i.
JUNE
08
The new camera includes an 18.0 megapixel CMOS sensor and a Scene Intelligent Auto Mode, which o f fe rs photographers HDR backlight. The STM lenses allow for a smooth focus, continuous autofocus, and subject tracking.
31 Vimeo Festival + Awards 2012.
JUNE
07-11
Vimeo celebrates the best videos through their award ceremony, while the festival l i s t s f a m o u s d i r e c t o r s’ presentations, beginner guides to software, and an animation creation station among other activities (read our review on page 156).
Apple’s “Shared Photo Streams.”
JUNE
11
With the iOS6 update, the shared photo streams application lets you highlight certain photos and share them with other users, who will then be able to comment and like them. Photo by Apple
Lomography Releases the Fisheye Baby 110.
JUNE
15
The film camera takes photos in a “circular fisheye” format and comes in two versions, basic and metal.
Nikon Gallery Cancels A Controversial Photo Show. Leica Gears Up For More Stores.
JUNE
13
Ducking the e-commerce sirens, the company sets up to increase the number of stores globally from 37 to 200 by 2016. Leica recently opened their first US store in Washington, D.C.
JUNE
Photoville Takes Over Brooklyn.
JUNE
22-01
Photoville is a photo festival with exhibitions, lectures, workshops, and a “camera greenhouse.” V isitors can enjoy panel discussions and workshops (such as learning about “lomographic l ightp ainting,” w hich sounds cool).
15
A Nikon gallery in Tokyo canceled photographer Ahn Sehong’s show—portraits of elderly Korean women who were “comfort women” (i.e. sex slaves) to Japanese soldiers in WWII. Japan has been downplaying its war crimes and never fully acknowledged the existence of these women. Censorship is not dead. Photo by Ahn Sehong
SHOOT TALK: ”A Photographic Timeline of the Last Quarter” Page 25
WHAT’S COMING UP IN Q3 NOW THROUGH OCTOBER 7, 2012
MARK WALLACE WORKSHOPS, 7 CITY TOUR distinguished photographer mark wallace is hosting workshops across the country, teaching lightroom 4 workflow, digital photography, studio lighting for portrait photography, and working with speedlights. be on the lookout for a session near you in phoenix, seattle, los Angeles, new york, dallas, miami, and houston. www.markwallaceworkshops.com
JULY 13-15, 2012
NEW ENGLAND CAMERA CLUB COUNCIL PHOTOGRAPHY COUNCIL, AMHERST, MA the annual photography conference will host hands-on events and photo exhibitions. pulitzer prize-winning photographer essdras m. suarez will discuss his work as a photojournalist. photographers will also have the opportunity to have their portfolio reviewed and to learn how to navigate through and master photo software such as photoshop. www.neccc.org
AUGUST 5-8, 2012
SKIP’S SUMMER SCHOOL 2012, CHICAGO, IL school is back in session this summer, with workshops and training sessions on building and refining photo skills. in addition, attendees will have hands-on shooting sessions with renowned pros. As a continuation from last year’s session, a panel discussion will address the challenges the photo world faces (and how best conquer them). www.mei500.com
SEPTEMBER 16-22, 2012
PSA CONFERENCE, SAN FRANCISCO, CA photo tours, workshops, speakers, and networking events will all be available at the 74th photographic society of America Annual conference. hands-on training will focus on how to improve the usage of your digital camera; other highlights include a showcase of youth photography and classes on Advanced photoshop and Adobe lightroom. www.psA-photo.org
SEPTEMBER 18-23, 2012
PHOTOKINA, COLOGNE, GERMANY A hub for professionals and enthusiast alike, photokina is one of the key photo trade shows of the year. manufacturers will unveil their latest and greatest, while photo exhibitions will inspire. A competition will be staged for the first time, challenging contestants to impress the judges with their best “circus-motif-centric” work. www.photokina.com
SEPTEMBER 19-21, 2012
DV EXPO, PASADENA, CA Attendees will be able to connect with peers, as well as learn a little bit more about the latest technologies and receive tips and advice from top-notch professionals. going over ten years, digital video expo remains the “largest content creation event on the west coast.” free educational sessions will be available at this year’s expo. www.dvexpo.xom
SEPTEMBER 30- OCTOBER 7, 2012
CLAY BLACKMORE & DAVID ZIER’S HOW TO PHOTOGRAPH EVERYONE TOUR, TUSCANY, ITALY live it up in a beautiful castle in tuscany and get first-rate tutorials by photographers clay blackmore and david ziser. learn about lighting and how to pose people for a perfect portrait, and build you portfolio. be sure to come prepared and bring your camera, lenses, and laptop. www.photographeveryone.com/italy-2012
Paul Aresu Richard Avedon Harry Benson August Bradley Alejandro Chaskielberg Jimmy Chin Ric Cohn Ann Elliott Cutting David DuChemin Heather Elder Colin Finlay Jim Fiscus Greg Gibson Christopher Griffith Jack Guy David Allen Harvey Ron Haviv Gregory Heilser Michael Jang Chase Jarvis Ed Kashi Gary Knight Vincent LaForet Lou Manna Tim Mantoani For the true individual, the importance of the image is understood — they rely on it, and have a responsibility to it... Joe McNally printed, posted or otherwise. Join the growing list of true Doug Menuez individuals trusting liveBooks with their image. Christopher Micaud Christopher Morris Janice Moses Lyle Owerko Troy Plota Claire Rosen Embry Rucker Unique Work. Unique Websites. Davies and Starr Ted Tamburo Robert Tardio for a Custom Consultation. Miranda Penn Turin Jerry Uelsmann Mark Wallace Alex Webb Rebecca Norris Webb SHOOTTALK: ”A briefing of the latest news, notes, and nonsense in the photo industry.” Page 21 Brett Weston
True Individuals Demand True Individuality.
Visit www.livebooks.com Call 1.888.458.3678
Lisa Wiseman
GET SMART
THE SCOTT BOURNE LEGACY
“IF YOU’RE GOING TO DO SOMETHING, YOU MIGHT AS WELL START WITH THE HARDEST THING.” SCOTT BOURNE By Charlie Fish I Photos courtesy of Scott Bourne I Portrait by Matthew Jordan Smith
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verybody wants to be a rock star,” says Scott Bourne, before adding, “Nobody wants to learn the chords.” With over three decades in the business, Scott has turned his passion for photography into a multi-million dollar enterprise, and with his educational efforts, including his website Photofocus, podcasts, and best-seller Going Pro, he continually doles out advice and tips. A true success story, Scott’s rise to prominence includes some hits and misses, but part of learning “the chords” comes with some fine-tuning along the way. Although often regarded as a mentor, Scott himself admits he didn’t really have one when he first started photographing at sixteen. “My girlfriend’s father worked for a newspaper as a photojournalist. He was one of those guys who for two-and-ahalf decades lugged his camera around, made his paycheck, and put his kid through college. He was a real low-profile guy, but he taught me the basics,” Scott recalls. A friend of the family working as an editor for a paper in Southern Indiana gave Scott an all access press pass to shoot the Indy500. His resulting image of Tom Sneva’s spectacular crash got published across the country and earned him a couple thousand dollars. It would be two more years before he’d be paid for another picture. But two great loves arose from that experience: photography and racecar driving. Scott pursued them both, landing a job shooting Formula One and European road racing for a sports newspaper abroad. He earned $52.50 a week for six years, without ever getting a raise. “I don’t know if that’s because they were cheap, or I was bad,” the often
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self-deprecating but always humorous Scott notes. Of his years living and working among racecar drivers, he adds, “It wasn’t a horrible life, but I realized I wasn’t going to grow old on $52.50 and have any kind of pension.” Scott turned his attention to more profitable ventures, though he’d return to racecar driving again, both in photography and in hobby, and plans to soon retire to focus on owning his own racing team. Although he eventually was able to turn his marketing savvy and thirst for opportunities into full-fledged photographic successes, the road was not without some bumps. “I did have one failed year in New York as an attempted fashion photographer. I didn’t need anyone to tell me I sucked at that because I knew I sucked at that,” he explains. “Every day I would alternate: I could walk the 32 blocks down to the studio, or I could take the subway, but that meant no eating.” A move to Minnesota opened up new doors: Scott focused on weddings and portraits, first establishing, then expanding and eventually selling his wedding practice. “Then I got bored,” he says of not having to work. “I went on a trip with Arthur Morris, the world’s premiere bird photographer and a Canon Explorer. I thought, ‘If you’re going to do something, you might as well start with the hardest thing.’ Birds are the smallest, fastest, hardest things in the world to find. So I started shooting wildlife and turned that into a pretty successful business,” he notes. Though he refers to it modestly, Scott recently traded in Avian Stock, his bird shots catalogue, to a high-profile stock agency for a nice profit.
PRO: HISTORY-”The Art of Getting Marilyn Monroe in Bed” Page 29
In conversation, as is evident in his podcasts and his blog posts, Scott is very focused on helping the new crop of photographers aching to get a piece of the pie. He’s not selfish with information, but rather keen on disseminating it to anyone willing to listen. And many photographers are. The Photofocus podcast is downloaded around 410,000 times a month, while the site gets approximately 1.5-million page views a month. Scott’s also spent fifteen years speaking at national conferences, workshops, and panel discussions. When asked what led to wanting to be an educator, he explains: “It’s really odd. I spent a long time as a professional photographer before I even knew about such things as the Professional Photographers of America (PPA) or the Wedding Photography Association (WPPI) or PMA. Everyone kept saying, ‘You’ve got to go to these conventions,’ but I didn’t know how people had the time to do it because I was always working. It turns out everybody going to conventions were the people who weren’t working. And I thought, ‘I see what the problem is. I can help them.’” Launched on November 2, 1998 as a means to offer tips, tricks, and know-how to professional photographers, Photofocus introduced Scott to a whole new audience, one readily embracing the digital age. “There weren’t a lot of websites back then; it was still a fairly novel concept,” he says, and adds, “I have not missed posting to that site one day since.” At first, Scott focused on the basic posting and upkeep of the site. “I didn’t really care about sponsors and I didn’t even try to sell any ads for the first three or four years,” he remembers. It wasn’t until someone called him up asking to buy ad space that he was able to turn his labor of love into a successful business venture. During the early years, Scott supplemented his online presence with teaching workshops, training people on how to use software like Photoshop and Aperture. Now he’s turned his attention to business and marketing. He’s savvy with social
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media and readily dispenses knowledge and advice on how professional photographers can tap into the source. For instance: “In the old days, I would tell wedding photographers, ‘If you want to reach high-end weddings, buy lists of girls who have signed up and gotten engaged in, for instance, the 98335 zip code, which is one of the more affluent zip codes in the Seattle area, and then do a direct mailing to them seven times.’ Well, that costs a lot of money—you have to buy the list, you have to prepare the piece, print it, and mail it. Now you can do the same thing with a zip code search on Twitter. For free. I think it’s very important for photographers to understand—most people don’t realize that Twitter’s advanced search allows you to search by zip code and within so many miles thereof. You can get a real-time stream of everybody who’s talking about weddings in your zip code. So results are going to be popping up such as, ‘Where should I get my cake made?’ Jump in and say, ‘Hey, Ernesto makes the best cakes. Here’s his number.’ And you don’t have to say, ‘By the way, I’m a professional photographer.’ You just help; they see your profile, if they want, they’ll call you.”
“Everybody wants to be a rock star, nobody wants to learn the chords.” Scott Bourne
Scott Bourne: www.scottbourne.com / www.photofocus.com
In an era where cutting through the Twitter clutter while retaining “authenticity” seems key, Scott waves off the use of the buzzword, focusing instead on being helpful. “If you’re helpful, that’s all people are going to care about. What people really want is help,” he says. However, with 121,000 followers on Twitter, there’s bound to be particularly “loud” competitors and detractors. “This is the biggest downside of using social media to market yourself,” Scott notes of the “haters and trolls” who routinely go after him. “I don’t have to let that negativity in my life,” he points out, recalling a piece of advice from Going Pro that all professionals who use social media should heed: Don’t ever engage trolls. For any reason. Written with Skip Cohen, another giant in the photo industry, Going Pro aims to help photographers thrive, not just survive. The book has been published in five languages and remains in the Top 10 professional photography list on Amazon. Released on October 16, 2011, it carries with it the weight of their collective seven decades in the industry, “covering it from all angles,” and features some of the top-working photographers in the world offering their own stories, including a foreword by Pulitzer Prize-winning Vincent Laforet. The book is practical, with real-world information, but asked what advice he personally has for young photographers, Scott boils it down to the basics: “The main thing is to get out of your own way. Stop asking questions about F-Stops and camera brands, and start asking questions about why. The people who are successful in this business are not successful because of what they do; they’re successful because of why they do it.” Scott recalls the single most popular post on Photofocus, which serves as a fitting analogy: “It’s called ‘How a Circular Polarizer Works’ and will tell you a lot about all of life. It’s applicable to everything I do. In racing, for instance, the most basic thing is thinking about the apex of the next turn, not the brand of the racing shoes, or helmet, or the type of oil in my car. All I’m thinking about is where the apex of this turn is and how can I get through this turn as fast and easy as possible so that I keep doing that on every turn.”
BIZ: GET SMART-”The Scott Bourne Legacy” Page 31
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“If you’re helpful, that’s all people are going to care about. What people really want is help.”
BIZ: GET SMART-”The Scott Bourne Legacy” Page 33
BEHIND THE BIZ
The Man Behind
HASSELBLAD BRON CORPORATION By Isaac Lopez
A Quick Discussion with Michael Hetjamanek: President of the New Hasselblad Bron Corporation
solute b a e h es t rovid essional p t a rof m th any p atfor f l o p s a t onen ting.” reate p c h g o m i t l o s c nd goal i essential eras a m o a “Our c w : f the t olbox best o apher’s to gr photo
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he photo industry was recently shaken up in a huge way—Hasselblad USA Inc., distributor of Hasselblad cameras in the States, and Bron Imaging Group Inc., distributor of professional photography equipment, announced the merging of their operations this past April. The new company, Hasselblad Bron Inc., is positioning itself to be a huge player in the photo game, potentially competing with industry behemoths such as Mac Group. The merger wasn’t a total shock however; the two companies enjoyed a rather close business partnership for the past few years. It was sort of like the two friends you know who you think would be great together: they talk to each other all the time, they hang out, they even flirt with each other without realizing it, and it’s blatantly obvious to everyone that they’d be a great couple (however, these things are far less mushy in the business world… one would hope, at least). To get a better idea of what this merger means for the two companies and for the photo industry as a whole, Resource caught up with Michael Hejtmanek, president and CEO of Hasselblad Bron. He gave insight on how the merger came to be, what the merger’s goal was, and what lays ahead for the new company.
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TELL US ABOUT YOUR CAREER—HOW DID YOU GET TO WHERE YOU ARE TODAY, BEING THE PRESIDENT OF HASSELBLAD BRON? My interest in photography was legitimized in high school. I was very fortunate to have a high school photo teacher, Ken Ross, who really changed my life. Ken was a fantastic mentor; he really pushed me. He also pulled some strings to get me a scholarship to the Ohio University photo program. It is because of Ken that I focus so rigorously on working with photography schools and students. At Ohio University, I drifted from photography and worked on software development in my spare time. I still loved photography, but I was going technical. After university, I went to work for a variety of companies building software solutions. At some point, I took a two-year work hiatus to attend Columbia Business School. Shortly after, I formed a software company that sold solutions to governments around the world. The business was doing great, but after September 11 we started working on larger, more ominous projects with defense contractors. The solutions moved from managing security and access information to something more Big Brother-like. I sold the company and sought out a way to put my experience in distribution to work. My mother reminded me that I used to spend all my free time and money buying photo gear; within ten seconds she was on monster.com, reading me about Broncolor looking for someone to take over their US distribution. A week later, I met Jacques Bron [CEO of Bron Elektronik AG]. Broncolor had focused on its existing customers at the very top of the market; this strategy made it very difficult to acquire new customers— [Broncolor would reach people] late in their careers, when they already had massive investments in an alternative solution. Jacques and I saw the picture clearly,we set out to create products and programs to meet the needs of students and photographers at earlier stages in their careers.
HOW DID THE MERGER BETWEEN BRON AND HASSELBLAD COME ABOUT? A few years ago I sat in the offices of Resource Magazine with Tom Olesen, then the president of Hasselblad USA. Tom and I were trying to figure out how we could make a series of events happen around the country with Hasselblad and Broncolor (Resource was the producer and media partner for those events). This was the start of what turned out to be an amazing marketing relationship. We had tons of crossover in knowledge base, dealer infrastructure, customer relationships, market and technical skills, and we started looking for additional ways to work together. The relationship became a topic at all my board meetings. Finally, about a year ago, Jacques Bron and Larry Hansen (CEO of Hasselblad AB) happened to be on the phone together and the US market somehow came up. They were both aware of the joint marketing activities here and both started thinking about additional synergies that could come from combining parts of their operations. In December of 2011, we started to really work on a plan. We announced the transaction late in April 2012 and formally closed the deal on May 1. WHAT IS THE GOAL IN COMBINING THE TWO COMPANIES? Both Hasselblad and Broncolor are brands with great tradition and long histories. Our goal is to create a platform that provides the absolute best of the two essential components of any professional photographer’s toolbox: cameras and lighting. We have many premier photo brands and we may add more to our group in the future, but, right now, we still have a lot of integration work to do. We will begin evaluating new opportunities for growth as the market changes and as we are further along in the post-merger integration process. NOW THAT THE TWO COMPANIES ARE ONE, WHAT ARE YOUR PLANS TO EXPAND AND MAKE HASSELBLAD-BRON AN EVEN STRONGER PRESENCE IN THE PHOTOGRAPHY INDUSTRY? We are laser-focused on events, workshops, and schools. Our primary goal is to provide as many opportunities as possible for photographers to grow, either through technically oriented workshops or through career development. We have ShootNYC and ShootLA, which provide intensive, free workshops on photography. Our calendar is filled with other events—we average about six workshops per month, we [do] lectures, and we sponsor photographers to speak at schools across the country.
If you were building the studio of your dreams, you’d pay attention to every detail.
A Skip Cohen Quarterly
Your Website. GOING PRO (PART III)
By Skip Cohen | Illustration by Shirley Hernàndez Ticona
W e’ve hit the key points in building your foundation as a professional photographer in the last two articles, so, I’m assuming you’re now on top of your game. You should be starting a pattern of serious networking with conventions, workshops, SmugMug meet-ups… anything and everything you can get yourself to for the purpose of expanding your skill set and your network. The next challenge in going pro is your website. It’s a critical component of building your brand, but few photographers really think through the challenges.
If you were building the studio of your dreams, you’d pay attention to every detail. You’d know exactly where you wanted the windows, how high the ceilings were going to be, what color you were painting the walls, even where each socket and switch would be in every room… Then why, when your website is even more important and accessible to hundreds of thousands of people, does everybody take short cuts? Most photographers build their website with virtually no forethought. They just find some space and stuff it full of pictures. (Notice I called them pictures—that’s because in most cases many aren’t good enough to be called images or photographs!)
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• You don’t need an “enter site” landing page. Too many sites put a viewer through one unnecessary click by sending them to a landing page that has absolutely no purpose. • Your “bait” to get clients into your site is in your About section and Galleries. Lead off with these two tabs and call them just what they are. I have mixed feelings about whether your Gallery tab or About tab should go first, so go with either one. Just don’t let anything else get in the way. If a picture really is worth a thousand words, then your images should tell more about you than anything else you could write. • Every image in your gallery has to be a “wow” print. Use the same criteria I talked about last time in regards to your portfolio. Ask yourself, “If this was the only image I could show, would I hire me?” If the answer is “No,” then it doesn’t belong on your site.
• You don’t need a lot of images, just 10 to 20 in each category, and limit the categories to easily understood names, e.g. Portrait, Weddings, Children, Families, Still Life, etc. • When writing your About section, remember that people don’t hire you because of what you provide, but rather why you provide it. A bride wants to know she can trust you to see the world through her eyes. She wants to know you understand how much she loves her fiancé and her family. She wants to know you’ll capture the images she’ll treasure the most. A mother has the same expectations, and even a commercial client needs to know that you understand their products and how important it is for the images to appear a certain way. This is your first big step to establishing trust. • Your About section is not about how you got started in photography. Your clients don’t care what gear you shoot with or how many awards you’ve won. At this point they don’t care how many 8x10’s you’re going to give them or how many pages you’ll put in their album! This information belongs elsewhere in your site—pricing, packages, information… whatever you choose to call it. A well-written, effective About section is going to show how you open your heart. This is where you share with clients why you love photography. Take the time to watch the video in JustinMarantz.com’s About section. It ends with Mary talking about why she and Justin are wedding photographers—they can photograph love, “because we believe in love.” I’m not saying you have to have a video, but just pay attention to the sincerity in
Shirley Hernàndez Ticona: www.unchililin.com
Your website is your storefront and more. So, take a look at that little piece of cyber space you call home and think about the following suggestions:
In Conclusion. Just one last reminder and it relates to everything you do with your website. Check it every single day at least twice! Just because you think it’s working doesn’t mean it is. Check it on at least two different browsers. My own blog was recently down and I hadn’t seriously checked it in some time. Had a reader not been kind enough to let me know, it would have gone most of the day closed! Taking the risk of your website not working the way it should is the equivalent of not opening the door to the “store” in the morning and then wondering why it was such a slow day!
Mary’s comment and remember her target audience is brides. • If you shoot a variety of subjects, you may want to have different sites if your specialties are too far apart from each other. For example, if you’re a family photographer but you’re also doing some great table-top commercial work, the two categories shouldn’t go together as they have completely different buyers. An ad agency looking for still life isn’t going to dig through your family work. In the same respect, a mother looking for somebody to do the next family portrait will be turned off if she goes into your gallery and is looking at auto-parts, even if it’s the greatest table-top work on the planet. • When you build your Contact page, give people a way to call you! It’s idiotic to not have a phone number on your Contact page. Think about how you feel when you’re trying to get help online. Doesn’t it drive you nuts when you can’t talk to a live person? I understand if you’re a part-time photographer and you work out of your home, you’re not going to want to show your address—but it’s still important to give people a way to contact you via phone.
• And if you’re including an email template, it will accomplish nothing if you don’t promptly answer each email. The speed of your response will reflect how sincere you are about your work. • As you design your site, remember that women make 98% of the purchase decisions when hiring a professional photographer in the portrait/ social categories. Remember your target audience when you’re choosing colors and design elements. If you work with wedding, children, and family clients, then make it a point to have a more feminine feel—a Guns & Ammo look won’t be appreciated!
A great website has one exclusive purpose: it’s your storefront, your calling card, and your vehicle to get people interested in hiring you. It deserves the very best images, copy that’s easy to read, and a general aesthetic feeling of professionalism and quality. Websites that maintain the focus on the client are just like the department stores you love to shop in. Think about the difference between a store you love versus one at the bottom of your list. There’s a difference in the style, the way inventory is laid out, the way the sales staff are more or less helpful. A great website becomes habit-forming and exceed client expectations. Build it right and you’ll have clients sharing your images with other potential clients; make it difficult to navigate and fill it with images no better than “Uncle Harry’s” and you’ve just wasted your most prime piece of real estate! Author of 6 books on photography, including Going Pro this article series is based on, Skip Cohen has been a fixture in the photographic industry for 41 years. He’s served as President of Hasselblad, Rangefinder/WPPI, and in 2009 founded Marketing Essentials International. www.mei500.com
LOS ANGELES YOU ARE HERE
By Marie-Anne Aizak, Velvet Artists Rep Illustration by Mercy Leviste
Welcome to LAX! You might think of us as the home of the Kardashians, Muscle Beach, or Lindsay Lohan’s playground, but if you take a closer look you will find so much more. This city boasts the biggest concentration of photo galleries in the U.S., mid-century locations galore, endless beaches, deserts, mountains, and 3,000+ hours a year of complete sunshine and ideal temperatures—all of which makes it a sure bet when it comes to shooting on locations. Once you land it’s up to you to decide if you connect more with the “dude mood” of Venice, the Intelligensia crowd of Silver Lake, or the Boho chic of Malibu.For productions, definitely swing by downtown Culver City— an ex-muffler shop part of town recently refashioned as the hub for cool studios, laidback gastro pubs, and home of Velvet Artists Reps. Stop by and you will find us busy connecting great creative minds.
PROP RENTAL: The Hand Prop Room- www.hpr.com Endlessly roam through the alleys of HPR, among 50’s memorabilia, taxidermy wolves, and SWAT team costumes. Even if you have a prop stylist doing the job for you, come along for the ride.
PRODUCTION COMPANIES: Emilie Muller www.emiliemullerproduction.com QAS/ Scott Pratt- www.qaspro.com Talent Network/ Claire Painchaudwww.talentnetworkproductions.com
AD AGENCIES: 72 and Sunny www.72andsunny.com 180- www.180la.com TBWA/Chiat Day www.tbwachiat.com
PERMITS: Denise Wheeler www.filmpermits.com You can’t shoot without a permit in L.A., ever. Rules change depending if you are in Santa Monica or downtown (or anywhere in between). Call Denise, she will save your life!
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BIZ: YOU ARE HERE-”Los Angeles” Page 39
CLIENT FILE
kAREN MEENAGHAN Freelance Art Producer
Photos courtesy of Karen Meenaghan
A freelance Art Producer with a film school background, Karen Meenaghan is uniquely poised to understand the correlation between “broadcast vision and still vision.” She explains here how the still and motion can work as one—and when photographers should say no and stay photographers. Name: Karen Meenaghan Position: Senior Art Producer Claim To Fame: Large-scale travel and lifestyle shoots Years In The Business: 20 Looking For In A Photographer: Aside from amazing work?
A great problem-solving attitude, a desire to make client and agency happy, to work hard, and to make it fun!
Deal-Breaker When Hiring: Opposite of the above! Finds Photographers In: Editorial mags, blogs, personal appointments, portfolio review events.
SINCE YOU WORK IN DIFFERENT AGENCIES, DO YOU FEEL YOUR jOB DESCRIPTION CHANGED FROM ONE PLACE TO THE NEXT? Absolutely, and I’d go even further and say the job description changes on each account. Some accounts require intense creative input; my role is then about sourcing talent, which is always fun. Other accounts demand that you come up with better systems to meet ongoing client needs, to “build a better mousetrap,” so the agency can offer the maximum efficiency for a regular and repeating kind of work. I’m extremely proud of the teams and systems I’ve put into place to address this kind of work over the years. DO YOU LIKE PRINTED MATERIAL (PROMO CARDS, PORTFOLIOS) OR HAVE YOU GONE COMPLETELY DIGITAL, LOOKING SOLELY AT EMAILS AND WEBSITES? I look at everything, and of course websites are where we do the majority of portfolio reviewing these days. But I am a fan of beautifully printed pieces… I’d encourage anyone considering printed promo pieces to spend some time making the piece as beautiful as possible, from the choice of image to the paper and typography. I think I am like many art buyers in that I find it hard to throw out a really lovely piece... If the photos we need to create are for print, we are always better off seeing how someone’s work looks printed, than backlit on a screen.
HOW IS THE MOVE TO INTEGRATE MOTION ONTO PHOTO SHOOT AFFECTING YOUR WORK? I come from a film school background, so to me it’s really exciting. I’d love to be doing video on every shoot when it makes sense. They are very different disciplines with specific and diverse requirements, but having the work demonstrate a singular vision is creatively very satisfying. It’s a huge thrill for me to see how a still photographer’s work can translate to motion when done successfully. I always have an idea of what I’d expect a person’s work to look like when put to motion, but when the result exceeds my expectation, it’s very exciting. SOME AD AGENCIES HAVE COMBINED PRINT AND TV PRODUCTION DEPARTMENTS, ASKING ART PRODUCERS TO ACT AS FULL-FLEDGED TV PRODUCERS. HAVE YOU EXPERIENCED THIS? AND WHAT DO YOU MAKE OF IT? GOOD THING, BAD THING…? I personally think it’s a great thing—again, a biased opinion because it’s the kind of work I’m most interested in. It can be a tremendous opportunity for art producers to learn new skills and broaden opportunities. It makes logical sense on many projects to have integration between the broadcast vision and the still vision, even if two kinds of producers work as collaborators. There’s a lot of duplication of personnel hours and production expense when the shoots are separate, and sometimes a little bit of momentum loss when the print trails far behind the broadcast. Prepping both jobs at once can help keep the vision aligned from the beginning, and also make the print shoot a part of the process rather than an additional chore at the end. So there needs to be some kind of integration in every agency that does both kinds of work, whether or not the art producer assumes the full role of broadcast production or not. There also needs to be a hard look at which jobs require broadcast-level production, and which can be done with a smaller budget and production footprint, and to make as big an effort possible to pass savings onto clients. Clients are working with smaller, integrated shops, sometimes directly with vendors, and are seeing what can be done. The camera
technology is leveling the playing field a bit, and photographers who are great with motion will be able to offer increasingly valuable options to clients for jobs needing still photography and video. I think this is an area where art producers can make a big contribution. That said, it is a completely valid point of view to say you don’t want to get involved in motion, and that your passion remains with the still image, as a producer or a photographer. They are two different mediums, and there’s no reason to expect that everyone will be interested, or have the necessary skills and sensibilities [to make the transition]. For art producers who are fired up, I would hope they have the opportunity to explore and enjoy that work. For those who prefer to stay in still photography production, there should be freedom and opportunity to do the work they like best. Similarly the push for every photographer to do motion is leveling out. Some photographers are excited about it; others find it intimidating or feel they have to provide it to stay current, when it’s not of much interest to them. There are plenty of jobs that don’t require motion at all, or where it’s being thrown in as a bit of an experiment or a behind-the-scenes. [Being interested in motion] should probably never become the tail that wags the dog when choosing either the producer or the photographer in some across-the-board way. It shouldn’t be a mandate for everyone, or drive who is working when not every job requires both skill sets. There are some truly gifted art producers with a deep passion for photography who have no interest in doing motion. And some of the best photographers in the world feel the same way. You would not want to miss out on working with them when they have what your job needs.
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INFO-GRAPH
SOCIAL MEDIA SUPERSTARS
GOOGLE+ as of May 30, 201 2012
TREY RATCLIFF
Research By Rachel Gurchin I Graph by Kelly Kaminski
TOM ANDERSON
2,431,025
#1 COLBY BROWN
THOMAS HAWK
2,421,128
ELENA KALIS
1,463,651 1,478,101
1,432,775
1,435,123
jIM GOLDSTEIN
jAY PATEL
1,470,022
LOTUS CARROLL
OLAF BATHKE
PATRICK DI FRUSCIA
KLOUT as of May 30, 2012
As the name implies, Klout is the be all and end all source for our social media...clout. Like credit scores, none of us really seem to understand how it works. Nonetheless, Trey leads the pack with his strong Google+ presence driving the score.
1,431,245
DAVE POWELL
1,458,889
SCOTT KELBY
1,492,649
1,623,511
LEANNE STAPLES
VICTOR BEZRUKOV
1,546,113
CHRISTOPHER MICHAEL
1,691,861
2,406,879
Google+ has had a massive emergence in the photography community, and Trey was one of the first to conquer this scene. He’s figured out the formula and developed a dedicated audience of almost 2.5 million people.
1,433,883
1,453,475
1,434,067
1,432,119
LISA BETTANY
MIKE SHAW
ALAN SHAPIRO
77
82
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COLBY BROWN SCOTT jARVIE KAREN HUTTON
79
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76
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75
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78
TOM ANDERSON
85
THOMAS HAWK
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87
TREY RATCLIFF
74
KRIS KRUG ELIA LOCARDI ELENA KALIS CHRISTOPHER MICHAEL ERIC CHENG
as of May 30, 2012 Based on Facebook subscribers
as of May 30, 2012
#1 1,240,184 TOM ANDERSON
#1
TERRY RICHARDSON
191,645
TOM
Clearly his network of choice, famed photo industry bad boy Terry Richardson takes to Twitter on a regular basis to update his almost 200K followers—taking the #1 spot and the world of fashion photography by the balls.
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Social media pioneer and MySpace cofounder, Tom Anderson is investing his MySpace retirement funds into his passion for photography. With a strong presence across all the social networks, Tom shares his photography and rocks his original avatar. Ironically, he leads the Facebook fan race with over a million subscribers.
O
ELIA LOCARDI 66,398 THOMAS LEUTHARD SCOTT jARVIE 65,626 65,488
MIKE SHAW 66,308
VIVIENNE GUCWA 65,196 KRIS KRUG 65,117 BILLY WILSON 64,826
VICTOR BEZRUKOV 64,722
TOBY HARRIMAN 64,637
BIZ: INFO-GRAPH-”Social Media Superstars” Page 43
SO
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Alan Y
Words by Alan Shapiro l Graph Research by Janet Alexander
o u’d n eed to have been hiding under s o m e f roz en, lichen-covered rock in Anta rc tica to have not heard about G o o gl e+. It has cer tainly received a l ot o f p re s s , b oth positive and negative. But as a p a s s i o na te p hotographer and a marketing e xe c u t i ve wi th a huge love for social media, h e re ’s my ta ke : embrace it. Fast. The folks at G+ really did a great job addressing what photographers care about. The interface is beautiful, with a larger viewing area and higher resolution images than what you find on other social networks. More importantly, G+ allows you to create “Circles” of people you want to follow. They can “Circle” you back or not (which is an advantage over Facebook for me—I don’t necessarily want to have to “Like” everyone back). How you manage and set your Circles deserves careful consideration. I have Circles for photographers organized by location and genre. I have a Circle for people who track news and write reviews about the latest gear and software, a Circle of people who share post-processing tips, a Circle for “Bestest Photographer Friends” and one for “People I dream about shooting with.” I also have Circles for clients, models, stylists, family, personal friends, etc... The possibilities are endless and based on your level of organization. And, of course, you can exist in as many circles as you please. The power and potential of Circle management becomes apparent when you decide how you want to interact and share with the G+ community. You can share an image or send it to an individual (like email), share an image or post it publicly (like Twitter). You can share with just a select Circle or with multiple Circles. The beauty of Circles is that, at any point in time, you can choose to view all of their posts and images or just selected ones. I view and comment on “My Bestest Friends” Circle daily, while viewing others less frequently. One of the other great features on G+ is the ability to host and participate in “Hangouts” (built-in videoconferencing). I’ve spent hours meeting and talking with photographers from around the world. As someone who loves to teach, “Hangouts on Air” allows me to host live “shows” that can be viewed by anyone on G+ and that can be later posted to YouTube. If you have a particular expertise and want to share it, this is a great way for getting
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exposure. I’ve also used this feature to participate in “Virtual PhotoWalks” allowing me to share photo shoots with people with disabilities who can’t get out. Can I tell you how good this feels!?! Last and most importantly, it’s called a social network for a reason. In order to take full advantage of the power of G+, you have to engage. Comment. Share your work and work from people you respect. I love discovering and sharing new talent. There’s no better place to inspire and be inspired, so what are you waiting for?
Alan Shapiro is the Founder and Chief Creative Officer of HeadOverHeels, an Elationship Marketing Agency in NYC. He’s also an award-winning and published photographer with over 1,450,000 followers on Google+. Need help? Message him and he’ll get you all set up.
5 SEO TIPS
Followers
“The Millennial megaphone”-Wired
Might as well be in stone.
Anyone and everyone.
500M
#1
Ummmm, no. Have you heard of twitter?
140 for compatibility with SMS messaging.
THE BASICS 101
Researching and implementing relevant keywords—particularly in the site titles, content, and image names—are important in driving traffic and your target audience to your site, but be careful not to saturate it with too many keywords or to use ambiguous terms.
Make sure you use up-to-date, clean coding that search engines can recognize and index, which helps your site move higher on search engine page rankings. Search engine bots can’t#1read or index broken codes.
Friends
Circles
YOU HAVE
“The best and worst thing to ever happen to me”-Everyone “A combo plate”-CNN
CRITICS ARE CALLING IT...
Quick! Otherwise, be ready for a comment thread of clarification.
As many times as you want.
OOOOPS! CAN I FIX MY POST?
850M
170M
HOW MANY PEOPLE HAVE IT?
You decide. Choose wisely.
Everyone—not for the secretive.
Intimate one on one.
Video chat with up to 10 people to an unlimited audience. VIDEO CHAT. CAN YOU SEE ME NOW?
WHO SEES WHAT
63, 206 (psh, the Zuck would) 100,000 make it a novel. IN SO MANY CHARACTERS
GOOGLE +
#1
Make sure you use up-to-date, Researching and implementing clean coding that search engines relevant keywords—particularly can recognize and index, which in the site titles, content, and helps your site move higher on image names—are important in search engine page rankings. driving traffic and your target Make sure you use up-to-date, Researching and implementing Search engine #1 bots can’t read or audience to your site, but be clean coding that search engines relevant keywords—particularly index broken codes. not to saturate it with too In order to know how well you’re careful Once you’ve got your audience, Backlinks, or and links on other can recognize and index, which content, in the site titles, many keywords or to use ambigu- strong and interesting content is doing, you should track your reputable sites that link back to helps your site move higher on image names—are important in ous terms. progress with web analytics that what keeps them around. yours,and canyour helptarget improve your search engine page rankings. driving traffic can monitor traffic and ranking as Remember, quality is most reputation your engine bots can’t read or audienceown to your site, butand be in turn, Search well as where visitors are coming Make sure you use up-to-date, Researching and implementing important in terms of longevity site’s SEO. index broken codes. careful not to saturate it with too from and what they search for in search relevant keywords—particularly SEO.engines andthat overall many keywords or to use ambigu- clean coding order to find you. Consider web can recognize and index, which inous theterms. site titles, content, and analytic programs such as image names—are important in helps your site move higher on Coremetrics and SEMRush. driving traffic and your target search engine page rankings. Search engine bots can’t read or audience to your site, but be In order to know how wellcareful you’re not toBacklinks, you’ve got your audience, index brokenOnce codes. saturate itor with tooon other links doing, you should track your many keywords strong and interesting content is or tosites use ambigureputable that link back to progress with web analytics that what keeps them around. ous terms. yours, can help improve your can monitor traffic and ranking as Remember, quality is most own reputation and in turn, your well as where visitors are coming important in terms of longevity site’s SEO. In order to know how well you’re Once you’ve got your audience, from and what they search for in Backlinks, or links on other and overall SEO. doing, you should track your strong and interesting content is reputable sites that link back to order to find you. Consider web Researching and implementing progress with web analytics that what keeps them around. yours, can help improve your analytic programs such as relevant keywords—particularly can monitor traffic and ranking as Remember, quality mostcontent, and Coremetrics and SEMRush. own reputation and in turn, your in the site is titles, well as where visitors are coming importantimage in terms of longevity site’s SEO. names—are important in from and what they search for in SEO. traffic and your target and overall driving In order to know how well you’re Once you’ve got your audience, Backlinks, or links on other order to find you. Consider web to your site,isbut be doing, youprograms should track strong andaudience interesting content reputable sites that link back to suchyour as analytic careful not to saturate it with too progress with web analytics that what keeps them around. yours, can help improve your Coremetrics and SEMRush. many keywords or to use ambigu can monitor traffic and ranking as Remember, quality is most own reputation and in turn, your ous terms. well as where visitors are coming important in terms of longevity site’s SEO. from and what they search for in and overall SEO. order to find you. Consider web analytic programs such as Coremetrics and SEMRush.
In order to know how well you’re doing, you should track your progress with web analytics that can monitor traffic and ranking as well as where visitors are coming from and what they search for in order to find you. Consider web analytic programs such as Coremetrics and SEMRush.
Backlinks, or links on other reputable sites that link back to yours, can help improve your own reputation and in turn, your site’s SEO. By Christina Fong Illustrations by Kelly Kaminski
@
PRO-PINION
Online Marketing Tips: Google Boot Camp By Matt Hill, Mac Group Marketing Communications Manager
“How do you eat an elephant?” “One spoonful at a time.”
There are literally limitless places to go to find customers on the Internet. How do you approach this daunting infinity? Like any other—in small, measurable steps. Let’s approach attracting our customers in the same way—one bite at a time. Really, all we want to be is noticed for what we do, right? There are two fundamental ways to do so: do something so well you are the best, or pay for attention. The former is equitable to that Holy Grail “SEO” (Search Engine Optimization), and the latter is Pay-Per-Click (PPC). Today we will focus mostly, but not strictly, on Google’s non-SEO tools.
PPC
@
Check out http://Adwords.Google.com. Sign up. Spend a little money paying for PPC ads that are geo-targeted to your area to start. This experience can feel very daunting at first so just roll with it and let them walk you through the steps of making a Campaign, creating an Ad Group, and writing your Ad—it’s not as hard as it sounds. Then walk away and check it the next day. Google offers lots of tips on how to write great ads, find keywords, and pay for bids. My advice is to keep your ad groups small—3 to 5 keyword phrases that are included in your ad text. In addition, make sure those words are both visible and in the META Title and Description on the webpage where you point your PPC ad (a very common mistake, which results in you having to pay more or in your ad not showing up). You can also test out headlines you are considering for advertising, marketing, etc… via PPC. Whatever gets more clicks wins!
Google +1
@
This is the elephant in the room, but in a different sense. Everyone is talking about using Google +1—but as the service. A trusted Internet genius friend of mine suggests you should put a Google +1 button on your website’s pages and find ways to encourage your visitors to use it. This is a long-term strategy, as +1 votes are considered by Google to count toward your site’s relevance. While other websites linking in to your site (and how they relate to your business) were traditionally what counted toward relevance, +1 is now gaining in a huge way. Get your button now: www.google.com/webmasters/+1/button.
Local PPC
@
While working on your Google Places page, you’ll notice that Google suggests to “reach more users with AdWords Express.” This is awesome stuff. You can pay your way to the top of local listings with promoted map search results on both mobile phones and computer searches.
Sign up at www.adwords.google.com/express to be promoted when someone needs you most—when they are out and about, using their phone!
Local Search
@
Please, please, please sign up for http://www.Google.com/Places, and edit or add your listing. This is essential as local search guides people who are using Google Maps to find specific local businesses.
POWER BONUS:
Ask your existing customers to go to your Google Places page and give you a rating. 5-star ratings get added below your listing, drawing visual attention to your place on the search results page (every little bit helps!). This could be the determining factor in whether or not someone clicks on you. Heck, mention it on your invoices and in your email footers. It’s worth Google gold.
Advanced tools
@
If you are a geek, then Sign up for Google Webmaster Central at www.google.com/webmasters (if this phrase makes you cringe, avoid at all costs). Considering the popularity of Groupon and Living Social, Google made their own “Google Offers” which are quite powerful. I live in NYC and often see photographers offering deals on sessions. See how to do it at: www.google.com/offers/business. Follow the above list closely and you’ll be well on your way to eating that elephant. Part of this is SEO, and part of it can go away in a moment. It all contributes to owning the search results for your business and should add to your bottom line by attracting more customers.
Questions? Shout Matt on Twitter @MattHill
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1
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1.800.CALUMET (225.8638) ©2012 Calumet Photographic
// ASK A GEEK
MANFROTTO 055 PHOTO/VIDEO HEAD By Adam Sherwin Photo courtesy of Manfrotto
4.
3.
1.
2.
6.
5. 7.
Overall Rating: 4.5 out of 5 pocket protectors
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www.manfrotto.us
$262.49
Q
I need to shoot video and stills on my next job but I’m traveling and want to cut back on gear. Can I use my regular tripod head to shoot video?
A
A few years ago, when HDSLR video hit the scene, photographers and clients alike were thrilled at the new opportunities it presented. However, while developments in photo gear technology had, up until then, allowed photographers to reduce the amount of gear they were carting around, video presented new challenges—shooting smooth, consistent video using a traditional 3-way tripod head wasn’t plausible. Having a fluid head is essential, and that meant adding back gear. Fortunately for us, Manfrotto is making the ability to lighten up our load a reality once again.
1.
2.
3.
4.
Photo/Movie Selector
Magnesium Construction
Traditional 3-way Full featured Photo Head video tripod head
Photographers can speed up their workflow on set by not having to switch gear, but instead, jump from photos to video instantly with the simple flip of a switch.
Incredibly strong and, at just under 3lbs, incredibly lightweight. This head is perfect for cutting back on gear for travel and location when you need to shoot photo and video.
While the ballhead is not omnidirectional, it does allow for a 90-degree tilt for vertical shooting. It also makes for incredibly fluid movements in almost every direction beyond that of a traditional 3-way photo head.
With a builtin counter balance, friction control, and traditional pan-tilt movements, this head offers all the movements of traditional video heads.
5.
6.
7.
Removable Pan Bar
Load Capacity
3/8” Mount
The pan bar can be attached on the right or left side. It can also be removed completely and clipped to a tripod leg for quick storage.
While the head is not designed for use with large digital cinema rigs, the load capacity is just over 15lbs, allowing for the use of an HDSLR with a large lens or smaller HDSLR rigs and accessories.
This traditional screw mount size allows the head to be mounted on the legs of most tripods.
Remember to raise the center column of your tripod when trying to shoot up, as the pan bar can get in the way when shooting at certain angles.
TECH: ASK A GEEK-”Tripod” Page 49
// GEAR & GADGETS
ANALOG RE-ADAPTED By Rachel Gurchin Photos by Adam Sherwin or courtesy of the manufacturer
Leica M Monochrom Black and White Digital Rangefinder
01
The first digital camera to only shoot black and white photography—a nod to when we didn’t have the option. www.us.leica-camera.com $7,950 (in stores late July 2012).
Gizmon ICA IPhone Case
02
This iPhone case looks like a rangefinder, complete with an actual working shutter button. Available in black & white, and brown. Four Corner Store: www.fourcornerstore.com $65
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Impossible Project Cool Film
03
The film must be stored at a cold temperature, but similar to a Coors beer can, a “Keep me cool” message appears on the side of the box when it gets too warm. The Impossible Project: www.the-impossible-project.com $23.49
Panasonic Lumix DMC-3D1
05
Shoot 3D photos and videos with this dual-lens camera—no stereoscope needed. www.panasonic.net. www.panasonic.net $459
LomoKino and LomoKinoscope Package
04
A movie camera that shoots 144 frames on any roll of 35mm film, instantly transforming still frames into your very own short film. Then, watch what you’ve shot with the LomoKinoscope. A perfect pair for any budding film director www.lomography.com $99
Lomokino Smart Phone Holder
06
Lets you record your 35mm movies and then to digital via your smart phone. www.lomography.com $24.90
TECH: GEAR & GADGETS -”Analog Re-adapted” Page 51
Slide Light
07
Turn your slide film into an art installation. www.suck.uk.com/products/slidelight Starting at $160
Hipstamatic D-Series
08
This app acts as a disposable camera. It takes 24 photos and reveals the outcome only when you finish the entire roll. Free (available on iPhone only) www.disposable.hipstamatic.com
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ShoeBox by 1000memories
09
This app scans your old photos and stores them in a digital “shoebox� for safe-keeping. Free (available for iPhone and Android) www.1000memories.com
// DO IT YOURSELF
HOW TO SCAN NEGATIVES WITH A DSLR
• light source • flash • cardboard/wood • clamps • acrylic board
1
THE PLAN The basic idea is pretty simple: you need a diffused, homogenous light source, a way to hold the negatives, and a digital camera to photograph them. You must keep everything stable to avoid bumping into anything during the process. Experiment with ways to hold the film, as keeping a consistent distance between the camera and film is crucial.
Based on PetaPixel idea | Illustrations by Kelly Kaminski
• film • DSLR • cardboard/wood • clamps • acrylic board
2
WHAT YOU’LL NEED A DSLR; a macro tube with a prime lens or a macro lens if possible (or the sharpest lens you have); a light source (preferably a wirelessly triggered flash); a white translucent, clean surface (such as an acrylic board); a piece of cardboard or wood, and a couple of clamps.
3
SETTING UP THE CAMERA
5
POST-PROCESSING
Turn the auto-focus off. Set the white balance to the warmest possible color for color negative film. Set the exposure mode to manual, the aperture to f8, and the exposure time to around 1/25. Select the base ISO and shoot in RAW. Place the flash about 30cm away from the film and make sure it’s on manual and at medium strength. Shoot through a piece of cardboard to avoid the flash bouncing back all over. Cut a small hole on the cardboard box and place a lamp above it to have some light shine through the negative, which helps with focusing.
www.petapixel.com
Make the picture completely white, thus loosing image data, detail, and texture.
4
SHOOTING THE NEGATIVE Slide the negative in the film holder. Shoot. Slide to the next frame. Shoot. Make the picture as bright as possible (but be careful to not blow out the highlights). Set the camera to show the picture on “highlights” mode (you may also use the Histogram function for this).
Crop out the black borders. For negative film, you need to invert the colors in order to get a positive image. Use the auto white balance tool to get a good approximation of the original color, increase the contrast at will, and adjust the RGB curves. Lastly, use the spot removal tool to remove blemishes, dirt or scratches. Save as a RGB file.
TECH: DO HISTORY-”The IT YOURSELF -”How scan Negatives with a in DSLR” PRO: Art of to Getting Marilyn Monroe Bed” Page Page 53 53
// CAMERA CORNER
SIGMA SD1
MERRILL // THE CAMERA // $2,299 (BODY ONLY) This camera dresses to www.sigmaphoto.com impress. It’s robust and professional feeling when you pick it up, but not so heavy that you can’t hold it for extended periods of time. The handgrip is killer—the SD1 fits your hand like your favorite old baseball glove. Its overall appearance is simple and low profile without a ton of buttons or dials. It took me all of about 30 seconds to familiarize myself with the menu interface and learn how to make adjustments to the camera settings. My favorite was the QS (Quick Settings), a shortcut that took me to two different sets of frequently used camera settings. The placement of this button, close to the thumb on your right hand, makes navigating the most often used settings quick and easy; you no longer have to lower the camera from your eye line and fumble through multiple menus.
// FIRST IMPRESSIONS
Words and Beauty Image by Adam Sherwin
// THE FILES AND SOFTWARE: As a tech guy, I love to run files through different software to see the results. To my dismay, you have to use Sigma’s proprietary software, Photo Pro, if you’re going to shoot RAW. And believe me, you’re going to want to shoot RAW with this camera—the resulting images are stunning. Like the camera, I found the software to be a bit on the slow side, and it lacks some basic features we’ve all become accustomed to with other popular RAW conversion software but, similar to the SD1 itself, the results are worth waiting for. Sigma also has Capture Pro, a software for shooting tethered. It allows you to control camera settings, like ISO, Aper ture, Exposure Mode, and Exposure Compensation, from a
computer.This is especially valuable when shooting tabletop with a tripod, and for situations in which handling the camera to make adjustments could affect critical focus or compositions. // IN THE FIELD: STREET SHOOTING IN BROOKLYN, NY. One of my favorite things about this camera is the overall weight vs. quality. Normally, cameras with smaller sensor and physical size mean having to take a step down in overall quality, but this is where the SD1 Merrill and the Foveon sensor shine. As long as you can stay at or below 400 ISO, your results will be comparable to many of the larger fullframe DSLR’s and medium format digital cameras you’ve shot with. Once you cross the 400 ISO threshold, the noise in the files takes away from the SD1’s superb RAW file quality and
// SO WHAT’S SO SPECIAL ABOUT THE FOVEON X3 DIRECT IMAGE SENSOR?
Traditional CCD sensors house an array of pixels that capture RGB at different points across one plane.
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Similar to the separate RGWB emulsion layers of film, the Foveon sensor has one dedicated layer of pixels for each color (red, green and blue).
While it’s technically three separate 15MP sensors—which is also the true effective mega-pixels of the camera—the end results are stunning, producing images with incredibly rich colors and an inconceivable amount of depth.
requires a fair amount of post-production work to get them back to a useable state.
on the back of the camera to see what you’re getting during fast-paced shooting.
While I initially experienced some frustration with the speed of the SD1, once I settled into a pattern I found myself thinking more about each shot. It was reminiscent of shooting film, when we had no instant previews, and if you were shooting with an SLR, no Polaroid either. I’m not big on the live preview feature but I could see the benefit of adding it for architecture or landscape shooters wanting to get on a tripod and do critical manual focusing.
Still life photography in studio is another area I could see a live preview coming in handy, especially if photographers could use it in combination with Sigma’s Capture Pro Software. Still life photographers wanting accessibility to critical manual focusing need to touch the camera to check their focus and make adjustments; having a live preview of your image on the computer screen could ease your workflow and, when paired with the outstanding image quality of the SD1, would make for an almost perfect camera for shooting still life in studio.
I N T H E S T U D I O : B E AU T Y S H O O T AT G O S T U D I O S , N YC . I can definitely see the advantage of using this camera in studio for still life and beauty. The huge files deliver detail and color like I’ve never seen. Unfortunately, the slow file write speed makes it difficult to capture sequences like you see on a fashion set, and it prevents you from looking at image previews
Makeup by: Bank Natdanai - www.bankmakeup.com // Model: Ya Jagne @ Agency - www.agencymodelsnyc.com
This shot: SIGMA SD1 Merril with 17-50mm F2.8 EX DC OS HSM ISO100 @ 1/200 sec. F5.6 to WB
// MEDIUM FORMAT IMAGE QUALITY IN A DSLR BODY.
// OVERALL IMPRESSIONS
// UNDER THE HOOD Sensor Size:
1.5x APS-C
Sensor Type:
Foveon X3 Direct Image CMOS Sensor
Total Pixels:
48MP (4800x3200x3) 46MP Effective
File Types:
Foveon proprietary X3F RAW File in 12-bit, high, med or low JPEGS ranging from 1 to 10MB
Continuous:
5 fps on high 6fps on med and low
ISO:
100-6400 (Auto 100-800)
Shutter Speeds:
1/8000th-30 sec. Flash Syncs at 1/180sec
SIGMA SA lens mount only. Built-in Flash with 17mm coverage GN11@100iso with Auto S-TTL metering. Single and Continuous AF with 11 AF points and Manual focus.
I really enjoyed shooting with the SD1. Although I found it to be a bit slow, I was completely blown away by the resulting files. The files are big, bold, and beautiful. As a digital tech with 12+ years experience looking at RAW files, I found the SD1 Merrill’s RAW files to be some of the best I’d ever worked with. The camera shows a huge leap in the technical evolution and design of Sigma’s line of DSLR’s. While the SD1 Merrill is not without flaws, its simplicity, image quality, and ability to make photographers slow down and think each time they release the shutter make it a camera system for photographic connoisseurs and is best suited for applications like fine art, documentary, still life, and architecture. Sigma’s recent and ongoing release of firmware and software updates also shows a dedication to the success of this camera and indicates an obvious interest in what photographers are asking for from the system. If Sigma stays on track with their current program of development and support, while at the same time taking into consideration the addition of a few important features in both the camera and software, the SD1 Merrill is a camera that will not be denied its place in the history books as a photographic technology game changer.
77-segment evaluative metering as well as spot, center weighted and center weighted average. 3” TFT color LCD with a 3:2 aspect ratio and approx. 460,000 dots. Connects via USB 2.0. Magnesium Alloy body that weighs just under 2lbs with battery and CF card.
// PROS Incredible file quality at lower ISO settings, highly detailed and with beautiful color and dynamic range. Quick Settings buttons for fast adjustments of the most often used features. Easy-to-use camera interface with only a few buttons and dials. Well-built camera with great weatherproofing and excellent ergonomics.
// CONS Slow to write files while shooting, makes some camera functions momentarily inaccessible. Only accepts Sigma lenses—great selection, but it makes owning an SD1 as a 2nd or 3rd body for specialty work impossible for photographers using another brand for their main camera. Slow AF. High ISO noise. Lack of video functions (personal preference). Lack of live view for critical manual focusing on tripod.
TECH: CAMERA CORNER - “Sigma SD1” Page 55
// WHAT’S IN YOUR CLOSET
GREG MANIS Photographer Greg Manis opens up his makeshift equipment closet while he’s on the road. Words and Photo by Greg Manis
HOW DO YOU SELECT THE GEAR THAT YOU HAVE? I’m not very picky. I just want a camera that works and is fast. To me it’s all about capturing that moment.
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PIECES OF EQ YOU COULD NOT LIVE WITHOUT: 1. My Metz Mecablitz 60 2. My Contax T2 3. And my Nikon 100mm lens
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PIECE OF EQ THAT SETS YOU APART FROM OTHER PHOTOGRAPHERS: Again, my Metz Mecablitz 60. That beast puts out so much light and is really fast. But that sucker weighs a ton.
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PIECES OF LIGHTING EQ IN YOUR CLOSET THAT YOU USE ALMOST ON EVERY SHOOT: I use the Metz, my TLA 200, and God’s light, the sun.
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THE SMALLEST ITEM IN YOUR CLOSET IS:
YOUR POINT AND SHOOT OF CHOICE IS:
Either the TLA 200 or my old school light meter.
Contax T2 or my G10. Depends on if I can afford film processing.
THE MOST EXPENSIVE ITEM IN YOUR CLOSET IS:
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None of it is really that expensive, but I love every piece so they’re all priceless. THE OLDEST ITEM IN YOUR CLOSET THAT STILL WORKS IS: My light meter. It’s from the 60’s. Doesn’t use batteries and it is amazing.
ITEMS YOU WISH WERE IN YOUR CLOSET:
Would love the new Nikon D4. I love the old lenses, and the speed and image quality to me is the best.
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THINGS THAT YOU LOVE, THAT ARE NOT IN YOUR EQ CLOSET:
Nothing I guess. I have cameras, I have flashes, what else could I need? I can take a picture and that’s all that matters, right?
YOUR USELESS GADGET OF CHOICE IS: I don’t really have on. Everything in my kit I use and need.
// SICK APP
REEL DIRECTOR Greg Manis: www.gregmanis.com - www.currentstudio.com - www.hardromance.com
App for Review: ReelDirector Platforms: iPhone, iPad, and iPod Touch Summary: This app will revolutionize the way you shoot and edit video on your Apple mobile devices. It gives you the ability to add music, overlay text, cut and rearrange clips, and add transitions right on your device. You no longer need to transfer videos from your phone to your laptop and use fancy video editing software in order to add your own personal touch—ReelDirector makes all that possible with a few taps of the screen. Who needs it: Anyone who loves shooting and editing videos and making them one hundred percent original and their own. Whether it’s adding special effects and sound clips or rearranging scene sequences, ReelDirector gives you complete creative control. Loves: Not only can you create one-of-a-kind videos, you can also upload them to YouTube directly through the app. Hates: Only iTunes music files are compatible with the app and you can’t add voice over.
Final Rating:
TECH: WHAT’S IN YOUR CLOSET - “Greg Manis” Page 57
// GEAR HEADS
BIG RIGS SUPPORT FOR YOUR HDSLR FILMMAKING By Adam Sherwin one of the first things that any photographer turned videographer learns is that hand-holding your camera when shooting video does not always give you a desirable result. but if a tripod limits your ability to get the shot and hand-holding leaves you searching for drammamines during your editing sessions, you’ll need to get a decent hdslr rig. Although these rigs aren’t cheap, sometimes you have to spend money to get the right shot. my suggestion is to look for a kit or bundled package that allows you to swap out certain parts in order to create multiple rig configurations. buying one rig might seem like a good idea, but it will only be a matter of time before you need additional parts in order to get the configuration you’re looking for.
MANFROTTO SYMPLA Manufacturing legend Manfrotto enters the HDSLR rig scene with their appropriately named system, Sympla (sounds like, “simple”). No tiny bits and pieces to lose or fiddle with—the core system consists of just 3 main parts. Shown here is a combination of 2 kits: the shoulder support system and the flexible matte box kit. This combination allows for quick release of your camera from the rig, or the ability to mount the entire rig, with camera, to a tripod. On or off tripod, the rig is easy to balance, and the matte box integrates a holder for 2 4x4 filters. One of my favorite features is the integration of Manfrotto’s clamp-on Canon HDSLR remote that attaches directly to the Sympla’s adjustable, swivel jointed handles. Approximately $2,740 (as shown - camera sold separately) www.manfrotto.us
ZACUTO SCORPION The Scorpion rig is a perfect combination of evolution and engineering. The shoulder mount allows for left or right shoulder shooting, and includes ball joint mount so users can quickly and perfectly position the shoulder rest or move it out of the way completely. The Scorpion is equipped with 2 types of quick releases: one that lets you remove the camera from the rig and use it separately, and one that enables mounting the entire rig to a tripod. The 7lb counter-weight keeps you and the camera perfectly balanced, and the supplied EVF mount allows you attach an EVF or monitor to your rig. Approximately $6,400 (as shown - camera sold separately) www.zacuto.com
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EDELKRONE MODULA 9+
CINEVATE DSLR DELUXE PACK One of my favorite rigs comes in a whole-hog kit known as the “DSLR Deluxe Package,” which is tough to beat when it comes to price, quality, comfort and multiconfiguration options. The kit includes Cinevate’s UNO grips, which use a ball joint to allow for custom positioning for total comfort in a variety of shooting positions. Another great feature is the Proteus cage, which can act as a handle for HD or ENG cam rigs and can support rigs over 40lbs. It also has the ability to hold 3 additional universal rails blocks that allow for even more 15mm accessory rails on the sides or top of the cage. Proteus has mount points for an allen key holder and accessories with a hot-shoe mount, like mics or wireless transmitters. Relatively speaking, this kit is pretty lightweight and affordable, and it still contains all the bells and whistles desired by many of today’s top HDSLR shooters. The Durus follow focus is rock solid and comes with a .5 or .8 pitch. The quick-release base plate allows for mounting the entire rig to a tripod, and the quick adjust shoulder pad ships with an off set kit that allows users to carry the rig on either shoulder with a few quick allen key adjustments. The package is rounded out nicely with a fully height adjustable and swing away Titan matte box that can also act as an additional handle. Finally, the kit contains 2 articulating grips for additional accessories, such as a small monitor or light. Approximately $3,3280 (as shown - camera sold separately) www.cinevate.com
Based in Turkey, Edelkrone has created an impressive line of HDSLR rigs, with really innovative design. My favorite, the Modula 9+, offers an articulating single/double shoulder support system, perfect for wedding and event videographers who need support for long periods of time. Tool-free, on the fly adjustments, with drop safe secure stops combined with an incredibly lightweight and totally modular system, allow videographers to go from simple run and gun set-ups to comprehensive production rigs in a matter of seconds. Approximately $2,899 + Shipping (shown with third-party matte box, monitor and light - all sold separately) www.edelkrone.com
REDROCK MICRO COMPLETE UNIVERSAL BUNDLE Another leader in the development and evolution of HDSLR rigs, Redrock Micro, sells one of the most comprehensive bundle kits available. The Universal Bundle enables users to build every HDSLR rig Redrock makes. It offers configurations ranging from “run and gun” to full digital-cine rigs, along with the ability to create your own configurations for ultimate in rig customization and comfort while shooting. With ample accessory mounting points, Redrock makes it easy for HDSLR shooters to have everything they need at their fingertips. Approximately $3,687 (Camera and monitor sold separately) www.redrockmicro.com
TECH: GEAR HEADS - “Photo & Video - HDSLR Rigs” Page 59
BETA SHELL
REVIEW By Michael Corsentino
There’s no shortage of options a v a i l a b l e f o r p ro t e c t i n g a n d transporting camera equipment; but when it comes to super durable protection for your lenses, the field narrows considerably. And when it comes to grabbing those few musthave lenses and heading for harsh environs, the field gets even smaller. Washington State Beta Shell’s inventor Luis Elenes has come up with an innovative system of incredibly tough (or as he likes to say “bomb-proof”) lens protection. Made from ABS polymer and lined with neoprene and memory foam to dampen even the harshest impacts, Beta Shell’s Series 5 are waterproof submerged up to 1 meter, crush-proof, airtight, insulated, discrete, and virtually indestructible. They sent over a few Series 5 cases for this review, and I have to say the cases lived up to the hype. These things mean business: they look tough, they’re dead simple to operate, and they definitely provide the highest level
// DO IT WITH STYLE
LOMOGRAPHY‘S LA SARDINIA CAMERA By Janet Alexander Inspired by such glamorous seaside destinations as St. Tropez and Capri, the new La Sardina Beach Edition 35mm point and shoot cameras are built for summer. Each camera is wrapped in actual deck chair fabrics cut from a different angle each time, so yours is sure to be one of a kind. Its 89° field of view wide-angle lens, two user-friendly focus settings, rewind dial, and MX switch make the camera as functional as it is fashionable. http://usa.shop.lomography.com/cameras/lasardina-cameras
Prices vary between $79 and $109
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of all-around individual lens protection I’ve ever seen. Beta Shells are also a great longterm storage solution. They fit nicely on shelves and offer protection from falls, dust, moisture, or anything else you can throw at them (you’ll just want to keep a fresh silica gel pack inside each case to prevent the occurrence of mold). If you’re the type of shooter who wants every lens you own with you at all times, then Beta Shells probably isn’t the best solution for you, as they would add too much bulk to your bags. But if you’re like me and travel light, throw in a backpack the 3 or 4 lenses you need and head for the hills, then Beta Shells is definitely for you. Designed and manufactured in the United States: www.betashell.com Series 4, Super-Light, and a Series 5 Compact Beta Shells are also available. beta shell prices range from $40 - $88
Michael Corsentino: www.corsentinophotography.com
// GEAR HEADS
Secure Storage for Your Digital Workflow
Mobile Acquisition/Storage
Capture/Post Telephone: 1.800.260.9800
Backup/Archive
www.CRU-DataPort.com
Email: BBusey@CRU-DataPort.com
PRO: HISTORY-”The Art of Getting Marilyn Monroe in Bed” Page 61
// DE-CONSTRUCTED
Words by Adam Sherwin | Illustration by Kelly Kaminski Info courtesy of Phase One
FLASH SHOE
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TOUCH SCREEN COMPACT FLASH SHOT
Phase One - www.phaseone.com
The Phase One IQ digital backs come in 40,60 and 80 MP sizes with Sensor + technology for faster medium format shooting with awesome RAW files. These digital backs are state-of-the-art and offer high-resolution 1.15MP touchscreen displays with focus mask and image alignment tools. They also offer a 12.5 stop dynamic range and can shoot untethered or tethered with FW800 and USB 3.0 connections.
PRISM VIEWFINDER
LENS ELEMENTS FOCUSING RING
T
he Phase One DF camera system plays host to the incredible new IQ180 (80MP), 160 (60MP) and 140 (40MP) digital backs. With shutter speeds up to 1/4000s and exposures up to 60 minutes, the DF camera also has incredibly fast autofocus, a variety of programmable functions, custom shooting modes, and the ability to switch between focal plane and leaf shutters. As a pair, the DF camera and the IQ digital backs create one of the most powerful digital capture tools available in our industry.
FIREWIRE PORT CCD SENSOR FOCAL PLANE SHUTTER MIRROR
LEAF SHUTTER
TECH: DECONSTRUCTED - “Phase PRO: HISTORY-”The Art of Getting Marilyn Monroe in One” Bed” Page Page 63 63
// SOFTWARE
OnONE SOFTWARE
ESSENTIAL TOOLS FOR MAXIMIZING YOUR WEDDING AND PORTRAIT PHOTOGRAPHY WORKFLOW.
he more hours we spend in front of the computer working on post-production means fewer hours marketing our businesses and shooting jobs. Most of us can’t afford to bring in full-time retouching staff, so how do we escape the clutches of marathon post-production sessions after a shoot? How about a set of tools that gives you the ability to cut back on post time but still gives you all the professional tools and results you’ve become accustomed to with Photoshop?
PERFECT PHOTO SUITE
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OnOne Software has done just this with Perfect Photo Suite 6, its incredible collection of post-production tools. The suite can be used as a plug-in for Photoshop, Aperture, and Lightroom, but each tool can also be used as a stand-alone application as well as layered together using the Perfect Layers tool. Here’s a quick breakdown of what to expect from each application.
By Adam Sherwin
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Perfect Layers 2 – Designed in partnership with Photoshop guru, Scott Kelby, Perfect Layers allows photographers to create a layered workflow with the OnOne applications right in Lightroom or Aperture as a plug-in. This is a time saver for obvious reasons: anything that helps you stay in one software from RAW to final export and accomplish lab-ready images is a major benefit to your workflow.
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$299.95 www.ononesoftware.com
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Perfect Portrait 1 – Retouching skin can be one of the most time consuming jobs for wedding and portrait photographers, with sometimes dozens of images to retouch. Perfect Portrait makes it easy with automated adjustments controlled by sliders to remove blemishes, correct skin tone, and enhance facial features. While it doesn’t replace the detailed retouching that can be accomplished with Photoshop, the quality it delivers matches the incredible amount of time it saves.
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Perfect Effects 3 – This app offers over 300 photographic effects that can be applied individually or blended one on top of the other to create customized looks. Perfect Effects allows photographers to focus on shooting, knowing that they can apply certain looks after the fact and deliver images that will impress their clients.
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Perfect Mask 5 – Unfortunately, photographers are not always presented with ideal shooting situations. We get the shot, but when we review it certain elements may not be aesthetically pleasing—specifically, backgrounds. Perfect Mask automatically detects subject and background and the finetuning adjustments make for precise masks to allow a quick and easy change of background, turning an average photo into a great one.
verall, Perfect Photo Suite 6 is incredibly effective and diverse. OnOnes’s powerful post-production software is very affordable and offers an interface that is easy to learn and fun to use. When you compare it to the price of Photoshop, and the level of comprehension and training it takes to use Photoshop effectively, OnOne has created a must-have set of tools that any photographer, pro or enthusiast, would find useful for creating images that impress while saving time on post-production. Some might even say… it’s perfect.
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Perfect Resize 7 – I’ve been using this app for a while now. It gives me the ability to take images and enlarge them a massive amount while still controlling the finer elements, details, and sharpness thanks to its patent protected algorithm that has become the standard, go-to, interpolation software in the printing industry.
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Focal Point 2 – Shooting at a shallow depth of field can be a dangerous proposition for even the most experienced portrait photographers. Many like to play it safe and crank up the f-stop to make sure the focus is tight. Focal Point allows you to capture a well- focused image and apply selective focus effects after the fact. Making sure you’ve got the shot is the most important aspect of any job; being able to add effects that impress your clients to sell images is the most important aspect of running a successful business.
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Photo Frame 4.6 Pro – Like Focal Point and Perfect Effects, Photo Frame gives photographers creative options after the fact. Besides offering over a 1,000 effects for adding texture, film edges, and backgrounds, this application has built-in layout templates, where all you have to do is drop in your images. Built-in controls for color, opacity, and sizing give you an incredible amount of control and customization to create images that are sure to stand out and impress.
TECH: SOFTWARE - “OnOneSoftware” Page 65
// GEAR TEST
POCKET III WIZARD
SPECS.
PLUS
Status Indicator LED: Green, Amber, Red status indications
Antenna Precision tuned internal coil
By Janet Alexander Photo courtesy of Monte Isom
RANGE Up to 500 meters (1600 feet) (actual range is dependent on multiple factors including equipment, mode, environment, positioning, orientation and interference)
SYNC SPEED Up to 1/250 for focal plane shutters Up to 1/500 for leaf shutters TRIGGERING SPEED Up to 14.5 FPS
Considered an industry standard, PocketWizard’s most recent transceiver iteration—the Plus III—is truly the latest and greatest. In the most recent segment of our Guerilla Product Review, our good friend Monte Isom photographed Mexican National Soccer Team goalkeeper Memo Ochoa, setting off lights from far distances up and down the fútbol field.
Display Backlit 2.5cm (1.0”) liquid crystal display (LCD)
BATTERY LIFE Up to 50 hours (with alkaline batteries)
HOUSING High impact plastic with captive battery door WEIGHT 120 grams (4 ounces) with batteries installed
Channels 32 channels 1-16 standard channels 17-32 selective Quad-Zone Triggering channels
DIMENSIONS Height: 13.3 cm (5.25") Width: 5.1 cm (2.00") Depth: 3.2 cm (1.25") INPUT/OUTPUT 3.5mm (1/8") stereo miniphone jack, hot shoe
PROS: Mounting Hot shoe, lanyard/ D-Ring loop, -20 threaded insert
Auto-sensor detection between multiples transceivers; it just knows what to do. Internalized antennae.
Fits on any camera and with any strobe light system.
CONS: Can’t sync remote camera and strobes at the same time while mounted on your camera. Radio frequency signals are as vulnerable to interference as your mobile phone’s signal is.
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Zones A-B-C-D Compatible with other PocketWizard radios with Quad-Zone Triggering channels
Input/Output 3.5mm (1/8”) stereo miniphone jack, hot shoe
The PocketWizard is most useful for photographers using strobes, shooting in large spaces with remote cameras or wide lighting spreads, or, “anywhere a photographer can’t be.” Monte Says: Additionally, a re-orientation of the PocketWizard’s buttons and setting to face out, left of the camera, helps avoid human error: “As you put your eye up to the camera, you don’t hit the buttons with your nose or forehead.” While Monte has no idea how PocketWizard managed to make a better product for less, he advises, “Get yours now, ‘cause they’re going fast!”
USB USB 2.0 Mini-B Connector EXTERNAL POWER AND FIRMWARE UPGRADEABLE The Plus III is normally powered by two AA (IEC:LR6) batteries. For long term remote placement, use a compatible AC adapter that plugs into the standard Mini-B USB port of the Plus III. The USB port also enables future upgrades of the Plus III operating system
See Monte in action on Guerilla Product Review on RETV:
WWW.RESOURCETELEVISION.COM
Monte Isom: www.monteisom.com
Only $139 compared to $170 of previous versions.
Your Vision “Apricot” by Ben Briand
vimeo.com/plus
TECH: Marilyn SOFTWARE - “On PRO: HISTORY-”The Art of Getting Monroe in One” Bed” Page Page 67 67
// BOOKMARKED
THE MEN BEHIND FSTOPPERS From its inception, FStoppers. com has dedicated itself to finding and shooting the best behind-the-scenes content out there. Whether chronicling the trials and tribulations of an extreme photo shoot, or demonstrating the meticulous process behind creating an incredible effect, the site is a treasure trove of information, as well as entertainment. Well, now it’s time for the investigators to become the investigated: weddingphotographers-turned-Internetsensations Lee Morris and Patrick Hall give us the behind-the-screens scoop (horrible pun intended) on the co-founding of FStoppers, and what it’s like being the eyes and ears of photographers worldwide. TELL US A BIT ABOUT YOURSELVES. HOW DID YOU FIRST GET INTO PHOTOGRAPHY? WHAT IS THE STORY BEHIND THE FSTOPPERS? LM: I went to school to be a graphic designer. In my Junior year, I had to do an internship over the summer; I had a little interest in photography, so I worked half the week with an ad agency, and half the week with a photographer. That was really what changed it all for me. Working for him was incredible; he was a young guy, making lots of money, who had his own studio. We would play ping-pong, eat fancy meals, show up late,
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and leave early. Then I realized: “Oh my gosh, I gotta figure out a way to do this [for a living].” I went back to school and started spending money on things I saw he owned—camera stuff, studio lights. When I graduated college, I randomly moved to Charleston, South Carolina, with a buddy of mine. I wanted to be a photographer, but I didn’t know how. I met people and I kept being asked to shoot weddings. I started a wedding website and I slowly became a wedding photographer. I was also working at a Ritz Camera store, where I met Patrick. He was working there while attempting to get into the local dental school. He didn’t really have any interest in photography, but I asked him to assist me because he had become a good friend of mine. He thought, “Oh, this is easy, I’ll just start a wedding photography business. I’ll become a dentist/ photographer.” [laughs] Within about a year, he was a full-time wedding photographer. Three years ago, I booked a wedding in Germany and Patrick came to assist. I told him on the flight about “FStoppers.com,” a domain name I owned, and that we should do something with it. We went through a hundred different ideas before finally deciding that we were either going to build a product and sell it on the site, or we were going
to shoot videos and create an interesting site for professional photographers to learn about photography. We had no idea how to do video, but we decided we’d teach ourselves, start producing behind-the-scenes videos, and get other people excited about producing their own behind-thescenes pieces. In the last two years, we’ve grown into a bit more than just that, because it’s hard to find good videos and to produce them quickly. Now we post a little bit of everything. WHAT WAS THE TRANSITION LIKE, MOVING FROM PHOTOGRAPHY TO VIDEO? WAS IT A DIFFICULT SWITCH TO MAKE, CREATIVELY AND TECHNICALLY SPEAKING? LM: Technically it was, especially the post-production stuff. There are always little technical problems you run into it. They’re being ironed out as the SLR video becomes more common, but when we first started, we used a Nikon D90, the first DSLR to shoot video, and we had to download third party plugins just to import the footage! (Patrick joins at this point in the call. Weird technical problems abound. Eventually, we lose Patrick, and Lee continues on.) All these things will drive you crazy—you want to be able to shoot video just like you would
a still, then edit it simply, and export it, but the process is always changing. Patrick and I tried to ignore that, though, and just learned the basics we needed to get quality videos out as quickly as possible. We had people telling us, “Oh, you can’t shoot video on a Nikon DSLR, they’re terrible compared to Canon!” And now people are saying that Canon is terrible, and you have to have a RED or you’re not a real videographer. We try not to listen to these people, because they’re never satisfied. If you hang out with them, you will never complete a project— ever. [laughs] CAN YOU DESCRIBE WHAT YOUR FAVORITE THING TO DO FOR THE SITE IS? LM: It’s meeting these amazing photographers, who actually talk to us now that we have a legitimate website. Being able to film them doing their thing, interviewing them... (Ding! Patrick returns! Dong! Patrick is lost again.) It’s so hard to make contact with some of these big photographers. If I just wanted to have a conversation with Da vi d Bu rgman, a Sports Illustrated photographer who shoots for Bon Jovi, maybe I could’ve gotten him to write me a little note on Facebook, but there’s no way I could’ve called and learned everything
about him. But now that’s what we’re able to do, and when David, and people like him, want a cool promo video about themselves, they’re going to do whatever they can to get us on a cool photo shoot. (Ding! Patrick makes a third appearance, after having to fight his way through militantly uncooperative conference-call robots. Will he be able to stay with us this time? Yes.)
thought were going to be huge, and they’re not as popular. SO, PATRICK, NOW THAT YOU’VE MANAGED TO GET ON THE CALL, TELL US THE FSTOPPERS STORY FROM YOUR PERSPECTIVE.
LM: When you release a video, you get to see how people react to it, that’s also exciting. You put in so much work and time, and you see people enjoy the result. And sometimes they hate it. When they do, it’s a little depressing at first, but I find it to be really interesting—I’ve kind of learned to enjoy the haters, as they say.
PH: When I met Lee, he said, “I’m a professional photographer, you should hang out with me and assist me because we’re already friends.” And I was like, “I don’t really want to do that.” [laughs] But he finally got me to shoot some weddings. I thought it was a great experience. It eventually came to a point where I had to decide: “Should I keep going down this path of dental school and mass debt, or make a living doing photography full-time?” That was really the beginning for me.
PH: It’s really interesting to see which videos take off too. There have probably been four or five videos I can think of where we weren’t sure if they were good, and they became huge. Then there’s a couple we
Lee and I became better friends, and we started talking about producing videos, doing something more substantial than just still shots. We got the idea of making a website dedicated to DSLR video. It seemed
like such a crazy idea, we wouldn’t have imagined it could grow into what it is now. But we rolled with it; every single day, we learned something new, whether about how to program a website, run a forum, or other things that weren’t related to photography at all. WHAT WAS THE INSPIRATION TO MAKE THE MOVE TO VIDEO? PH: A lot of it was actually because of the Nikon D90. When we got one, we thought, “Man, this looks so much better than the video footage we see from photographers using traditional camcorders.” So we realized: we have the lenses, we have the tripod, we have the lights, there’s really no reason we shouldn’t get involved in video. We knew that’s where the future of photography is—a photographer who can offer video service is going to take business away from those who ignore it. For Lee and I, it was the invention of D90 that pushed us in that direction.
PH: Which is kind of funny, considering how terrible that camera is compared to the 5D Mark II. But since we’re both Nikon shooters, we’re not going to make the switch; we make it work.
READ THE REST OF THE ARTICLE ON PAGE 206
// DO IT FOR FUN
PRINTSTAGRAM By Janet Alexander With more than 30 million users and Facebook as lord and master, Instagram is the new normal of photography. Meeting the ever-increasing demand for instant nostalgia is none other than the Instagram team itself. Printstagram will print your Instagram photographs and shares them in the form of magnetized Tinybooks (measuring an adorable 1.7x1.5 inches); 50-pages Minibooks; Miniprints (ideal for traditional picture sharing), and Instagrid Posters, which consist of a grid (hence the name) made of 50 to 400 images. Coming soon, you’ll even be able to wear your favorite Instagram photos on American Apparel cotton t-shirts. http://printstagr.am/
Prices range from $12 to $25
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// RIGGED
Words and Photos by Derek Shapton
My favorite type of phone conversation is the “wouldn’t-it-be-cool-if” call, where every-one gets all excited about an idea that turns out to be completely impractical. Usually these ideas go nowhere, but sometimes they work out really well. A few months ago, I got just such a call from Castor, a Toronto design studio. They had read about the Gi-gapan, an automated camera mount designed for shooting panoramic landscapes. The images it generates are extremely high resolution, allowing viewers to dive deep into the photos. What if we used a Gigapan image as the basis for the Castor website! Cool, right? do, so we had to do a lot of testing. We eventually figured it, which brought us to the epic post-production saga.
Instead of going the expected gigantic landscape route, we decided on a seemingly simple concept; shooting a set of shelves, styled with various relevant props, so that visitors co u l d z o o m i n a n d see every little detail. In the end however, nothing was sim-ple. First we had to find a Gigapan—there weren’t any in Canada and we eventually had to get one sh i p p e d from Tennessee! The next challenge was learning how to use it. The device isn’t really designed for shooting anything close-up, which was exactly what we were hoping to
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At 75,000 by 60,000 pixels (4,500 megapixels / 4.5 gigapixels), the final image is, as far as we know, the largest photo of shelves ever taken. The gigantic Photoshop file was extremely difficult to work with, and because we were shooting so close to the subject, there was a lot of manual fine-tuning required. It took fifteen minutes to simply open the image, and even the tiniest edits took up to twenty minutes to render. Everything is possible with the right team, however, and we definitely had that going for us. The end result is spectacular.
EVERY THING
IS POSSIBLE WITH THE RIGHT TEAM. Visit the website here: http://www.castordesign.ca
Derek Shapton: www.derekshapton.com
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BILL T FRAKES “Work hard
and study constantly. Luck is very helpful. So are quick reflexes. But the key is preparation.”
SPORT PHOTOGRAPHER By Christina Fong | Photos courtesy of Bill Frakes for Sports Illustrated
PHOTO PRO-FILE
here’s a science and art to taking motion and capturing it in a still photo, but making the subjects of a still photo appear like they are in motion requires a remarkable talent. Bill Frakes has had a long career working in sports photography, but he considers his skills and perception as photojournalistic in nature. He enjoys telling stories, plain and simple. From local news coverage to feature stories, he has created an award-winning portfolio, and since the advent of the digital age, has opened up his storytelling to the realm of multimedia.
W
HAT’S YOUR EDUCATION BACKGROUND? I studied economics at Arizona State University, law at the University of Mississippi, and journalism at the University of Kansas.
WHAT WAS YOUR FIRST jOB AFTER GRADUATING? I worked for the Miami Herald as a staff photographer and an editor. HOW DID YOU ENTER SPORTS PHOTOGRAPHY? I am a photojournalist first and foremost. Sport photography is one discipline within that genre. I started shooting sports as part of my daily newspaper routine. In 1986, Heinz Kluetmeier asked me to start doing assignments for Sports Illustrated, and I have been shooting for the magazine ever since. WHAT’S YOUR FAVORITE THING ABOUT SPORTS PHOTOGRAPHY? As a photojournalist, a storyteller, I am engaged in the world’s greatest vicarious, adolescent profession. The crux of my exploration of athletic competition is the intersection of motion and emotion—the sometimes chance, but more often calculated inclusion of art, commerce, and athleticism into sport, which so heavily influences the functioning of society through participation and observation. I work to capture the penultimate moment, which will hopefully enlighten and engage the viewer in a way that defines the game… That being said, I really just want to make people smile.
HOW HAS PHOTOGRAPHY CHANGED SINCE YOU FIRST STARTED? The speed of capture to viewing the images is the biggest switch. I can now share more types of information across more viewing platforms, and can do it very quickly. As long as you are mentally agile, you can do things simultaneously that were virtually impossible two years ago—using the same camera, the same hand placement, the same mental process to do everything for both stills and videos. The camera should work as an extension of your mind, soul, and body. Both still and video files should be superb, resulting in less postproduction work.
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I WORK TO CAPTURE THE PENULTIMATE MOMENT, WHICH WILL HOPEFULLY ENLIGHTEN AND ENGAGE THE VIEWER IN A WAY THAT DEFINES THE GAME…
HOW IS SHOOTING PHOTOGRAPHY DIFFERENT FROM SHOOTING VIDEO? We work hard to combine them, to let each help and support the other. My vision is consistent in the presentation of still and moving images. I draw that distinction because sometimes we use film—both still and motion picture stock—instead of digital. We strive to use the right medium for the message, and that changes constantly. Having the experience and the perspective to make a thoughtful choice is crucial to our final presentations.
WHAT IS IT YOU AND YOUR TEAM DO AT YOUR STUDIO, STRAW HAT VISUALS? What we are trying to do is to describe the human condition from one aspect or another, whether it’s for sports, news coverage, features, or portraiture. Photography is a universal language-it needs no translation. I want to convey what I perceive to somebody else. There is no off position for my visual switch. I am always watching, always taking note, always sharing what I see.
HOW HAS SOCIAL MEDIA CHANGED THE WAY YOU WORK? It’s all information. Some of it is very useful, some of it needs a filter. I don’t look at it as strictly a tool for work. I enjoy communicating, and social media presents a lot of opportunity for that.
WHAT KIND OF EQUIPMENT DO YOU REGULARLY USE? I rely on Nikon cameras and lenses for the bulk of my shooting. On rare occasion, I will use a 4K video camera like the Red, and I love to shoot with my iPhone 4s. I use Elinchrome strobes and modifiers, Chimera hot lights and light modifiers, Cinevate
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sliders and rail systems, Kata bags, Small HD monitors, and Manfrotto/Gitzo tripods. YOU ARE ALSO AN EDUCATOR. AS AN ACTIVE PHOTOGRAPHER IS IT REALLY WISE TO SHARE YOUR “TRADE SECRETS”? I love to share knowledge. Now more than ever the world needs dedicated, compassionate storytellers and artists. If something I know can help someone else, then I am having a good day.
WHO ARE SOME OF YOUR IDOLS IN PHOTOGRAPHY? Heinz Kluetmeier, Ruth Bernhardt, Gordon Parks, Joyce Tenneson, Jim Nachtwey, Howard Schatz, Jeanloup Sieff, W. Eugene Smith, and Elliot Erwitt. There are so many photographers whose work I enjoy that it is very difficult to pick favorites. I have at least four thousand photography books, and I constantly look at periodicals and spend considerable time online looking at new work.
Bill Frakes: www.billfrakes.com
I ENJOY COMMUNICATING, AND SOCIAL MEDIA PRESENTS A LOT OF OPPORTUNITY FOR THAT.
WHAT WAS THE MOST MEMORABLE SHOOT YOU’VE EVER DONE? The birth of my daughter, Havana. I have also been working on a long-term project with a close friend, Missy Koch Billingsley, for many years. You can see some of it at http://strawhatvisuals. com/main.php#/Short%20Films/Missy/1
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WHAT ADVICE DO YOU HAVE FOR BUDDING PHOTOGRAPHERS TODAY? Work hard and study constantly. Luck is very helpful. So are quick reflexes. But the key is preparation. I prepare myself to be in the best place I can, with the best equipment I can find for the situation—and then I let it unfold and capture the action the best way I can, paying attention to detail, substance, nuance and context all while interpreting quickly moving chaos spinning in front of me.
Bill Frakes: www.billfrakes.com
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“With those
guys, it was only the two of them, three colors, and a square negative. Shooting them always spoke to my neurotic need for symmetry and minimal composition.” HISTORY Words by Charlie Fish
In 2003,
Jack White’s deftness with a guitar, the band’s iconic red, white, and black visual language, their distinct sound, and the coy mystery behind the relationship between Jack and drummer Meg White (they were married, but would, in the earlier days, say they were siblings) came together to make a rock ‘n’ roll band for the times. Jack’s undeniable presence and artistry has made him a modern day rock legend; he has gone on to create equally raved about side projects and worked with acts like Beck, The Rolling Stones, and Bob Dylan. His debut solo album, Blunderbuss, was recently released to critical acclaim. Having run in similar circles in Detroit, photographer Patr ick Pant ano was a frequent collaborator with the band. Resource talked to him to find out more about the collaboration that led to this full-of-symbolism, instantly recognizable album cover.
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Patrick Pantano: www.wine-poetry-or-virtue.com
Detroit-based band The White Stripes released the single “Seven Nation Army” from their fourth album, Elephant. The album was their first with a major record label and helped propel the already rising band to superstar status. The lead single would earn them their first of three Grammy awards and would go on to become one of their greatest, arguably most recognizable and popular hits.
Image courtesy of Patrick Pantano and Third Man Records
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GETTING THE GIG I had shot a lot of photos for [the band] earlier, press and stuff. Jack and I would have talks about photographs, record artwork, etc… When it came time to shoot their White Blood Cells album in 2001, I did all the shots. There were various ideas Jack had, and we worked together on them for a couple weeks. He’s really great at thinking visually. I learned a lot from him. Jump to 2003, and those guys had gotten much bigger and were getting more of the attention they obviously deserved. Jack played me the recordings they had done that were going to become Elephant; they were great and I was really excited for the record to be done. Jack, I think, misinterpreted this as an excitement to shoot the cover shot. [He told] me every record they had done had been at a different studio with a different engineer and a different photographer doing the cover shot. They were going to do the photos with a new photographer to keep with this theme, and no offense and all that. I really didn’t expect anything and told him not to worry ‘cause I totally understood. A few weeks later he called and asked if I would shoot the cover the next day. I don’t know if they had chosen someone who backed out or asked for some ridiculous rights or money, or whatnot. I’d like to think it’s because they trusted me. It feels like the vultures were already starting to come out on them and Jack was careful to surround himself with people he could trust. He knew I would never sell any of the images or anything like that. I was also working in a way that lent itself to the concept of the album—I was shooting with a vintage film camera and old lights. And we got along; we could talk things through. I think he probably respected my skills, but he could have gotten a lot of people to do the shot, so it came down to being on the same page. BEHIND THE CONCEPT Jack had the shot 90% in his head before I even showed up. My input was the lighting and end tone. I had this thought of a third member in the shot. The number three was important to Jack in
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the whole concept—[referencing] The Trinity to suggest a holy ghost, an unknown variable. It’s Jack’s shadow in the shot, on the right. It kind of got lost on the actual cover. Jack handled all the post-production and it was too faint in the end to be of any consequence. But the whole “half-vignette” harsh left light thing is probably my most noticeable input. The props and idea—that was Jack. It was really brilliant in the end. He had a really strong idea about the theme of the record and how the songs and cover image all fit into that. The symbolism in the image is mostly pretty obvious, I think. Things that reference elephants, like the peanuts on the ground, etc... Anything else I feel should remain undefined. I think these things are better if left mysterious. ON SET [We shot] at a studio in Highland Park, MI, in a gutted area of Detroit. The set was just a cove that we painted red. [I used] a few strobe heads, shot with my Mamiya C-220 and used Portra VC film. I probably went through two boxes or so. Once the shot was set up and the lights done, it went pretty quickly. It was a finished idea before it started; I just had to commit it to film and make sure it looked right. Everyone knew everyone there. It was Jack, Meg, and myself. And Dan and Traci Miller, who did the assisting and hair and make up. We were playing Elvis Presley records the whole time. I’m not sure whose call that was, and I don’t know if it really resonates in the shot at all. THE WHITE STRIPES AS SUBjECTS They were the best people you could ever want to point a camera at. For as many band shots as I’ve taken, I actually really don’t like shooting groups of people. I feel like it dilutes the image the more individual personalities you have in a shot. It becomes less specific a mood or idea with every variable that’s added. With those guys, it was only the two of them, three colors, and a square negative. Shooting them always spoke to my neurotic need for symmetry and minimal composition. THE MYSTERIOUS MEG WHITE Meg is a really sweet person. She is very quiet and shy, but she was around people she knew so she didn’t seem all that uncomfortable. There was no “mysterious quality” that transferred to anything, really. It was just Meg being Meg. By that time they were obviously used to working together and probably knew each other’s strengths and weaknesses pretty well. They worked together really well and seemed comfortable and friendly with each other. THE SHOT Jack and I both went through the contact sheets when they came back from the lab. We picked the shot in the end, but, really, there wasn’t much variance from image to image. We only did a few different set ups for some single sleeves, press things and the like. CONSPIRING WITH jACK WHITE I sometimes feel a little funny taking credit for that photo. It’s great and I executed it really well, but its importance, its iconic quality… it’s because those guys made a great record—not for anything I did. I feel I conspired on that shot with Jack. I’m proud of it, but I couldn’t have done it alone.
The White Stripes (June 15, 1999) Label: Sympathy for the Record Industry
De Stijl (June 20, 2000) Label: Sympathy for the Record Industry
White Blood Cells (July 3, 2001) Label: Sympathy for the Record Industry
Elephant (April 1, 2003) Label: V2
Get Behind Me Satan (June 7, 2005) Label: V2
Icky Thump (June 15, 2007) Label: Third Man/Warner Bros.
Under Great White Northern Lights (March 15, 2010) - Live Album Label: V2
Your
:
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MARK TIPPLE
ABOUT THE ART IST
After high school, I spent a few years traveling around Australia to film surfing, clutching to dreams of making it in the industry and of cruising around the world to exotic beaches shooting perfect waves. But after countless experiments with camera positions, I still couldn’t capture what I was seeing in my mind. In 2009, I directed a film in Mexico on shark divers and got an underwater
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camera. Upon returning to Sydney, I started shooting surfing again—but this time from below. As I was shooting a small shore-break, I got caught by a large wave. I dove under and noticed a group of kids next to me; I shot them as they contorted and struggled to avoid the wave above. This became the first Underwater Project image—to this day it’s as close to the images that I was chasing a decade ago. The response to this series has been incredible.
I used to work in a photo agency, sourcing photo essays to publications; humanitarian articles from renowned p h o to j o u r n a l i st s we re m e t w i t h some interest, but magazines often opted for novelty or celebrity content. I thought that if I raised my profile with an easily consumable series, it would help when I sent my humanitarian work—I’m now working to link the publicity from the Underwater Project with humanitarian causes.
EDITOR’S PICK
WHY I LIKE IT By Aurelie Jezequel, Editor In Chief
Mark Tipple / The Underwater Project: www.TheUnderwaterProject.com
M a y b e i t ’s b e c a u s e summer was on my mind, maybe it’s because I love swimming and being in the water but when I saw Mark’s images, I knew they would be perfect for our Summer issue. Just looking at them you can feel the strength of the wave, the ocean’s power throwing you around like a plush toy. You taste the salted water in your mouth and nose. You feel like you are in this crazy tidal washing machine roller coaster. And for me, that’s summer.
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X-ray photography By Christina Fong | Photos courtesy of Albert Koetsier
While most photographers try to see the beauty of their sub jects through the limitations of their own mortal eyes, Albert Koetsier looks through his subjects with the aid of a homemade X-ray camera. The foundations of his creations were laid when
the born-experimentalist built his ďŹ rst camera at the age of eight. A job he later got as an X-ray professional lead to a discovery that married his professional and amateur pursuits and took him to a successful X-ray photography career.
Albert Koetsier: www.beyondlight.com
TECHNIQUE
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How did you first come across X-ray photography? I grew up in the Netherlands, in the same town where Roentgen, who discovered X-rays, lived around 1850. I have been working as a hobby photographer since around 1950. Over the years, I experimented with different types of photography—infrared, solarisation, high contrast, etc—but X-rays have always been an interest of mine. I have a Masters in Electronic Engineering with a specialty in X-ray engineering and worked at a company that made medical X-ray machines. A business trip to Germany brought me to the same university hospital where Roentgen had made his discovery. In the radiologist’s office, there was a calendar with pictures of flowers made with X-rays. This was the “aha!” moment. I started to gather parts to build an X-ray generator (the factory where I worked threw away parts that were usable), but I never completed it. When I transferred to San Francisco in the early 80s, I finally built it. The first results looked good, but when I bought a used machine, I started to make much better pictures.
1995 marked the 100th anniversary of the X-ray discovery; I had a major exhibit at the Photo Museum of the University of California to honor it. This is when I started really making and selling my images. What was the motivation behind exploring X-ray photography? X-rays show another, more real, and sometimes divine, aspect of the objects surrounding us. With our eyes and camera we only see surfaces—with X-rays we see the “whole thing.” Which safety measures do you need to take when working with X-rays? The generator is built into a lead box with a lead door that you close before making the X-ray. I have dose meters to check how much radiation is escaping and where I should not stand. You mostly X-ray plants. Have you tried other objects? Plants and seashells are by far more interesting for me. They are/were living entities. I have X-rayed other objects
but nothing too interesting came out of it, although some animals looked good. There are two artists in England who mainly X-ray machinery, from cars to planes, but their subjects are so large that I wonder how much of that is Photoshopped. There are many things that are difficult or impossible to X-ray, like an apple for instance. Anything homogeneous is hard to work with as its tissues absorb X-rays. This is not the case if the object is less dense, like a flower. Please explain how the images are created. The process is somewhat difficult and, at times, confusing. First, I prepare developer and fixer like in the old days, and switch on the safelight. Then, I find a sheet of film (the best nowadays is Mammo film); in almost complete darkness, I carefully put the subject on top of the film, place it in the right composition, put everything inside the generator, close the door, and push the button. When printing, the original X-ray is used as a “normal” negative. However, there are a few important differences, such
as the size. X-ray negatives are much larger in size—mine are generally 11x14 inches. And the Gray Scale (i.e. gamma) of an X-ray negative is also much larger than what you find on a “normal” negative. White is very white, black is much blacker, and there are more grays. This means that printing and enlarging the negatives is difficult. Printing paper is not made for this large gray scale. All my X-ray negatives are enlarged—I built my own enlarger (with cold head) to work with these large negatives. As color does not exist on X-ray images, you have to create it. I often hand-color them, using pencil and photo-paint like they did a hundred years ago. This is the only post-production I do. What’S NEXT FOR YOU? I plan on trying new techniques, such as photographing using direct pressure on the film instead of light, or taking photographs using very high voltage, which creates a tremendous spark that lights the image and creates a halo around the object.
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Words by Holly Hughes & Adrian Mueller Photos by Adrian Mueller
Client: Costa - www.costadelmar.com Ad Agency: McGarrah Jessee Inc (Austin, TX) www.mc-j.com Executive Creative Directors Dave Holloway & James Mikus Art director- Tim Cole Prop-maker: McConnell & Borow Inc. (NY) www.propartnyc.com
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or a new ad campaign for Costa, a Texas company that makes sunglasses designed for sports fisherman, the agency wanted to create popular game fish using only sunglass elements and have them look like fish taxidermists mount on plaques. “They did not want this done in CGI or through elaborate, extensive retouching in post-production,” says Adrian Mueller, the still-life photographer hired for the job. “In planning how to light the models, Mueller had to take the reflective surfaces of the lenses into account. “We wanted to make sure that not all the lenses reflected the light evenly or uniformly,” he explains. “The lenses needed to look like the reflections of actual fish scales, which all reflect light slightly differently depending on their angle.” Mueller used a Sinar 54m digital back on a Rollei 6008 Integral; an 80mm/2.8 Planar lens at f22: “The main challenge for this shoot was not only to light this nicely, but to come up with a specific lighting set-up for each fish, so that we did not have to retouch out any reflections or add anything in post production.” Since the client had wanted the fish to tell the story, post-production was minimal. Says Mueller, “Retouching was reduced to color correction and fixing a few scratches on the lenses.”
Adrian Mueller: www.amueller.com
MASTER CLASS
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THE GIRL (2012) post production
LUCKY NUMBER SLEVIN (2006)
A look at the relationship between filmmaker Alfred Hitchcock and actress Tippi Hedren.
Wrong Time. Wrong Place. Wrong Number.
THE AMERICAN (2010) A n t o n C o r b i j n wa s constantly taking pictures during the shoot. These w e re a l l u l t i m a t e l y presented in his book “Inside The American”. WICKER PARK (2004) A young Chicago advertising executive believes a woman he sees in a café is his long-lost love. His conviction leads to obsession, as he puts his life on hold to trail her.
SOULBOY (2010) A coming-of-age drama set in the 1970s Northern Soul underground music scene.
RED RIDING: IN THE YEAR OR OUR LORD 1974 (2009) A rookie journalist looks to solve the increasingly vexing case of a serial killer on the loose.
THE RECKONING (2003)
CONTROL (2007)
A priest on the lam takes up with a traveling band of actors, who then discover a murder has occurred and try to solve it by recreating the crime in a play.
The black-and-white film was actually shot in color, then transferred to black and white because, according to the director, the black and white film “was so grainy it looked like Super-8 even in 35 millimeter.”
GANGSTER No.1 (2000) Loosely based on the life of reallife mobster Frankie Fraser.
LADY MARGARET (2007) short Sadie wants to go home. Joe says they’ll take her. After she’s proved herself.
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THE ACID HOUSE (1998) Three twisted tales of abuse, drugs, displaced personalities and insect life by Scottish writer Irving Welsh.
By Janet Alexander
PEOPLE IN MOTION
A film is only as coherent as the sum of its moving parts. The motion picture relies on the editor to assemble its frames into the intended artistic vision. Famed film editor Andrew Hulme has been editing both narrative and documentary features since 1990. He won the Milan International Film Festival’s Best Editing award for Paul McGuigan’s Lucky Number Slevin, and received a BAFTA nomination in 2010 for his work on Julian Jarrold’s telefilm Red Riding - 1974. Resource reached out to Hulme to hear more about his interest in photography, his methods, and his experience editing for photographer-turnedfilmmaker Anton Corbijn’s Control and more recently, The American.
HOW DID YOU BECOME A FILM EDITOR? When I was a teenager I realized that I didn’t want careers advice, I just wanted to do what made me happy. Art made me happy. This lead into photography, and this in turn lead onto filmmaking. I undertook a degree in Fine Art that allowed me to make the sort of films I enjoyed. All was fine until I left college and met the real world—quite a shock. I had to look at my skills and apply myself to making a living. Editing was something I’d spent a lot of time doing. It’s a solitary pursuit, one designed for people who enjoy isolation, concentration, and roaming around the inside of their head trying to make order of the world. That was me. Most people I knew wanted the glamour jobs of camera or directing, but I enjoyed the darkened room and the lack of socialization. It was a total coincidence that the very first job that came along was as a trainee editor at the BBC across the road from college. I don’t think I’ve ever looked back. HOW DO YOU APPROACH EACH NEW PROjECT? Every job is different but the approach is always the same. It’s like circling a wild animal. I start from a distance, get a wide sense of the subject, what its habits are, what its strengths and weaknesses are, then slowly move toward it. I read the script early on and give my comments. I’m usually quite blunt because I see no point in being polite if something just isn’t working. Directors, writers, and producers can take or leave the information I give them. I mostly try to foresee what problems will occur in the edit and weigh that up against what the director tells me of his or her approach to the film. I like to be proved wrong though and find out that something I thought was never going to work turns out to be amazing. That’s when filmmaking is best, when you are surprised—it keeps everything alive—otherwise you just end up with formulas and very dull, uninventive films. If the three-act structure that’s taught
was infallible, then anyone could make films. The best films are the ones that break the rules. Going back to your question... I start cutting from day one of the shoot. I assemble, give feedback as the film progresses—usually out of sequence— and try to find the natural rhythms and drama. Usually three or four days after the shoot, I have an assemble of the whole film. It’s usually an unwieldy watch and can tip directors over the edge when they view it for the first time. It’s only been worked on in segments so rarely will it flow as a whole. I then start the director’s cut, which can take up to ten weeks. After that the producers, studio, execs, tea ladies... everyone gets involved and the director and myself have to decide which of their comments, criticism, and notes we think help the film. This is always the most interesting and most difficult part. DOES YOUR EDITING APPROACH DIFFER BETWEEN DOCUMENTARY AND NARRATIVE FILM? It has to differ as the ways in which the two are made differ. With documentary you often have to find the story in the rushes. This involves grouping together interviews and subjects, and exploring the links between them. With drama, the script has a tight structure and the work comes in nuancing, in following threads and lines through the film, the changes in performances, often reinventing scenes. The script is the idea, the production is the realization, and the edit is the reinvention and rewriting. OF ALL THE FILMS YOU EDITED, WHICH PROjECT ARE YOU MOST PROUD OF AND WHY? Red Riding - 1974 . It was a perfect blend of design, cinematography, editing, and sound work. The director let me have free reign, and we created a dark sinister world with the use of sound design and musical elements. Not only was the edit a pleasure, I got to design much of the sound with Paul Schutze, a composer and sound artist I work with on occasion. It’s my favorite way of working—not just editing picture,
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handling sound and music simultaneously. The process of film editing becomes like weaving a rope with all these different strands intertwining with the narrative.
QUOTE #1
Editing is about inspiration for me. I want to push the material, find something original and unexpected, surprise myself and the director.
QUOTE #2
There’s no doubt that Anton is a brilliant photographer, and I tried hard to do his images justice, to let them breathe, and to let the viewer watch them both as part of the story and as utonomous.
QUOTE #3
Every job is different but the approach is always the same. It ’s like circling a wild animal.
Do you have any influences or inspirations that inform your editing? I find music and sound to be the most influential aspects to editing; they lead the emotions and can be quite overwhelming. I tend to work with self-made sound elements to create atmosphere and mood, and to shape the film with dynamics. It’s useful, even if you drop them all later on, to get across how you see the film and the intention you want to give. Many editors use other scores to temp with, but I find this difficult as the music is shaped for scenes that are not your own, which skews the film for me. How much direction do you seek from your director? I need a lot of direction, but I like it sporadically. I prefer the director to look at the film from distance, to go away between cuts, clear their mind, and see the film afresh each time. Ideally they should keep their notes general and not get into the detail of individual cuts, unless necessary. In practice this never happens, especially with first time directors who want to watch every cut and know why you make the decisions you make. What do you most enjoy about editing? First, I love creating something new, finding juxtapositions that were never intended. This is really what I call magic—when you have material at your fingertips and you see possibilities and combinations that open up new worlds. Editing is about inspiration for me. I want to push the material, find something original and unexpected, surprise myself and the director. Secondly, I love being in control of a world. It’s kind of childish, but I do a job that is fundamentally about moving blocks around a screen, and how childish is that? I love the feeling of creating an atmosphere and of telling a story, of being able to wind in a character or let a feeling loose. It’s all very addictive actually. I’m really a power-crazed dictator whose world is shrunk to the size of a computer screen. Can you describe a memorable editing moment that changed your perception of the craft or your methods? I think editing Control was something of a revelation. I’d never cut anything quite as observational before. Anton just wanted to watch the character act in the space. I was really worried that it was too much but the interest in Ian Curtis’ character meant that the viewer was just happy to watch. Anton didn’t want there to be any easy answers. The audience was left to make up its own mind. I think before that I’d got into a habit of letting music dictate the emotion and drive the film, but Control made me realize the strength of storytelling by observation.
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Describe what it was like working with Anton Corbijn. What was most interesting was that I’d never edited a film in black and white before. I remember watching the rushes in a completely different way from usual. Sure, the composition was exceptional, but there was something extra going on that had to do with black and white itself. I was able to really study the image properly, to let my eye roam all over the screen and take the image fully in. I can’t really explain the effect very well but it was akin to being in a gallery and looking at a painting. The pace of that film is entirely down to this phenomenon—the shots are cut as long as it takes for the eye to absorb the picture. There’s no doubt that Anton is a brilliant photographer, and I tried hard to do his images justice, to let them breathe, and to let the viewer watch them both as part of the story and as autonomous. So often with commercial films the images are just fodder for the stars and the story; conversely, art house films are often too reverential to the image. I hope we got the right balance. I would say that Anton was focused but open-minded. I think he was ready for a new experience and willing to let the experienced people around him lead him through it. I’ve seen people fail at this because they just weren’t open-minded enough. Anton is not one of them, and as such has succeeded beyond what was expected of him. How do you compare directors with experience based in photography to those without? Photographers are solo artists. Film is a collaborative medium and it’s sometimes difficult for them to understand that. I’ve also found that many photographers are hung up on image rather than story or sound. They often don’t understand that story usually dictates what stays or goes in a film and that, as filmmakers, we are beholden to it. A film is made of many elements, and to be a good filmmaker you have to try to understand—if not love—them all. If the director’s love is only for images, then he’s not really a filmmaker in my mind. There’s so much more that goes into it. There are many arguments in the cutting room. With photographers-turned-filmmakers, the argument often comes down to whether shots should stay in the film or not. My standpoint is that if it doesn’t help the story and is holding the film up when the audience needs to move along, then it’s gone. We shouldn’t really be looking at individual shots in a film; it’s about the cumulative effect. But photographers often think, “I shot this, therefore it’s important and has to go in the film.” Someone has to be the bad guy, and it’s usually me.
SPECIALITY
By Jeff Siti I Photos courtesy of the Philadelphia Police Department
here is a driver-side door from a Philadelphia Police Department cruiser in the middle of the office, leaning against a pole. It would seem out of place anywhere else, but it doesn’t seem odd here. As I’m led toward that car door, its purpose is made clear—it acts as a sort of vigil for a fallen officer. You can’t see the bullet holes from a distance; only up close can you see and feel the perfect holes created by the several machine gun rounds a maniac sent into the officer who was in the car at the time. I’m told that where I’m standing—nearly close enough to touch the door—is not much closer than where the shooter was. The halls are lined with black and white and color photographs, packed together like an old deli. Some images are innocent enough: officers and paramedics working crime scenes; a detective holding back a hysterical family member; several shots with Inspectors Terry Lewis and Edward Fidler, who I’ve been speaking with. Further along come a number of gruesome images that I didn’t expect to see out in the open: a close–up of a man’s face, strangled to death; a woman so completely covered in blood it’s impossible for an untrained observer to imagine the cause of death; a young man with a bullet hole in his eye. These images speak clearly about the work being done here. They are the last things I see before leaving, and they coldly verify everything I’ve been told. There are roughly six shootings and one murder per day in Philadelphia (at the time of this interview in April 2012). Officers Lewis and Fidler, both police veterans, are members of a crime scene investigation unit that covers high-profile murders, police discharges (any time an officer fires their weapon, regardless of the result), and internal affairs investigations. Unlike many other units throughout the country, their responsibilities do not end with photographing the crime scene, but rather span the entire process of documenting it, including all evidence collection, DNA swabs, and finger-printing. Having complete responsibility and control makes them more effective in the courtroom, which is where their work’s merit will ultimately be judged. “Whenever I work a scene, I’m always thinking of the trial,”
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Inspector Fidler says. “And I always overshoot.” Depending on the location and the amount of evidence, they generally shoot between 75-100 images, most of which are never seen but are necessary to tell an entire, linear story. Overshooting is no longer a problem now that they’ve gone digital, but little more than a decade ago, police departments were still mainly using black and white, manual film. “Documenting a crime scene for any possible contingency” seems to encapsulate the job. Shots are taken from multiple directions and angles, from a distance, at mid-range, and close-up. Evidence must be presented in relation to the scene so prosecutors, judges, the defense, and the jury can clearly visualize the lay of the land. If someone witnessed the crime from a certain direction, images must be taken from that vantage to either confirm or disconfirm that testimony. Inspector Lewis says he even photographs gawking neighbors and crowds—criminals often return to the scene of their crimes. Switching to color photography initially presented problems in courtrooms, with many judges believing that graphic color images would be prejudicial against defendants. At first, for more extreme cases, sketches based on the photographs were presented to juries. Having seen some of the censored images, it’s easy to imagine how an emotional juror could react to the inhuman violence shown and be lost to reasoned deliberation. Understanding how a black and white image acceptable for newspaper publication can be too ghastly shown in color for jurors proves to be evident enough when
*If you don’t know who Weegee is, turn to page 192.
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the photographs are seen side by side—the difference is striking. Going digital also brought the possibility to more easily tamper with the photographs, thus distorting evidence. The Philadelphia police put up a 3-fold back-up system in place: everything is archived on disc, then given to a technician to be archived at Philadelphia’s Science Center, and finally archived in the department’s main server. Investigators often keep their own external hard drives as well. Time, date, and location stamps are present on all images, along with the investigator’s information. Originals are never altered; in their words, photographs can be “enhanced, but not manipulated,” with simple contrast alteration or arrows and text indicating a key piece of evidence being the limit. Enhanced images are always presented along with the original version to avoid any misunderstanding. Courtrooms are where the results of this effort are seen, and where the prosecution meets its newest adversary, what they call the CSI Effect— TV shows give jurors false expectations of how the process works, and criminals too much information on how to beat the system. This brainless leaching has dumbed-down jurors, who have been overheard muttering things like, “Well, I know they can get DNA results faster than that…” At the opposite end of the spectrum, I n s p e c to rs L ew i s a n d F i d le r re ca l l a criminal who dug bullets out of a wall with a spoon to retrieve the slugs that could have been used to identify his weapon. While television shows portray technicians doing very cool work and getting results in what seems like days, the reality of crime investigation is very different. It often takes a year or more for a case to go to trial, during which time, unbeknownst to jurors, investigators are working on multiple cases.
1990’s Fuji FM2 (manual)
2000ish Nikon D90 (manual) 2003 Fuji S2 (digital)
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What would seem a positive aspect of the CSI Effect is the increased interest in crime scene investigation as a career choice. The problem, however, is that young people are basing their opinions on the same inane shows that are warping many trials. Inspector Fidler is adamant on this issue: “Universities are stealing money from people. Stealing it.” He’s referring to various “forensic science” courses now being offered around the country, very few of which, the officers agree, will prepare anyone for what they do (the well known “Body Farm” at the University of Tennessee being one exception). Their advice to anyone interested in crime scene investigation is to study biology, not forensic photography, as DNA is the future of investigation. Throughout our conversation, Inspectors Fidler and Lewis are open, revealing, and funny, but it’s evident they find nothing amusing about the tragedies they document. They don’t just see the framed images on the walls, they’re the ones shooting them. They work in the cramped basements, alleys, overgrown fields, blood-soaked living rooms—unmentionable places for any human being to spend their last moments— but their work remains thankless. Around the time of this interview, on the side of an abandoned store just outside of Center City, a thoughtful citizen spray-painted “NO MORE COPS!!” Every few days I would swing by the corner. After two weeks, the t a g re m a i n e d untouched and I began to g row we a r y , then furious that people did nothing. Eventually someone c o v e re d u p the “NO”… but it took far too long.
VIDEOGRAPHY
By Ross L. Hockrow Images courtesy of CineStories
I’M ABOUT TO SHARE MY MOST PRIZED SECRET IN FILMMAKING. AS I WATCH EACH LETTER APPEAR ACROSS THE SCREEN, IN THE BACK OF MY MIND THERE IS A VOICE SAYING, “NOOOOO!” IF I WERE A MAGICIAN, I’D BE BANNED FROM MAGIC FOR TELLING MY MOST VALUABLE TECHNIQUE. IF YOU’VE EVER ATTENDED ONE OF MY CLASSES OR VISITED CINESTORIES. COM, THEN YOU KNOW WHAT I’M ABOUT TO SAY: FILMMAKING STARTS WITH STORYTELLING. STORIES ARE EVERYTHING. CINEMATOGRAPHY WON’T SAVE YOU, AND EDITING WILL ONLY PATCH THE WOUND OF A TERRIBLE STORY. IF FILMMAKING STARTS WITH STORYTELLING, THOUGH, WHERE DOES STORYTELLING START? GOOD QUESTION, AND IT’S THE ONE THAT SEPARATES THE IDEA GUYS FROM THE EXECUTION GUYS. STORYTELLING STARTS THE EXACT SAME WAY THIS ARTICLE STARTED, WITH A BLANK PIECE OF PAPER. MOVIES START WITH SCRIPTS, AND SCRIPTS START BLANK. NOW THIS ROSS HOCKROW SECRET CAN’T HELP YOU WITH THAT BLANK PIECE OF PAPER, BUT IT WILL ADD INTRIGUE TO ANY FILM YOU PRODUCE. WEDDINGS, EVENTS, BIRTH ANNOUNCEMENTS, SHORT FILMS, FEATURE FILMS… I DON’T CARE WHAT YOU’RE MAKING, NEVER FORGET “THE TOKEN.”
WHAT IS A TOKEN?
HOW IS IT DONE?
A token is a small object that has great importance to a character or the story. It often serves as a form of visual shorthand, able to quickly explain what a character cares about, as well as why the audience should sympathize with him or her. Let me give you some examples of how I’ve used it, how you can use it, and how you’ve seen it used.
your main character. S T E P Establish You need to humanize him/her one. and make the audience connect
I’m currently making a film about the guy who invented the first digitized non-linear editing system. When writing the script I decided to include the fact that he wears his father’s old wedding ring. This small ring becomes a huge part of the story. It has entire scenes dedicated to it. Although the ring is not the main story, it’s of great importance to the character. It’s a concept that the audience can easily grasp and connect with. (Speaking of rings, dear wedding filmmakers, if you haven’t figured out what your easiest target for a token is by now I’ll give you a hint: IT’S THE RINGS.) You’ve seen the token technique a million times in movies. A recent example is in The Hunger Games. The main character is given a pin she wanted to buy for her sister. We forget about the pin until she has to leave to participate in the games and her sister gives it back to her. The pin is referenced five more times throughout the movie. The story would be exactly the same without it (this is not always the case but it makes the point), yet the audience is reminded of it over and over again. Why? The pin (token) is now a “character.” It now has meaning. If you feel something for the character who’s holding the token, you feel something for the token. This is a very simple technique that goes very far in making your characters deep.
with them. Find ways to make them feel real to a viewer—it’s all about how we can relate to who we see on the screen.
ST E P two.
Establish your token. Show the token and find a way to inform the audience of its meaning. This may be as simple as showing it—that alone displays its importance—but sometimes a character may need to say a few words about it in order for the audience to understand what exactly it is. The pin in The Hunger Games required an explanation because by itself, the object means nothing. Wedding rings, however, need no words. We get it: they are symbols of commitment.
stablish the connection S T E P Ebetween the main character three. and the token. This can be done without words. A character can pick up a piece of lint and if the right facial expression is made while he looks at it, the audience will perceive the lint as meaningful. This is not a joke—it is more about the reaction the character has to the token than the actual token.
ST E P four.
Understand that once is not enough. If you introduce a token and then don’t reference it again at least three more times (this is for feature length, for shorts make it two times), then you’ve wasted your time. In fact, if you only reference a token once you’ll just leave questions, which is never a good thing. Milk the token for all its worth and then some. it home. You need to give closure S T E P Bring to the token just as much as to the story. five. Think of the token as its own mini story within the story; it needs to have a beginning, middle, climax, and ending. The best is to tie in the token with the main story and have a double climax. This is what I do now: I keep the token and the story separate for as long as I possibly can and then, BOOM! I smack the viewer over the head with a double climax. In any story, there is almost always a token. Try to make the object as small as possible (a home usually doesn’t serve the purpose, although it can if you write it correctly). The token should be something that can fit in your pocket—big importance for a small object produces big results.
NOW YOU H AV E T H E S EC R E T … don’t waste it. Ross L. Hockrow is a Washington, DC cinematographer. Want to know more? Visit www.GetInMotionTour.com and check out CineStories DSLR filmmaking tour. 40 cities, 4 1/2 hours, cheaper than film school.
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A VETERANS TALE
A Sasha Maslov Project
EMERGENT
By Janet Alexander Connected, but separate—this is how Ukrainian photographer Sasha Maslov views the subjects of his portraiture series, Veterans. A recent transplant to Brooklyn, New York, Maslov traveled back to his home country, as well as to Russia, Poland, Austria, and Italy to photograph veterans of WWII—a population of great historical significance that is quickly disappearing. Surrounded by pieces of their distant past, subjects are posed in their personal space to contextualize vivid memories in relation to their present outcomes. “I’m telling their stories to show what they became after the war. I’m fascinated by the differences between people who experienced the same enormous conflict.” The photographs challenge us to engage with those who’ve fallen out of consciousness—as Maslov explained, “Older people get less attention; not many want to talk to them about WWII, but they’re eager to talk.” With plans to photograph in England, Germany, France, Japan, North Africa, and possibly even Saudi Arabia, Veterans won’t be debuting until April 2013 in St. Petersburg. Maslov is also in the process of assembling documentary video interview footage from a selection of his photography subjects.
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Sasha Maslov: www.sashamaslov.com
Help Sasha complete his project. Go to his Kickstarter page: http://www.kickstarter.com/projects/1954619173/veterans
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MOBILE PHOTO
The mobile photography OF ISABEL CRUZ
Words and Photos by Isabel Cruz
What drew you to mobile photography? At first it was the convenience. I used to always have a camera with me, but it was uncomfortable due to its size. My mobile phone is with me at all times so I never miss an opportunity to take a picture. It also adds a degree of “invisibility.” I think that a camera is intimidating and the scene can change when people see one. A mobile phone is less noticeable and allows you to take pictures more discreetly, which helps keeping the moment true. Later, the endless editing possibilities on smartphones, which let you immediately play with the picture and get astounding results, practically turned the phone into an addiction.
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Where do you think this medium is going? I can´t even imagine how far it will go. When the first mobile phones with camera were introduced, I don’t think anyone thought they would become a tool that would replace stills cameras. However, the technical characteristics that most mobile phones have today allow us to take pictures with surprisingly good quality. The final result—the moment that is captured, the content and message of the image—is what has a value. It would be absurd to not appreciate the image because of how it was captured. So, I believe (and hope) that mobile photography will be recognized by museums and commercial clients alike. In any case, I think that sites such as Eye’em or eyephoneography are paving the way.
“I believe (and hope) that mobile photography will be recognized by museums and commercial clients
alike.”
What did you use to take these photos? And how you manipulate them? They were taken with an iPhone; some with Hipstamatic, and others were manipulated with Lo-mob or Picture Show.
Check out my work at: www.pictophotonotes.wordpress.com www.eyeem.com/u/picto
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I don’t believe you get to know a person if you’ve only seen their portrait, or read a bio they wrote themselves—they’re probably trying to smile so you’ll like them.
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Words and Photos by Jeff Brown
Photography peaked my interest back in high school, when I was called a “fascist” for not agreeing with the high school newspaper staff photographer (at that time, I had as much of a clue as to what a fascist was as I did about photography).
Portrait photography: Jeff Brown
RISING IN
I was born and raised in Antelope, California. There weren’t any Antelope there; it was a suburban area, next to a place that was supposedly the meth capital of the world. The place was also famous, for a day, when Bill Clinton ate a chilidog there.
Jeff Brown: www.jr-brown.com
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AWARDS
THE NEXT
E
HOW TO DISCOVER
AVEDON
SVA 5th Year Photo Awards
?
Intro by Janet Alexander I Photos courtesy of the artists
very spring, New York’s School of Visual Arts (SVA) hosts the 5th Year Photo Awards, named so in reference to the gap between the fourth year of school and the “real world.” Spearheaded by Gotham Imaging, the contest is open to all graduating SVA seniors and was born out of the desire to help new talents find their way to a successful career.
This year, Peter Berberian from Gotham asked Resource to get involved in the contest. Since Editor in Chief Aurelie Jezequel never tires of looking at images, she agreed to be one of the judges. The award is only in its third year, but with a grand prize that includes a portfolio (prints courtesy of Gotham Imaging, while the book itself is offered by Brewer-Cantelmo); rental gear credit vouchers from Fotocare; meetings with reps, art producers, and photo editors; a posting on FeatureShoot.com, and a spread in Resource, the contest is increasingly proving itself a valuable breakout opportunity for emerging, young talents. Along with Berberian, portrait photographer Tony Gale, National Geographic photographer Ira Block, still life shooter Spencer Jones, Real Simple Photo Editor Brian Madigan, Aurelie enjoyed the deliberation process and recalls, “It was interesting to see how our personal and professional backgrounds shaped our responses to the images.” And without further ado, the winners are…
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Brittany Cohen: www.brittanycohenphotography.com
Brittany Cohen, “Adolescence” The natural curiosity of sex starts when we are children, but never ends. We are innocent and naïve, thinking that things will never change and we will never grow up. Eventually, reality sets in; the desire we had for toys is now the desire we have for another being. The fetish experienced during childhood was about excitement caused by innocent objects that triggered a feel-good reaction. The fetish in adulthood is based on objects and body parts that arouse sexual excitement and satisfaction. As we grow up, we are usually taught to suppress sexuality, so as adolescents we often feel that it is taboo to be open. The easiest way to address sex in turn is to joke about it—if one does not feel comfortable about something, he or she laughs about it. Sex is funny because humans like to poke fun of the way they are. The intention of this project, Adolescence, was to grab viewers’ attention with playful and humorous imagery that draws them in further. The photographs feel uncanny—familiar, yet still leaving a strange taste in one’s mouth. The viewer may realize that a group of balloons may not just be a group of balloons, and a doll may actually be an exotic dancer. The idea of receiving sexual pleasure and the feeling of being young again are two of the most desirable experiences. This is why both are used heavily in advertising. Familiar imagery can bring one back to his or her childhood; suggestive images bring a person to the place where erotic thoughts reside. If advertising is about creating the most pleasing formula to seduce the viewer, why not combine two of the most desired things in one image: sex and youth?
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SARA MAYKO, Artist Statement He came to me when I was nine years old. I can still feel the warm summer breeze, grazing my skin as we basked in the July sun for hours. The trees whispering to us with their green leaves, awaiting his arrival. Walking barefoot through the grass, patterned to the way my footprints flattened the blades, stepping over bees as they buzzed back and forth. I remember gathering buttercups for him, shielding my eyes from the late afternoon sun as I frequently peered into the window at our grandmother’s consoling face. Every time I heard a faint motor echoing from the distance, I’d race back down our hill and hope it was finally him.
As the summer sweat trickled down my neck, I remember running into our house, into the room next to mine, the empty one where I believed the silent ghosts were residing and observing. These beryl walls now held a cradle, with a hanging mobile in the shape of a hot air balloon slowly twirling. I lay on my back, next to the crib. My fingers brushed the fuzzy weaves from the indigo carpet beneath me as I watched the blue crepe curtains billow over my kneecaps from the draft of the opened windows. When I ponder memories of my childhood, this afternoon is the only vivid one I can recall.
Sara Mayko: Maykosara@gmail.com
As a nine year old, I’ve waited for that moment since I was six. My father and I actually had something in common for once: anticipation and excitement. Only he had the privilege of experiencing it first. I had to be patient.
I remember my grandmother hobbled down the stairs of our raised ranch, calling across the wild lawn: “Any minute now, darling; any minute now.” As she finally reached me at the bottom, grabbing my sweaty palms to hold my hands, she caressed my sun-kissed skin, hummed, “I love you,” and sat next to me, in the grass, patiently waiting.
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Nir Arieli, “Tension” For this project, I functioned as a “visual choreographer” and created a unique language of movement, which was the outcome of a verbal dialogue between the dancers and I. Photography’s inherent power lies in its ability to capture a single moment, whereas dance captures a series of continuous movements—in my work I try to combine the quintessential essence of these two art forms. I experimented by layering several images, one on top of another, searching for intriguing combinations. The layered images let the viewer contemplate the various movements and newly formed abstractions that the human eye could not normally see.
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Nir Arieli: www.NirArieli.com
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Photojournalist Michael Christopher Brown BREAKING IN
Michael Christopher Brown: www.mcbphotos.com
By Aimee Baldridge Photos by Michael Christopher Brown
Over-caffeinated creative directors may insist that the fate of humanity hinges on getting that ad shot, and your favorite photo editor may purr that your conceptual fashion spread will shift the course of history. But let’s get real. It’s photojournalists who capture the images that really need to be seen. We talked about what it takes to work in the field today with photojournalist Michael Christopher Brown, who, still in his early thirties, has seen his images published by major media outlets during a career that has taken him to Chinese back roads, Russian isles, and the 2011 conflict in Libya.
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A young photographer told me recently that he decided not to go into photojournalism because he thinks the increasing quantity of images generated by nonprofessionals will make it obsolete. What would you say to him? I think he’s been reading too many articles and is making excuses, or is just genuinely not very interested in photojournalism. And both are fine; it’s not a field for the skeptical. It’s like bookbinding: it should be done for the love of it, despite the lack of money and work, and despite the future of it.
“Before I was largely being used by photography and now I intend to use it more than it was using me.” an American, their fight for freedom (for lack of a better word), and what they risked and lost, touched me in a way I hadn’t felt before. You’ve used a camera phone for some of your work in Libya. Some people think using a mobile app is unethical for a photojournalist, because the look it creates is a form of editorializing or aestheticizing that isn’t appropriate for the genre. What is your perspective?
using an iPhone with Hipstamatic in Misrata. So were Ron Haviv and Ben Lowy while in Tripoli. The people saying it’s unethical are largely the couch-surfing or coffee-shopgoing photographers and critics; they have a right to their opinions, but they’re not in the arena. To make a living today, photojournalists often have to put together a combination of income sources. How should young photographers approach this?
That said, there is a certain craft one develops as a photojournalist that an amateur is not able to replicate. One becomes a journalist and a photographer, both themselves a craft and an art. One becomes an expert in doing this, an independent voice with a certain credibility: “I was there, and this is what I saw.”
You’ve been wounded during the course of your work, notably during the incident in Libya that took the lives of Tim Hetherington and Chris Hondros. Did that change the way you approach your work? In terms of practical measures, I recently took a RISC course in New York that taught basic combat medical training, the essentials for anyone going into a war zone. I feel foolish for not having this training before, though when I first went to Libya I didn’t expect to photograph a war. In terms of the meaning of what I do, I can say that yes, thinking I might possibly die while losing 45% of the blood in my body, with shrapnel nearly piercing an artery and lung, I now look at the world differently. Before I was largely being used by photography and now I intend to use it more than it was using me. The difference is between wanting and needing, absolutely having to make pictures. The strongest pictures in my short career were in Libya, and it wasn’t just because I was photographing a war. I connected with these people—a people I didn’t know at all— in the deepest way. It might sound cheesy, but perhaps because I’m
What is appropriate? Using a Leica and shooting black-and-white film, then developing, dodging, and burning? Or using a Canon 5D and shooting in RAW, recording a flat, grayish image, and then correcting it, perhaps adding some vignetting and selective toning? Just by, for example, using a wider aperture and black-and-white film, one is editorializing. So is it unethical to use Hipstamatic, which creates a look where everything is in color and in focus? Which seems more “realistic”? Libyans have seen these pictures and approve of them. The late Tim Hetherington, among the best war photographers in the world, was
Exactly as you say: by doing a number of things if they have to. To give a brief rundown of what I’ve done: tried to photograph for my high school newspaper (they wouldn’t run the pictures). Tried to photograph for two college newspapers (they wouldn’t run the pictures). Photographed for a college magazine (they ran some pictures). Photographed sports for a weekly newspaper in my hometown (they always cropped the images terribly). Interned at the State JournalRegister in Illinois for a year (much better publication), then at National Geographic. Began working for them and other magazines, but mostly after working in New York for a year, often for The New York
Times and Getty. Throughout this time I’ve shot weddings, annual reports, corporate portraits, and other commercial-type photography. A photographer who knows what he or she wants must go after it. I know this advice has never been given, but: never give up. What do you love most about doing what you do? I like to think of photography as being like working in a studio. I could be drawing or painting or making something with my hands, but I use a camera, which is another tool. If I think of it this way, my mind isn’t limited by the camera, by the frame, by the picture-taking process and the field of photography. With that limitation gone, the world becomes a much bigger place. What I do is about life, since I’m a human being before I’m a photographer. What do you think are the most important qualities and skills for a person to have in your line of work? When I think of, say, Tim Hetherington or Chris Hondros, both of whom represented the pinnacle of photojournalism and documentary photography, I don’t think of their pictures as much as the great men they were. When we die, as photographers we leave the public with our imagery. But as humans we leave our immediate family and friends, colleagues, and followers with a more intimate memory of who we were. One’s most important qualities and skills as a photographer depend on how one wants to be remembered. The better person you are, the better photographer you should become. More specifically, stay curious and open and interested in yourself and others, continue asking questions, and continue to grow. The “Breaking In” series asks successful young professionals in photo-related fields about what it took to get into their line of work, what it’s like to make a living doing what they do, and how they made the transition from student days to working life. You can find more “Breaking In” articles and a wealth of other resources for photography students, educators, and emerging pros at MAC-On-Campus.com.
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RISE: BREAKING-IN-”Photojournalist - Michael Christoper Brown” Page 141
BANDWIDTH
AND CONNECTIVITY
By Clint Hild from Bitfire, Inc.
ONE GOAL OF ADVANCING ANY TECHNOLOGY
is to save precious resources. Time is a resource that is arguably one of the most elusive. Being on the cutting edge of peripheral connectivity options can literally save days worth of time annually for many—especially the digital technician. We are required to make multiple copies of massive amounts of data on a shoot. Maintaining 3 copies of a 2000 file job from a 45 megapixel camera at the pace of fashion and beauty shoots these days is only possible by using the highest bandwidth connectivity available when running backups. The breakdown is simple: the theoretical peak bandwidth or speed limit for all connectivity is measured in bits per second. There are 8 bits per byte. USB 2 is roughly 480 megabits per second, which equates to about 60 megabytes per second; FW800 is 800 megabits or 100 megabytes per second; eSATA is 3.0 to 6.0 Gbits or 375-750 megabytes per second depending on the drive; USB 3 is 5 Gbits or about 625 megabytes per second; and Apple’s Thunderbolt port is 10 Gbits or 1.25 Gigabytes per second. USB 3 and Thunderbolt are not common yet, but an eSATA* connection has been around for years and is over 3.6x faster than FW800. Let’s assume our data travels at the maximum cable speed. How long would you rather wait to copy the same 100 gigabytes of data? 16 minutes and 36 seconds over FW800, or 4 minutes and 30 seconds over eSATA? Cable type is only one part of the equation. Source drive combined with destination drive speed follow the idiom, “a chain is only as strong as its weakest link.” In other words, the overall data transfer speed is only as fast as the slowest component of the network that data is transferred over. So if your source drive is slow (i.e. an Optical Disk), then you won’t notice much difference between a USB 2 connection and a FW800 connection.
I can’t wait until drives catch up with the Thunderbolt port. A theoretical peak of 10 Gbits per sec is over three times faster than eSATA. At the full 10 Gbit per second, 100 gb would copy in only 82 seconds. Soon, the digital tech may not be the last person to leave set!
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*eSATAp is a combination port of USB 2 and eSATA. It can provide 5V or 12V of power to an eSATA device, as would any USB 2 port. However the eSATAp interface is not formally approved by either USB or SATA organizations as the power may damage some legacy eSATA devices.
www.bitfireinc.com
But if you’re transferring between two high-speed SSD drives, or a multidisk RAID, the difference will be palpable thanks to the higher throughput of all the components involved. You’ll wonder what in the heck you were waiting for before. Sometimes other factors come into play when choosing one connection type over another, such as bus power and port availability. Most new laptops do not have the capacity for an eSATA port. I have an eSATA ExpressCard for one of our older laptops, but even then, eSATA does not provide bus power* and it’s often impossible to have AC power on location.
C O M I N G J U LY 2 0 1 2
RETOUCH THAT
THE PRINCI Texture anPLES OF DEPTH d Overlapp ing (part 4
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took a trip to the Dolomites in North-Eastern Italy where, after taking a few snapshots, I found that conveying such a dramatic landscape through the limitations of a flat photograph was a great formal exercise. After a few unsuccessful shots, I managed to find a textured foreground and a few choice overlapping peaks. This particular view is a good example of the depth cues I’ve been talking about; all seven cues are working together to produce a mountain range that appears as if it starts at your feet and extends for hundreds of miles to the horizon. Depth cues are visual elements that tell our brains how deep any given space might be. They are essentially optical illusions that can be created with careful camera positioning or through image enhancements and modifications in post. In parts one, two, and three of The Principles of Depth series, I covered the first five depth cues; this final chapter focuses on Overlapping and Texture.
Texture
One of the most prominent depth cues at play here is texture. The large chunky rocks in the foreground and the fine textured rock in the distance provide an excellent transition for the eye (see the cyan colored arrow). There is a gradual shift in scale and one can compare the texture of the rock throughout all distances in the image. Note that there is also a tree texture in the middle ground, but that texture doesn’t fit so well—its transition from large to small texture is not constant enough for our eye to perceive much dimensionality out of it. One simple way to enhance textural depth is to process your images in Camera Raw in two or three passes. This is exactly what I did in the Dolomites photo: I increased the clarity, contrast, and sharpening sliders to accentuate the texture in the foreground, while the background was reprocessed with no sharpening, no clarity, and minimal contrast. The color temperature was also cooled 150 Kelvin to help augment the atmospheric perspective. In the middle ground (the rock outcropping on the left), I set all the camera raw sliders at half the settings used for the foreground and background. (If you take a close look at a painting by a Hudson River School painter like Thomas Cole or Claude Lorrain you will see the same technique. They used similar texture relationships—large brush strokes in the foreground with small blended strokes in the background.)
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n’t era Raw. Do m a C m o fr shop nd art Object a bject in Photo m O S t e r a th m k S ic a cl s right inal age a pen your im sure your orig trol+Click or n O in o l : g il C w in d n a ss e o ce ti st o r +J. In uplica *Tip for rep h Command menu. This d l it a w tu r x e y te n la co ch e opy from th your image. duplicate ea C ss ia ce o V r p ct je re b u art O me yo select New Sm ings will not be lost each ti sett Camera Raw
CYANJACK: www.cyanjack.com
Overlapping
Depth can also be defined by the spatial relationship between objects. How they overlap determines which one appears in front of the other. Each overlapping object produces a new plane of depth in the image. Look at the stacking effect that occurs as you compare the overlapping ridges receding into the left section of the horizon marked by the green arrow. The repetition of overlapping shapes, as well as the shifts in hue, elevates the image beyond an overly simplistic foreground, middle ground, and background relationship. They give the sense that the mountains exist in a large expansive space. To draw out even more separation in the image, I darkened the overlapping line underneath the green arrow with a curves adjustment layer. This small move brought out a distinct separation between foreground and middle ground. The key to great camera work and retouching is first and foremost the ability to “see.” What does this mean? The tools and techniques are simple, but you’ve got to know which strings to pull and how to pull them. Hopefully, The Principles of Depth articles are a practical point of reference and a quick start guide for photographers and retouchers alike. If you missed the earlier articles, make sure to snatch up those back issues... Until next time, ciao.
RISE: RETOUCH THAT-”Texture and Overlapping Part 4 of 4” Page 145
FOTO CONTEST
Resource Resourc
asked students from AUCB, a British art school, to shoot a “classic New York City street portrait” during their stay here. This is the winning image by Mark Leaver. “It’s safe to say that New York caught me by surprise. It’s a place I’ve wanted to visit for as long as I can remember, and it did not disappoint. Documentary photography and portraiture have always been two of my favorite areas within photography, and the life and buzz of New York really gave my work a new spin which I will take with me.” Mark Leaver: www.mdleaverphotography.tumblr.com
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AUCB: www.aucb.ac.uk
NE RK ST REET PO RTRAIT NEWW YO YORK STREET PORTRAIT
GUIDE TO
PHOTOGRAPHERS
EQ RENTAL
2012 BY jEFFREY ZUSCHLAG
Your car races down the highway, the hum of the engine only drowned out by the sound of the seconds as they count down. You’ve got a deadline, a project, a far-off location, and a plan. The journey has been long, the task is daunting, but as your exit approaches, you can’t help but smile. You know just who you are. You’re a photography machine; a shot-making, image-taking, fullyequipped super-artist, ready for everything and anything this shoot might throw at you. Or, so you thought. Turns out, you left your lenses back in your apartment. 1,000 miles away. Again. It’s tempting to panic at this point. Really tempting. Actually, you know what? Go ahead and panic a bit. It’s cool, let loose for a second. And then get a grip on yourself—everything is going to be fine. The sharp eyes and sharper minds at Resource Magazine are here for you. We’ve compiled a carefully researched list of Equipment Rental companies across America, just in time for a busy summer shooting season. So no matter where your travels take you, this guide will make sure that you’re never short a lenses, and never lacking a back. That way, you can focus on more important things. Like how you also somehow forgot to pack sunscreen. Hope the models enjoy being photographed by a lobster!
CALIFORNIA LOS ANGELES
ARIZONA MP & E ADDRESS: 16585 N. 92nd St. #B104 Scottsdale, AZ 85260 PHONE: 480.596.6699 EMAIL: phoenix@hdgear.tv WEBSITE: www.hdgear.tv
TEMPE CAMERA ADDRESS: 606 W. University Tempe, AZ 85281 PHONE: 480.966.6964 EMAIL: rent@www.tempecamera.biz WEBSITE: www.tempecamera.biz
CALUMET LOS ANGELES ADDRESS: 1135 N. Highland Ave. Los Angeles, CA 90038 PHONE: 323.466.1238 WEBSITE: www.calumetphoto.com
CALUMET SANTA ANA ADDRESS: 1430 S. Village Way Santa Ana, CA 92705 PHONE: 714.285.0143 WEBSITE: www.calumetphoto.com
CASTEX RENTALS ADDRESS: 1044 Cole Ave. Hollywood, CA 90038 PHONE: 323.462.1468 EMAIL: service@castexrentals.com WEBSITE: www.castexrentals.com
DIGITAL FUSION ADDRESS: 3535 Hayden Ave. #100 Culver City, CA 90232 PHONE: 310.253.9008 WEBSITE: www.digitalfusion.net
EDGE GRIP ADDRESS: 1388 S. Longwood Ave. Los Angeles, CA 90019 PHONE: 323.934.3300 EMAIL: rentals@theedgegrip.com WEBSITE: www.theedgegrip.com CONTACT: Tyson Smyer HOURS: 9am-6pm, 7 days a week EQUIPMENT: Camera, Digital, Expendables, Grip, Light, Production Supplies, Studio SPECIAL AMENITIES: Complete service 3,500 sq ft studio and full grip/lighting rental house. Centrally located in Los Angeles, EDGE Studios and Grip provides an intimate production experience.
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DPI ADDRESS: 5225 Wilshire Blvd #719 Los Angeles, CA 90036 PHONE: 310.597.6448 WEBSITE: www.dpi-digitalphoto.com
OTMFC ADDRESS: 614 Moulton Ave. Los Angeles, CA 90031 PHONE: 323.227.4700 WEBSITE: www.otmfc.com EQUIPMENT: Camera, Expendables, Grip, Light, Production Supplies
PIX ADDRESS: 217 S. La Brea Los Angeles, CA 90036 PHONE: 323.936.8488 / 866.697.0081 EMAIL: rentals@pixcamera.com WEBSITE: www.pixcamera.com
SYNC ADDRESS: 5911 Santa Monica Blvd. Los Angeles, CA 90038 PHONE: 323.285.5450 WEBSITE: www.syncproduction.com
WORKHOUSE PRODUCTIONS ADDRESS: 6368 Santa Monica Blvd. Los Angeles, CA 90038 PHONE: 323.791.7757 WEBSITE: www.workhorseproductions.us
SAN DIEGO CALUMET SAN DIEGO ADDRESS: 830 W. Valley Parkway #330 Escondido, CA 92025 PHONE: 760.737.6002 WEBSITE: www.calumetphoto.com
When in LA, Running Pixels has you covered. RUNNING PIXELS CONTACT: Erik Hillard PHONE: 323.259.9390 EMAIL: capture@runningpixels.net WEBSITE: www.runningpixels.net EQUIPMENT: Camera, Digital SPECIAL AMENITIES: Founded in 2006, Running Pixels offers superior customer service, hot-rodded equipment, detailed gear maintenance, and great overall quality.
If you are in need of digital services & equipment in Los Angeles, Running Pixels is an excellent place to start. With two full-time employees and an experienced team of professional freelancers, Running Pixels packs a big punch. Running Pixels customizes every equipment setup to fit the individual customer’s needs. “We work closely with our clients to help them choose the best camera and computer system they need for their project,” Running Pixels’ Erik Hillard explains. Thanks to its carefully maintained, topnotch equipment, and very tight focus on customer service, Running Pixels is a landmark in LA’s competitive market. When asked about the best part of working there, Erik answers, “Our clients—we have a great clientele who are fun to work with and bring interesting projects to the table. It’s always a great day working with Running Pixels.”
SAN FRANCISCO ADOLPH GASSER ADDRESS: 181 2nd St. San Francisco, CA 94105 PHONE: 415.495.3852 WEBSITE: www.gassersphoto.com
COLORADO JCX EXPENDABLES
ADDRESS: 2001 Bryant St. San Francisco, CA 94110 PHONE: 415.643.9275 WEBSITE: www.calumetphoto.com
ADDRESS: 3050 23rd St. San Francisco, CA 94110 PHONE: 415.824.4110 EMAIL: jcxex@pacbell.net WEBSITE: www.jcxex.com Equipment: Expendables, Production Supplies
DIGITAL FUSION
PRO CAMERA
PHOTOSPACE
ADDRESS: 3150 18th St. San Francisco, CA 94110 PHONE: 800.399.9146 WEBSITE: www.digitalfusion.net
ADDRESS: 1405 Minnesota St. San Francisco, CA 94107 PHONE: 415.282.7368 EMAIL: rentals@procamerarental.com WEBSITE: www.procamerarental.com
ADDRESS: 209 Kalamath St. #1 Denver, CO 80223 PHONE: 303.284.6057 EMAIL: studio@photospacedenver.com WEBSITE: www.photospacedenver.com EQUIPMENT: Camera, Digital, Expendables, Grip, Light, Production Supplies
CALUMET SAN FRANCISCO
MP & E ADDRESS: 2931 S. Tejon St. #B Englewood, CO 80110 PHONE: 303.789.1010 EMAIL: denver@hdgear.tv WEBSITE: www.hdgear.tv
FLORIDA MIAMI
Need Equipment? There’s an Aperture for That.
APERTURE ADDRESS: 385 NE 59th St. Miami, FL 33137 PHONE: 305.673.4327 EMAIL: apsrental@yahoo.com WEBSITE: www.aperturepro.com CONTACT: Sataro HOURS: Always open EQUIPMENT: Audio-Video, Camera, Digital, Expendables, Grip, Light
Florida hosts a number of equipment and studio outlets, but none stand out quite as much as Miami’s Aperture Professional Studios & Supply. The company was originally founded in ’93 by Howie Shneyer, a seasoned industry-veteran who has experience working with big names like Andy Warhol, Arthur Elgort, Irving Penn, and Annie Lebowitz. Now, Aperture boasts the largest drive-in daylight studio in the state (with a second one coming soon!), and a dazzling array of top-of-the-line equipment, for both video and photo shoots. Plus, the company is full of people who genuinely enjoy and care about what they do. “The [photography] industry just keeps you alive,” Howie explains with a laugh. “It’s like Peter Pan: you never have to grow up! Working with creative people, forming friendships... it’s a wonderful feeling.” Aperture is always improving, constantly getting new inventory to better meet meet the needs of its customers and creative partners. And coffee comes free with a studio rental, which is always a plus in this sleepdeprived, jet-lagged industry of ours.
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MIAMI CAROUSEL STUDIOS ADDRESS: 3700 NE 1st Court Miami, FL 33137 PHONE: 305.576.3686 EMAIL: tommy@carouselstudios.com WEBSITE: www.carouselstudios.com
J & E PRODUCTIONS PHOTO EQUIPMENT RENTAL ADDRESS: 170-B NW 24th St. Miami, FL 33127 PHONE: 917.756.4004 or 917.757.4006 EMAIL: info.jeproductions@gmail.com WEBSITE: www.bathhousemiami.com CONTACT: Edgar Urbina or john Marin HOURS: 8:30am-6pm, 7 days a week EQUIPMENT: Camera, Digital, Expendables, Grip, Light, Production Supplies, Vans/Trucks/SUV SPECIAL AMENITIES: j&E stands apart from other rentals thanks to our service. No matter how unusual or obscure the request, the word “no” does not exist here.
MAPS MOBILE ARTS PRODUCTION SERVICES ADDRESS: 212 Collins Ave. Miami Beach, FL 33139 PHONE: 305.532.7880 EMAIL: info@mapsproduction.com WEBSITE: www.mapsproduction.com HOURS: 9am-5pm, Monday-Friday EQUIPMENT: Camera, Grip, Light SPECIAL AMENITIES: MAPS’ new equipment rental department is home to the only Briese lighting system available for rental in Florida. MAPS stocks Profoto, as well as Arri, Kino-Flo, Dedo.
ONE SOURCE ADDRESS: 6440 NE 4th Court Miami, FL 33138 PHONE: 305.751.2556 EMAIL: andrew@onesourcestudios.com WEBSITE: www.onesourcestudios.com
SPLASHLIGHT MIAMI ADDRESS: 167 NE 26th St. Miami, FL 33137 PHONE: 305.572.0094 EMAIL: infomiami@splashlight.com WEBSITE: www.splashlightmiami.com
ORLANDO CENTRAL FLORIDA STROBE RENTAL ADDRESS: 1372 N. Goldenrod Rd #18 Orlando, FL 32807 PHONE: 407.716.8743 EMAIL: Rummelwagner@hotmail.com WEBSITE: www.centralfloridastrobe.com
GEORGIA MOREL STUDIO SUPPORT ADDRESS: 585 Wells St. SW Atlanta, GA 30312 PHONE: 404.664.6948 EMAIL: jay@morelstudiosupport.com WEBSITE: www.morelstudiosupport.com EQUIPMENT: Expendables, Grip, Light, Production Supplies
Long History, Bright Future. What’s in a name? Calumet Photographic’s moniker can be explained by its 1939 Midwest origin—“Calumet” is common in the Chicagoland area because of the North American Indian influence. It literally means “ceremonial peace pipe,” but is loosely interpreted as “fair trader.”
HAWAII HAWAII PHOTO RENTAL Locations on both Honolulu and Maui PHONE: 808.735.3838 (Honolulu) 808.877.3005 (Maui) EMAIL: oahu@hawaiicamera.com (Honolulu) maui@hawaiicamera.com (Maui) WEBSITE: www.hawaiicamera.com
ILLINOIS CALUMET OAK BROOK ADDRESS: 1600 W. 16th St. Oak Brook, IL 60523 PHONE: 630.860.7458 WEBSITE: www.calumetphoto.com
CALUMET CHICAGO ADDRESS: 1111 N. Cherry Ave. Chicago, IL 60642 PHONE: 312.440.4920 / 800.CALUMET WEBSITE: www.calumetphoto.com
Calumet has staked its reputation on this “fair trader” principle and has expanded into a photoindustry giant, stretching across the U.S. and beyond, taking care of photographers in the U.K., Germany, the Netherlands and Belgium. There are several reasons the company has thrived for the last 70+ years: from its ever-evolving, state-of-the-art equipment offerings to its informed, personable staff, Calumet knows how to meet the needs of its customers, and how to exceed their expectations. “Every piece of rental equipment is routinely cleaned and checked to maintain its excellent condition,” explains Calumet’s National Rental Coordinator Amber McFarlin. “Each order is checked before it goes out to make sure everything is in top working order for reliable performance while on assignment.” And Calumet offers a unique “try-before-youbuy” program, where you can rent gear and, if you decide to buy it, have a portion of your rental fee deducted from your purchase price. In addition, Calumet stays comfortably ahead of the curve when it comes to industry trends. As photographers have become more invested in HD video production, the company has continued to expand and update its impressive line of video rigs and equipment. It’s also opening new stores, including an upcoming state-ofthe-art studio and gallery in Boston, and acquiring three Penn Camera stores in the D.C. area. So, no matter where your job takes you, there’s probably a Calumet nearby, and it’s certainly worth a visit.
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ILLINOIS CONT.
MASSACHUSETTS
DODD CAMERA
CALUMET BOSTON
ADDRESS: 2840 W. Armitage Ave. Chicago, IL 60647 PHONE: 773.227.3633 EMAIL: rental@doddcamera.com WEBSITE: www.doddpro.com
ADDRESS: 105 First St. Cambridge, MA 02141 PHONE: 617.576.2600 WEBSITE: www.calumetphoto.com
HELIX RENTAL
RULE/BOSTON CAMERA RENTAL
ADDRESS: 1205 W. Jackson Blvd. Chicago, IL 60607 PHONE: 312.421.6000 EMAIL: rental@helixcamera.com WEBSITE: www.helixcamera.com
PRO GEAR ADDRESS: 1740 W. Carroll Ave. Chicago, IL 60612 PHONE: 312.376.3770 EMAIL: info@progearrental.com WEBSITE: www.progearrental.com
INDIANA
ADDRESS: 395 Western Ave. Boston, MA 02135 PHONE: 617.277.2200 / 800.785.3266 EMAIL: answers@rule.com WEBSITE: www.rule.com
MINNESOTA FLASHLIGHT PHOTORENTAL ADDRESS: 1400 Van Buren St. NE Minneapolis, MN 55413 PHONE: 612.558.3838 EMAIL: info@flashlightphotorental.com WEBSITE: www.flashlightphotorental.com
ROBERT’S IMAGING Locations in Indianapolis and Carmel PHONE: 800.726.5544 WEBSITE: www.robertscamera.com
LOUISIANA
NEVADA
AVAILABLE LIGHTING
JR LIGHTING INC.
ADDRESS: 826 Jefferson Hwy New Orleans, LA 70121 PHONE: 504.831.5214 EMAIL: avlight@bellsouth.net WEBSITE: www.availablelighting.com EQUIPMENT: Expendables, Grip, Light
ADDRESS: 9 E. Brooks Ave. N. Las Vegas, NV 89030 PHONE: 702.649.5555 WEBSITE: www.jrlighting.com
DIGITAL FUSION
NEW YORK ARC / ADORAMA RENTAL COMPANY ADDRESS: 42 W. 18th St. 6th Floor New York, NY 10011 PHONE: 212.627.8487 EMAIL: rent@adorama.com WEBSITE: www.adoramarentals.com CONTACT: Miguel Goodbar HOURS: M-T 8am-7:15pm – Friday 8am-6pm Sundays 10am-4:45pm EQUIPMENT: Audio-video, Camera, Digital, Expendables, Grip, Light SPECIAL AMENITIES: ARC has become the ultimate equipment rental house for professional photographers, videographers and cinematographers. A one-stop-shop for high-end cameras, computers, lighting and grip at unbeatable prices.
ADDRESS: 666 Greenwich St. #531 New York, NY 10014 PHONE: 800.399.9146 WEBSITE: www.digitalfusion.net
DIGITAL TRANSITIONS ADDRESS: 35 W. 35th St. New York, NY 10001 PHONE: 212.529.6825 EMAIL: info@digitaltransitions.com WEBSITE: www.digitaltransitions.com
DPI ADDRESS: 205 Hudson St. #208 New York, NY 10013 PHONE: 212.675.3060 WEBSITE: www.dpi-digitalphoto.com
FLASH CLINIC ADDRESS: 164 W. 25th St. New York, NY 10001 PHONE: 212.337.0447 EMAIL: info@flashclinic.com WEBSITE: www.flashclinic.com
FOTO CARE ADDRESS: 43 W. 22nd St. New York, NY 10010 PHONE: 212.741.2991 EMAIL: rental@fotocare.com WEBSITE: www.fotocare.com
K&M CALUMET NEW YORK ADDRESS: 22 W. 22nd St. New York, NY 10010 PHONE: 212.989.8500 WEBSITE: www.calumetphoto.com
CSI RENTALS ADDRESS: 133 W. 19th St. Ground Fl. New York, NY 10011 PHONE: 212.243.7368 EMAIL: orders@csirentals.com WEBSITE: www.csirentals.com
ADDRESS: 385 Broadway New York, NY 10013 PHOTO: 212.523.0954 WEBSITE: www.kmcamera.com
MILK EQUIPMENT RENTAL ADDRESS: 450 W. 15th St. New York, NY 10011 PHONE: 212.645.2797 EMAIL: info-ny@milkstudios.com WEBSITE: www.milkstudios.com
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ROOT [EQ] ADDRESS: 443 W. 18th St. - New York, NY 10011 131 N. 14th St. – Brooklyn, NY 11249 PHONE: 212.645.2244 / 718.349.2740 EMAIL: EQ@rootnyc.com / EQ@rootbkn.com WEBSITE: www.rootnyc.com HOURS: 24/7 EQUIPMENT: Audio-video, Camera, Digital, Expendables, Grip, Light, Production Supplies, Production Vehicles SPECIAL AMENITIES: 24-hour service, 2 locations: NYC & BKN. Grip Trucks, Drivers & Assistants, Electricians, Loaded Vans, Digital Still & Motion Services, Airport Assistance, Secure Overnight Parking.
Plant it right and watch it grow. The sprawling avenues and alleyways of New York are full of opportunities and adventures, especially for creative people. But sometimes, it’s easy to get lost in the buzz and sway of the winding metropolis, to be dazzled by the bright lights, clueless as to where to begin. Thankfully, we can help with that: if you’re looking to shoot in New York City, ROOT is a great place to start. Available in 2 locations (Manhattan and Brooklyn), and recently rebranded as ROOT, the company has been around for about 20 years and continues to offer a steadfast dedication to its customers’ needs. “Our mission is to get whatever you need onto your set whenever and wherever that is,” asserts director Kip McQueen. “You let us know your scenario and we solve the problems.” From production supplies to photo and video gear, ROOT offers a wide-assortment of tools and services to make sure that you have everything you need to shine.
OHIO DODD PROFESSIONAL ADDRESS: 2077 E. 30th St. Cleveland, OH, 44115 PHONE: 216.361.6800 EMAIL: ahuman@doddcamera.com WEBSITE: www.doddcamera.com
SCHEIMPFLUG ADDRESS: 236 W. 30th St. New York, NY 10001 PHONE: 212.244.8300 EMAIL: wyatt@scheimpflug.net WEBSITE: www.theflug.com CONTACT: Wyatt Mangum HOURS: 7am-7pm M-F – 9am-5pm Sat. EQUIPMENT: Audio-Video, Camera, Digital, Expendables, Grip, Light, Pro-duction Supplies SPECIAL AMENITIES: On-set service with Digital Techs and Lighting Techs available.
OREGON
TEXAS
PRO PHOTO SUPPLY
BOLT PRODUCTIONS
ADDRESS: 1112 NW 19th Ave. Portland, OR 97209 PHONE: 503.241.1112 EMAIL: rental@prophotosupply.com WEBSITE: www.prophotosupply.com
ADDRESS: 1346 Chemical St. Dallas, TX 75207 PHONE: 214.234.8423 WEBSITE: www.boltproductions.com
DALLAS CAMERA
PENNSYLVANIA CALUMET PHILADELPHIA ADDRESS: 1400 S. Columbus Blvd. Philadelphia, PA 19147 PHONE: 215.399.2155 WEBSITE: www.calumetphoto.com
TENNESSEE A.C., INC. ADDRESS: 220 Great Circle Rd #138 Nashville, TN 37228 PHONE: 615.256.2663 EMAIL: michael@acincnashville.com WEBSITE: www.acincnashville.com
WASHINGTON
ADDRESS: 1321 Chemical St. Dallas TX 75207 PHONE: 214.630.4040 EMAIL: Greg@dallascamera.com WEBSITE: www.dallascamera.com
MP & E ADDRESS: 17819 Davenport Rd #125 Dallas, TX 75252 PHONE: 972.931.3880 EMAIL: dallas@hdgear.tv WEBSITE: www.hdgear.tv
VIRGINIA PENN CAMERA TYSONS CORNER ADDRESS: 8357-E Leesburg Pike Vienna, VA 22182 PHONE: 703.893.7366 WEBSITE: www.calumetphoto.com
WASHINGTON D.C.
GLAZER’S CAMERA
PENN CAMERA E STREET, WASHINGTON DC
ADDRESS: 517 Dexter Ave. N. Seattle, WA 98109 PHONE: 206.233.0211 EMAIL: rentals@glazerscamera.com WEBSITE: www.glazerscamera.com EQUIPMENT: Audio-Video, Camera, Digital, Grip, Light, Production Supplies
ADDRESS: 840 E. St. NW Washington, DC 20004 PHONE: 202.347.5777 WEBSITE: www.calumetphoto.com
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PHOTOS BY
RESOURCEMAGONLINE.com
by janet alexander
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H
enry Hargreaves is pretty much your average guy, which is to say, Henry likes boobs—a lot. But to simply characterize Henry as a “boob guy” would be a gross understatement, because what distinguishes him from other men is not his three-year international modeling career—no, really, it’s not—but rather how he managed to turn an idea into a reality.
Originally from Christchurch, New Zealand, it would seem that Henry’s keen appreciation for the female form was a reaction to his all-boys, private high school, Christ’s College. Building upon basic photography training offered in school, Henry spent his weekends using the darkroom of the sister school, where his aunt worked as an art teacher, to develop slides from his Canon SLR. “I was interested in making slides and photographing them projected on my friends’ bodies.” After graduating from the University of Canterbury with a combined Film/Art History degree in 2000, Henry was in a predicament common among recent college graduates; he was aimless. So he purchased a one-way ticket to London, stopped-over in Bangkok, and took a detour to travel around Southeast Asia. In Thailand, Henry’s androgynous looks—delicate, angular nose; full, pouty lips; soft eyes, and wiry frame—didn’t go unnoticed. He was soon asked to model for a national magazine. Once Henry arrived in London, he approached agencies with the photos taken in Thailand. Within the same week, he was signed to Elite Model Management and flown to Milan for Fashion Week 2001. Henry is modest about his fast and sudden rise to runway fame and said, “I was just the right look at the right time.” But just as fast as Henry had walked onto the runway, he was ready to walk off it, as he became increasingly frustrated by how little of his career seemed to be in his control. “You’re only at the top for so long; there’s always new faces, and I didn’t want to eventually be working for less prestigious people for less money.” In the midst of disillusionment, Henry realized on set that he wanted to move from being in front of the camera to being the one behind it taking pictures. Just as he’d done before as a schoolboy, Henry forged a self-taught approach in pursuing photography professionally. “I started asking assistants questions about the equipment while I was on shoots,” he recalled. During a modeling stint in 2003 with Tokyo’s Image Agency, Henry bought his first medium format camera, a Mamiya. Henry was tentative, but determined: “There’s no roadmap for how to become a money-making photographer.” With the access afforded by his modeling, Henry routinely asked his extraordinarily attractive colleagues he’d meet on shoots if he could take their pictures. “There were places I wanted to go, people I wanted to meet, and the goal was to crossover,” he explained. Compared to other artistic mediums, photography was a way for Henry to experience his creativity without compromising his vision. In describing how he decided where to begin his new career, Henry recalled the first time he was in New York: Fashion Week, September 11th, 2001. “I was staying in Queens at the time and walked all the way to Union Square. The whole city was in a smoky haze; no one knew what was going on.” This worldchanging event proved to be a life-changing experience for Henry: “To be there to witness everything that happened that day brought me closer to the city.” Subsequent visits for modeling reinforced his familiarity with New York, and in 2004 he got a work visa and moved to Brooklyn. “In London there’s such an excessive emphasis on how wealthy you are, or what family you come from, but
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here it’s understated and cool; if you’re interesting, then you have cachet,” he said, explaining his love for his new city. For the first three years, Henry worked as a bartender at Schiller’s in the Lower East Side, photographing willing female coworkers in his studio apartment, while also making use of his agency connections, “I’d call in asking, ‘What girls do you have in town?’” Word of Henry’s photography practice gradually spread among customers whose recurring business provided enough work to eventually allow him to photograph full-time. Naturally, Henry’s initial foray was in fashion photography, but a few commercial gigs caused an epiphany. “Deep down I’m not really interested in fashion itself—exploiting the Third World, selling overpriced garments,” he
stated. “Pretty girls in expensive clothes isn’t interesting; trying new things is.” One new thing Henry happened upon was separating color channels while editing in Photoshop one day. “It reminded me of the old-school red-blue 3D look.” Reading a series of blogs and online tutorials was all it took before he decided to organize a 3D test shoot. A testament to an innate photographer’s eye, the model he chose became wildly popular, and her agency refused the titillating photographs be published. The mishap only further fueled Henry’s intent to create a 3D project. “What would work well in 3D,”
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he wondered. Better question, “What’s my favorite part of a fashion shoot?...When the tops come off... Boobs in 3D!” His idea—3 Double-D—came together fast. “Growing up as a guy, the only boobs you see are the perfect C-cups in Playboy or movies; when I started dating girls, I saw they’re really different, but really cool.” To avoid the mammary of billboards and magazines, Henry posted an ad on modelmayhem.com to recruit girls. The casting call, offering $50 for a 30-minute shoot, got ten responses, of which only three were used. “Personally, I’m not a fake boob guy; it’s really uninteresting.” The technique itself is simple: while the model stands as still she possibly can, Henry shoots a left-eye perspective, and then takes a half-step to his right to capture a right-eye perspective. This “click-step-click” process is made 3D in Photoshop, where Henry isolates each photo into a single color channel—one red, the other blue—and then overlays the two images for printing. Showing real boobs, of all shapes, colors, and sizes proved to be playful, not pornographic. “It’s a celebration of boobs; girls got that vibe, friends got involved,” and even some of Henry’s buddies requested that their girlfriends be photographed. Henry shot a total of fifty women. Within a year of the first shot, a friend from advertising agency Fahrenheit 212 offered to fund a prototype for publication.
Two weeks later, Henry’s forty-five favorite images were shopped around to publishing houses across New York. “It was still new technology at the time so everyone was really excited, but there was always someone—typically, a woman—who wasn’t into it,” Henry recalled. Eventually, every major publishing house passed on it. Henry’s ad agency friend assured him not to be discouraged and contacted friend David Gomberg, President and Publisher of Seven Footer Press in New York. Because Seven Footer is known for children’s books, Henry wasn’t optimistic and even prefaced his proposal by admitting, “You’re probably not the right fit.” In retrospect, he should’ve known better than to judge a publishing company by the cover of its books. As was explained to Henry at the time, Seven Footer is, “interested in books that become series, which, more often than not, just happens to be kids’ books.” A 3D book of boobs seemed like a viable series. “They loved it.” Released in September 2010, 3DD became the number one best-selling erotic book of the year on Amazon. What’s exceptional about 3D, Henry described, “is once you put the glasses on, the only thing you’re looking at are the pictures; it’s a novelty,” and added, “I’m not a fan of 3D movies, so it was about 3D adding a layer to a project about boobs.” The book’s reception among men (no surprise there) and women alike was overwhelmingly positive, with dozens of the latter contacting Henry asking, “Can I be in the next one?” Sure enough, Seven Footer wanted a sequel; while trying to figure out how to repeat success without repeating himself, Henry was contacted by Ethan Moses who’d heard about 3DD through the press. A 3D photographer and a professed “boob guy” himself, Ethan couldn’t resist helping Henry; that Christmas, he flew from his home in New Orleans to New York and showed Henry how to custom rig cameras for simultaneous right/left shooting, as well as a PC-specific 3D computer software. With better equipment, a bigger budget, and a reputation that preceded itself, 3DD Deluxe has more women of more varieties, such as a willing sixty-five year old, and more locations, including Australia, New Zealand, Los Angeles, London, and New York. Henry credits his adept ability to photograph bevies of breasts to a lesson learned from the one photographer he ever assisted: “There’s a thousand photographers better than me,” he told Henry, “but I do better than all of them because I know what’s important—the shoot is about the subject and making them feel they’re a part
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of it.” Henry, who insists he’s actually bashful and shy, explains the ultimate goal of his shoots was “to make the girls really happy with their pictures and feel proud to be a part of the project.” Having learned from criticism of the first book, Henry gave his models the option of showing their faces or remaining anonymous, “in case dad picks up the book and sees his daughter in there.” But, to his surprise, many girls actually demanded their faces be included. A self-described “man of all seasons,” Henry doesn’t pick favorites among the boobs he’s photographed, except maybe for those of his girlfriend who he began dating in the midst of producing Deluxe. In the interest of their relationship, he consciously decided not to include her in the book: “I didn’t want to be sitting in a room full of people hearing her boobs being critiqued.” At home, Henry’s father, a commercial printer, and his mother, the director of Christchurch’s annual arts festival, “are really supportive and think the book is amazing,” but, “grandma pretends it never happened.” Further demonstrative of the book’s wide appeal is the range of its celebrity owners, of whom Henry mentions Lil Wayne, Bono, and Scarlet Johansson. For aspiring 3D photographers, Henry’s advice is simple: “Just go for it and experiment, like I did. I didn’t get perfect results, and I still don’t, but it’s a fun way of engaging someone in a picture.” Beyond boobs, Henry’s photography has gained a following, appearing throughout New York on the walls of The Standard Hotel, the West Village’s Fedora Bar, and SoHo’s custom denim boutique, 3 x 1. Henry remains as much of a boob guy as before. “I didn’t overdose on them; they still fascinate me.” Having accomplished what he considers the holy grail of a photography career, i.e. getting published, Henry boasted that his book is now a part of his high school’s library collection, as it is a Christ College tradition that every boy with a published book be inducted. “It’s in a glass case and you have to request it to be removed from the display to look at it,” he chuckled. Plans for a trilogy have yet to be determined: “I’m not desperate to do another,” Henry reflected. “I just want to shoot exciting, memorable images.”
Henry Hargreaves: www.henryhargreaves.com
As a celebration of boobs (and in defense of them), Resource will hold an auction this summer of Henry’s images to support breast cancer research. Check out our website for more info: www.resourcemagonline.com
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TEL AVIV PRODUCT I ONS
OF T H E WOR L D Words and Photos by Sivan Askayo
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GEOGRAPHY Tel Aviv is located on the Israeli Mediterranean coastline. Immediately north of the ancient port of Jaffa, it lies on land that used to be sand dunes. Tel Aviv is a 11-12 hours flight from New York and daily direct flights are available. Ben Gurion Airport (www.iaa. gov.il) is close to the city (30 minutes by car or train), with a reliable taxi service available 24/7.
CL I M ATE There are barely any days in the year without sunshine, even during winter. Avoid shooting outdoors during summer as humidity and heat start early in the morning and quickly become unbearable. AVG ˚F
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TEL AVIV PRODUCT I ONS
OF T H E WOR L D Haifa
New York 11-12hrs Azrieli Center Tel Aviv Jaffa
Neve Tzedek Ben Gurion Airport
Jerusalem
ISRAE L
When people who have never been to Israel find out that I am from Tel Aviv, they tend to think I am from a provincial Middle Eastern city filled with slow-moving camels, armed soldiers, and ancient Biblical monuments. I don’t even know where to begin to prove them wrong. Tel Aviv is in fact a stylish, modern Mediterranean metropolis with chic and bustling cafes, an exciting culture scene, trendy boutiques, and a roaring nightlife. But the real appeal of Tel Aviv is in its people, who love the good life. Ever-crowded cafes buzz with laughter and
conversations almost 24/7, and crowds spill out of theaters, music halls, and nightclubs late into the night. The city feels self-confident, even hedonistic at times, but it’s mostly simply alive. Tel Aviv has been developed tremendously in recent years—new high-rise buildings went up, while old buildings have been restored. The contrast of new vs. old, chic vs. conservative, or local vs. international, will make your visiting and shooting experience a successful and enjoyable one.
Some recommendations:
CREW The best and easiest way to find your crew is to hire a local production company or a producer, as they can recommend the right people based on your needs and budget. Most people in the industry work together and know each other well. They often rely on word of mouth, which explains the occasional lack of website.
Producer:
Doron Lahav - www.doron-lahav.com Eyal Wand - www.facebook.com/eyal.wand Mulla Productions - www.mulla.co.il
Location Scout:
Idan Bardach, ILocation - www.ilocation.tv/about_en.php
Stylist Agency:
Solo Agen cy - www.solo-agency.co.il View Agency - www.view-agency.com
Wardrobe Stylist:
Maayan Goldman - www.maayangoldman.com Tal Shiri - www.facebook.com/tal.shiry Limor Zohar Shavit - www.facebook.com/people/Limor-Zohar-Shavit/611489373 Aviv Avramov – www.avivavramov.com Mazal Hason - www.mazalhason.com
Hair Stylist:
Sagi Dahari - www.facebook.com/sagi.dahary Roy Sych - www.roysych.co.il Yaniv Katzav - www.yanivkatzav.com
Makeup Artist:
Nirit Hirschmann - www.nirithi.com Shimon Ben Harush - www.sbh-makeup.com Michal Fussman - www.facebook.com/michalfs Avivit Mugrabi - www.facebook.com/avivit.mugrabi
Photo Assistant:
Alex Pergament - www.facebook.com/alex.pergament
Photo Equipment Rental:
Utopia Camera Services - www.utopiacam.com Broadcast - www.broadcast.co.il
Studio and Equipment:
Jugend - www.jugend.co.il
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LOCATIONS IN TEL AVIV
TEL AVIV PRODUCT IONS
OF T H E WOR L D
Beaches
Neighborhoods
Tel Aviv’s
Jaffa,is one of the
Neve Tzedek, Hatachana
shore is 14 km long; a new boardwalk runs along the beach from Bat Yam in the south up to Herzliya in the north. The beach was ranked among National Geographic’s world’s top beaches. www. telaviv4fun. com/beaches. html
oldest port cities in the world and a unique location for photo shoots. The white Jerusalem stone used for the buildings and streets echoes the past, while the galleries, large squares, gardens and quiet alleys make it a perfect setting for romance. The old area of Jaffa includes the ancient port, various historic sites, restored buildings dating back to the Ottoman period, and upscale restaurants, galleries and boutiques. The flea market is buzzing, especially during the weekdays, and crowded with some interesting characters, deals and steals. Take a hike to St. Peter’s Church to see the Tel Aviv skyline.
the city’s oldest neighborhood, is a colorful oasis with an atmosphere that evokes an artists’ colony. It’s spotted with colored old houses and has lots of great restaurants and wine bars. It’s a beautiful area, both day and night.
is a renovated area next to Neve Tzedek and is home to outdoor restaurants and wine bars, designer boutiques and galleries - www. hatachana. co.il
Rothschild Blvd is a
Kerem Hateymanim is
For modern architecture,
showcase of Bauhaus architecture, with numerous historical buildings beautifully restored. A treelined boulevard dotted with benches, outdoor coffee kiosks, and chess tables, this is one of the most charming places to stroll and hang out
a small, crumbling neighborhood, which was recently discovered by bohemian Tel Avivians looking for inexpensive housing. The area is now home to boutique hotels and upscale restaurants.
head over to the diamond district, Azrieli towers, and the southern Kirya.
Parks
Squares
Markets
Tel Aviv has three beautiful ports: Jaffa with its fishermen, hidden coffee shops, and large business center; the Gordon Marina has sailboats and yachts docked against the long Tel Aviv beach boardwalk and Gordon pool; while the Tel Aviv port is being renovated to become a cultural center and one of the main hubs of the city’s nightlife.
Tel Aviv is rich in parks and green avenues, but its most popular park is the vast Yarkon Park, which boasts lakes, green lawns, wildlife, bike and running paths, and sports facilities.
Many squares in Tel Aviv would be perfect locations for a photo shoot. Take for instance the New Train Station’s Square surrounded by coffee shops and boutiques; the Culture Square, located near the opera house and the new Art Museum; or Bialik Square with its beautiful Bauhaus buildings...
The bi-weekly arts and crafts market of Nachlat Binyamin has artists selling their creative fares, while the bi-weekly market of Dizengoff square offers foreign and Israeli antiquities. The Carmel Market is the largest outdoors market in Tel Aviv, and sells everything from toiletries and clothes to meats and produces.
LOCATION PERM I T S
Ports
Tel Aviv and Jaffa offer great locations for film and photography shoots, but you’ll need a permit to shoot in the streets. You can find all the info here: www.tel-aviv.gov.il/eng/GlobalCity/Filming/Pages/ filmingintelaviv.aspx?tm=24&sm=49&side=74 If you don’t have the time, you can hire ILocation (www.ilocation.tv), which will find you the perfect location, tailored to your needs and arrange all location permits.
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TRANSPORTATION
TEL AVIV PRODUCT IONS
OF T H E WOR L D
Bus
Egged - www.egged.co.il Dan - www.dan.co.il Kavim - www.kavim-t.co.il
Taxi
Each city and almost every town will have its own taxi stations. You can call the station to order a taxi or hail one on the street. The main stations in Tel Aviv are Habima Taxis, Hayarkon Taxis, Hatzafon Taxis, and Nordau Taxis. Most taxi drivers speak at least a few words in English.
Sherut /Sharing Taxi
Car or Van Rental
Bicycle Sharing System
Most rental companies can be found at the airport. During the summer and holidays, you need to book your car well in advance, even as much as a few months ahead. Make sure to get a weekly rental, as it’s a cheaper option than renting per day. And rent the car in a non-Israeli’s name if possible—you’ll save 15.5% of VAT tax. Avis - www.avis.co.il Eldan - www.eldan.co.il Hertz - www.hertz.co.il Shlomo Sixt - www.shlomo.co.il
When traveling in-town, ask the driver to put on the meter. When taking a taxi out of town, negotiate a set fare.
In 2011, Tel Aviv launched Tel-O-Fun, in which 150 stations of bicycles for rent were installed within the city limits and 100 kilometers of bike lanes have been built.
“Sherut” are 10-12 seater vans that follow major bus routes and operate between cities. Fares are a set price and are similar to public bus fares, but Sherut go faster and tend to be less crowded. Their operating hours extend longer into the night, but, as they leave only when full, you may be in for a wait. Additionally, their stops are pre-determined and they do not get off route for individual drop offs.
Israel Railways
www.israrail.org.il
OUTSIDE TEL AVIV
Jerusalem
Dead Sea
(45 minutes from Tel Aviv). Stay in Tel Aviv and go to Jerusalem for the day. The birthplace of three major religions, the city is steeped in history and arcs back to the beginning of civilization.
(1.5 hours away). The Dead Sea is the lowest point on Earth and a geological phenomenon. Against a backdrop of towering desert mountains, the white, turquoise, blue and green shades of the minerals on the lake present a unique location for photographers.
Golan Sea of Galilee Mountains (2 hours away). The largest freshwater lake in Israel, the Sea of Galilee is surrounded by the Golan Mountains. The nearby city of Tiberius is famous for its promenade, filled with restaurants and hotels.
(2.5 hours away). The Golan Heights combine large plateaus covered with farms and wineries, and mountains full of rivers and springs. Its altitude is high enough for the mountain to be covered in snow during winter.
Mount Hermon (3 hours away). The highest peak in Israel has a winter ski resort that becomes a hot spot for hikers during the remainder of the year. The view is exquisite: on a clear day, you can see the entire north half of the country from there.
Forests
Deserts
The closest and largest forest is Ben Shemen, located 20 minutes from Tel Aviv. You can also go to Little Switzerland (1.5 hour away), or Park Canada (30 minute away).
Two main deserts constitute the southern half of Israel: Judea (1 hour drive from Tel Aviv) and Negev (2 hour away). Their respective landscapes are very varied, from round hills flowing as far as the eye can see, to rugged, sharp cliffs and deep canyons concealing the ancient ruins of Masada or Wadi Kelt.
Virgin Beaches and Sand Dunes
Arab Villages
Gaash, Michmoret, Palmahim are only 20 to 30 minutes away from Tel Aviv.
Abu Gosh, Jaser A-Zarka, Dalyat El Carmel are all less than an hour away.
Reefs (5 hour drive from Tel Aviv or a 30 minute flight). The southern tip of Israel dips into the Red Sea, where you will find the Eilat coral reefs—a breathtaking location for scuba diving, snorkeling, and underwater filming.
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TEL AVIV PRODUCT IONS
OF T H E WOR L D
http://www.jpost.com/ ArtsAndCulture/FoodAndWine/ Article.aspx?id=264925
Hotel Montefiore
www.hotelmontefiore.co.il
The Varsano
www.varsano.co.il
Nina Cafe Hotel
www.ninacafehotel.com
Neve Tzedek Hotel
www.nevetzedekhotel.com
Art Plus Hotel
www.atlas.co.il/art-hotel-tel-aviv
Brown Tel Aviv
www.browntlv.com
Dan Hotels
www.danhotels.com
Coffee Bar Yad Haruzim
www.coffeebar.co.il
Manta Ray
www.mantaray.co.il
Oh Yona
www.yona.be
Dr. Shakshuka
www.drshaksuka.rest-e.co.il
Catit
www.catit.co.il
Container
www.container.org.il
Messa
www.messa.co.il
Kitchen Market
www.kitchenmarket.rest-e.co.il
ONLINE CITY GUIDES
RESTAURANTS HOTELS
Wi r e l e s s s p o t s i n Te l A v i v : w w w. telavivguide.net/Tel_ Aviv_Overview/Useful_ Information_A-Z/ Wireless_%28wifi%29_spots_in_Tel_ Aviv_20060928355/
THINGS NOT TO FORGET
INTERNET/ COMMUNICATIONS
Tel Aviv is quite a wired city. In almost every coffee place you can ask the waiter for their wifi info. Most hotels also offer free wi-fi.
Belle & Antoine
City Guide Tel Aviv: www.cityguidetelaviv.com Time Out Israel: www.digital.timeout.co.il Phaidon Wallpaper City Guide Tel Aviv 2012 shows you all the hype places to be and see, with its iPad app out in the next few months. Additional City Guides: www.telavivarchitecture.com www.tastetlv.com www.visit-tlv.com www.lonelyplanet.com
Video Format
Electricity Supply
Time Zone
Language
Timetables for Meals
Office Hours
Store Hours
Cafes and Restaurants
Nightclubs/ Bar Hours
PAL
220V with twopin wall sockets, so an adapter is needed.
GMT + 1 hour
Hebrew and Arabic. People often speak English, especially in touristic places like museums, hotels, restaurants and bars.
Breakfast 7-10am
From 8am5pm or 9am-6pm with a one hour lunch break, usually between 12-2pm. Most businesses close on Friday afternoon and re-open on Sunday morning.
From 9 or 10am to 8pm or so. On Friday, stores are open till 3 or 4pm, while they are closed on Saturday. Sunday is a regular weekday.
Most stay open for the weekend, although there are many exceptions so it is always wise to check before going out.
Pubs and bars are usually open from 7pm till 2-3am. Nightclubs are open from 10pm-4am.
Lunch 12-4pm Dinner 7-midnight
Food Plate: Manta Ray, Restaurants: Belle & Antoine
BUDGET
Where are the best places to exchange money? Banks can be found on almost every street, especially in shopping areas. While banks are closed from Friday afternoon till Sunday morning, ATMs still work. There are money exchange booths in touristic streets, such as Hayarkon Street, Alenbi Street, or Ibn Gvirol Street. Tipping Policy: Tipping in restaurants and cafés is common and in fact, quite expected. The norm is to leave between 12-15%. For taxis and bars, round up the cost and leave the change.
VISA REQUIREMENTS
Exchange rate with the $ US $1= 3.7 Israeli shekels
All visitors must hold a passport that is valid for at least six months from the date they are departing the country. Visitors can stay in Israel up to three months from the date of their arrival, in accordance with the conditions of the visa issued to them.
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& entertainment
ARTS
By Sophia Betz I Photos courtesy of the International Center of Photography
RESOURCEMAGONLINE.com
Weegee ‘Murder Is My Business’ GALLERY
The street photographer known as Weegee was a truly self-made artist. His deceptively straightforward style tells an unapologetically blunt story of New York City in the 1930s and ‘40s, but his vision is ultimately as enigmatic and intense as the man himself. The International Center of Photography’s current exhibit, Weegee, ‘Murder Is My Business’, offers a great survey of his work and pays homage to his artfully crafted persona. Depending on who you ask, Weegee’s nickname-turned-pseudonym may have come from his time working as a squeegee boy in a darkroom, or from his almost psychic ability to be the first to arrive at a crime scene (causing many to liken him to a Ouija board). Documenting murder was, by and large, his business as he sold his images to various tabloids. Although closely associated with Photo League, a socially conscious group of professional and amateur photographers, he never joined it, nor did he ever accept a staff position at any of the papers he worked for.
He preferred his autonomy and worked hard at crafting a public image of equal parts audacity and mystery. Referring to himself as “Weegee the Famous,” he produced by some counts 1,500 self-portraits; these images retain the same stark quality as his street photography, with his usual heavy flash and his trademark ability to capture spontaneous energy with careful precision. In order to further grow his reputation, he also curated and documented exhibitions of his own work, and self-published his own books. He purposefully built up his image—his career relied on his persona, and vice versa. Post-Depression, post-Prohibition era New York City saw a rise in violent crime, and Weegee’s drive to document it was relentless. He photographed at night, when most crimes and disasters struck, and he is mainly known for these dark, often grisly, images. While it’s easy to romanticize the life of the cigar-smoking artist roaming the streets
ARTS: GALLERY-”Weegees ‘Murder is My Business’” Page 193
of New York, his methodical dedication to his work cannot be overstated. Weegee built his life around his photography, picking an apartment near a city police station, and keeping a radio constantly tuned into police signals, even while he slept. The ICP exhibit includes an impressive reproduction of his room, complete with his bed, radio, and walls blanketed in his photographs and clippings. The show also presents a quintessential portrait of Weegee—alongside his car, with his radio and typewriter set up in his open trunk. Weegee’s ability to tell the story of a crime or a tragedy through its human details elevated his work above purely utilitarian news photography. Instead of trying to “sum up” the situation at hand, he honed in on a visual incongruity or a reaction, which ultimately told a deeper story. His famous image ‘Their First Murder’ shows a group of schoolchildren looking at dead body; the image is tight on them, we don’t see the victim. Weegee understood that what is most intriguing is what is not seen; the raptured looks on the kids’ faces speak volumes about the gruesome scene, and about the element of spectacle inherent in crime photography. The image confronts the viewers and their desire to see more. Its
RESOURCEMAGONLINE.com
title, ‘Their First Murder,’ implicates Weegee himself, implying that by no means is this his first murder. Indeed, over the course of his career, Weegee claimed to have documented 5,000 murders. While Weegee understood he was selling a commodity, his most successful images subvert commercialism by bringing to light the complex humanity behind the spectacle. Though he is best known for his dramatic crime photography, he was also an expert social documentarian, as he shone a light on the working class and the downtrodden, bringing his unaffected brand of artistry to his images of New York City residents. His subtly compassionate ability to focus on details in service of a larger story makes these lesser-known images as powerful as his crime images. His stark artfulness allowed him to walk a fine line between news photography and social commentary, and brought him both tabloid and critical success. Weegee ‘Murder Is My Business’ is on view until Sept. 2, 2012
#1: Weegee, Police officer and assistant removing body of Reception Hospital ambulance driver Morris Linker from East River, NY, August 24, 1943 © Weegee/ICP
International Center of Photography: www.icp.org
#2: Weegee, “Ruth Snyder Murder” wax display, Eden Musée, Coney Island, NY, ca. 1941 © Weegee/ICP #3: Weegee, At an East Side Murder, 1943. © Weegee/ICP #4: Weegee, Body of Dominick Didato, Elizabeth St, NY, August 7, 1936 © Weegee/ICP #5: Weegee, Police officer and lodge member looking at blanket-covered body of woman trampled to death in excursionship stampede, NY, August 18, 1941 © Weegee/ICP #6: Weegee, Anthony Esposito, booked on suspicion of killing a policeman, NY, January 16, 1941 © Weegee/ICP
ARTS: GALLERY-”Weegees ‘Murder is My Business’” Page 194
EVENT
2012 Vimeo Awards and Festival
By Isaac Lopez I Photos by Vivian Poisler
Vimeo, the innovative video-sharing website geared toward budding filmmakers, artists, and other creative types, held its 2nd Vimeo Festival and Awards in New York City this past June. The three-day event, which included discussions, screenings, and workshops, attracted a crowd of 1,800, ranging from documentarians and photographers to sound engineers and producers. The sold-out festival kicked off on the evening of Thursday, June 7, with the Vimeo Awards ceremony at New York University’s Skirball Center. The show was co-hosted by comedian and musician Reggie Watts, who was named “Best New Comedian” in 2010 by SPIN Magazine and opened for Conan O’Brien’s tour that same year, and beat-boxing master Beardyman, known for his use of live vocal looping. The awards honored the best of Vimeo’s content, and winners received a $5,000 grant and a pretty sweet-looking trophy to serve as a well-deserved source of bragging. The night’s big winners included filmmaking group Everynone,
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whose short film Symmetry won in the Best Lyrical Video category and received the $25,000 Grand Prize, and up-and-coming directing duo DANIELS, who received a Best Music Video award for their work on Manchester Orchestra’s “Simple Math,” as well as a Best New Creator honorary award. “For us, it’s definitely not about winning,” said Daniel Scheinert, half of DANIELS, after the ceremony. “Winning’s terrifying! But we’re super psyched to be around so many inspiring people.”
Fast forward to the next morning— Friday, June 8—with the festival officially under way. Coming off his co-hosting gig the night before, Wa t t s d e l i ve re d a n i n c re d i b ly entertaining keynote address to an atcapacity crowd of 350 at the Vimeo’s headquarters. While addressing the theme of the festival, “The End of the Beginning,” Watts managed to fit in a couple of musical performances comprised of his signature beatboxing and vocal loops, hilariously ridiculous claims about Vimeo— according to Watts, it used to be a pizza delivery service before it decided to give video sharing a try— and the licking of more pieces of audio equipment than anyone should ever see a grown man lick (i.e., more than zero).
Vivian Poisler: www.VivianPoislerPhoto.com
Throughout Friday and Saturday, festival-goers were treated to talks and workshops at Vimeo and ROOT Drive-In Studios. These sessions were hosted by established directors and filmmakers, such as Philip Bloom and Casey Neistat, and Academy Award-nominated documentarian Lucy Walker. There were also screenings of the winning videos, those that made the shortlist, and other creative and inspiring shorts. Heineken provided complimentary booze in Vimeo’s makeshift outdoor beer garden, satisfying everybody’s inner lush (who doesn’t like an excuse to drink during the day, really?). The festival closed out on Saturday night with a giant party complete with music from Motion Potion and DJ Spooky. “There’s a lot of workshops [here] that you don’t normally find at a normal festival,” said filmmaker Matt Mahoney, who came in from Philadelphia to make it to the festival. Added Rob Casmay, who made the trip to New York with Mahoney, “Aside from knowledge, I think the networking, alone, is pretty crucial.” “[The festival] is something young and growing,” said Colin Kennedy, one of the Vimeo Awards’ finalists for Best Advertising Video. “It kind of feels good to be here while it’s growing as opposed to getting here after it’s established… Everybody’s confused right now, and it’s nice to be a part of that!”
ARTS: EVENT-”Vimeo Awards and Festival” Page 197
FLASHED
New York Street Style
ERIKA HOKANSON
A Sinar 4x5 camera that she received as a gift.
Fashion photographer. She looks for beauty and light. She constructs photos of people more so than takes them, focusing on light and her subject. www.erikahokanson.com
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A Canon FTQL (35mm film) that she got it on eBay.
Diana camera and 120mm film that he got at Lomography.
Freelance Graphic Designer. He looks for cool scenery and tries to catch candid shots of people. www.stevenlao.com
Jena Cumbo: www.jenacumbo.com
Photographer. Looks for in-between moments and a sense of awkwardness. Set up a studio in Union Square to shoot portraits of willing strangers. He likes his pictures to make the viewer question whether they were “caught” or set up. www.spirandelli.com
Waitress. Likes to take pictures of things she finds beauty in. Interested in/influenced by the 1950’s and early 60’s.
STEVEN LAO
Mamiya RZ67 pro II with 120mm film and a 150mm lens.
JENNY LAVEN
NOEL SPIRANDELLI
Photos by Jena Cumbo
RESOURCE EAST COAST BOSTON, MA STUDIO RENTAL Quixote Studios Boston* 184 Everett St. Boston, MA 02134 617.903.3373 JasonN@quixote.com www.quixote.com
CHICAGO, IL EVENT PLANNING Ivan Carlson* 2224 W. Fulton Chicago, IL 60612 312.829.4616 scott@ivancarlson.com www.ivancarlson.com PHOTO EQUIPMENT Calumet Photographic* 1111 N. Cherry Ave. Chicago, IL 60642 312.440.4920 800.453.2550 www.calumetphoto.com Dodd Camera* 2840 W. Armitage Ave. Chicago, IL 60647 773.227.3633 chicagorentals@doddpro.com www.doddcamera.com Helix Rental* 1205 W. Jackson Blvd Chicago, IL 60607 312.421.6000 rental@helixcamera.com www.helixphoto.com ProGear Rental* 1740 W. Carroll Ave. Chicago, IL 60612 312.376.3770 info@progearrental.com www.progearrental.com
directory
STUDIO RENTAL Morgan Street Studios* 456 N. Morgan St. Chicago, IL 60642 312.226.0009 rental@morganstreetstudios.com www.morganstreetstudios.com Northlight Studio* 2023 W. Carroll Ave. #C304 Chicago, IL 60612 773.466.1556 info@northlightchicago.com www.northlightchicago.com Space Stage Studios* 1844 W. Hubbard Chicago, IL 60622 312.733.8017 info@productproductions.com www.spacestagestudios.com
MIAMI, FL PHOTO EQUIPMENT Aperture Miami* 385 NE 59th St. Miami, FL 33137 305.759.4327 apsrental@yahoo.com www.aperturepro.com J & E Productions Photo Equipment Rental* 170-B NW 24th St. Miami, FL 33127 917.756.4004 / 917.757.4006 info.jeproductions@gmail.com www.bathhousemiami.com MAPS* 212 Collins Ave. Miami Beach, FL 33139 305.532.7880 info@mapsproduction.com www.mapsproduction.com STUDIO RENTALS Aperture Studios Miami* 385 NE 59th St. Miami, FL 33137 305.759.4327 apsrental@yahoo.com www.aperturepro.com
Carousel Studios* 3700 NE First Court Miami, FL 33137 305.576.3686 tommy@carouselstudios.com www.carouselstudios.com Little River Studios* 300 NE 71st St. Miami, FL 33138 305.573.1395 info@littleriverstudios.com www.littleriverstudios.com MAPS Studio* 212 Collins Ave. Miami Beach, FL 33139 305.532.7880 info@mapsproduction.com www.mapsproduction.com One Source Studios* 6440 NE 4th Court Miami, FL 33138 305.751.2556 andrew@onesourcestudios.com www.onesourcestudios.com Photopia Studios* 360 NE 62nd St. Miami, FL 33138 305.534.0290 photopia@bellsouth.net www.photopiamiami.com Splashlight Studios* 167 NE 26th St. Miami, FL 33137 305.572.0094 infomiami@splashlight.com www.splashlight.com Trendy Studio* 196 NW 24th St. Miami, FL 33127 395.438.4244 studio@trendystudio.net www.trendystudio.net
NEW YORK, NY ARTIFICIAL FOLIAGE American Foliage & Design Group* 122 W 22nd St. New York, NY 10011 212.741.5555 afdesigngr@aol.com www.americanfoliagedesign.com PHOTO EQUIPMENT ARC* 42 W 18th St. - 6th Fl. New York, NY 10011 212.627.8487 rent@adorama.com www.adoramarentals.com Calumet* 22 W 22nd St. New York, NY 10010 212.989.8500 800.453.2550 www.calumetphoto.com CSI Rentals* 133 W 19th St. New York, NY 10011 212.243.7368 www.csirentals.com Foto Care* 43 W 22nd St. New York, NY 10010 212.741.2991 rental@fotocare.com www.fotocare.com K&M Camera* 385 Broadway New York, NY 10013 212.523.0954 rental@kmcamera.com www.kmcamera.com ROOT [EQ]* -Manhattan: 435 W 18th St. New York, NY 10011 212.727.1941 EQ@rootnyc.com www.rootnyc.com -Brooklyn: 131 N 14th St. Brooklyn, NY 11211 718.349.2740 EQ@rootbkn.com www.rootbk.com
Scheimpflug* 236 W 30th St. New York, NY 10001 212.244.8300 Info@scheimpflug.net www.scheimpflug.net PHOTO LAB Duggal Visual Solutions* 29 W 23rd St. New York, NY 10010 212.242.7000 info@duggal.com www.duggal.com PRODUCTION COMPANY ajproductionsny, inc. 212.979.7585 ajprodnyc@mac.com www.ajproductionsny.com PROP RENTALS Arenson Prop Center* 396 10th Ave. New York, NY 10001 212.564.8383 www.aof.com
Eclectic Encore Props* 620 W 26th St. - 4th Fl. New York, NY 10001 212.645.8880 www.eclecticprops.com Props For Today* 330 W 34th St. - 12th Fl. New York, NY 10001 212.244.9600 info@propsfortoday.com www.propsfortoday.com The Prop Company* 111 W 19th St. - 8th Fl. New York, NY 10011 212.691.7767 propcompany@aol.com PROP STYLIST stylist@thepropstylist.com www.thepropstylist.com PRINTER Gotham Imaging 37 W 26th St. New York, NY 10010 212.206.7776 contact@gothamimaging.com www.gothamimaging.com
RENTAL STUDIOS 2 Stops Brighter 231 W 29th St. New York, NY 10001 212.868.5555 info@2stopsbrighter.com www.2stopsbrighter.com 3rd Ward* 195 Morgan Ave. Brooklyn, NY 11237 718.715.4961 info@3rdward.com www.3rdward.com
Attic Studios 1105 44th Rd - 3rd Fl. Long Island City, NY 11101 718.360.1978 matt@atticstudios.net www.atticstudios.net Bathhouse Studios New York* 540 E 11th St. New York, NY 10009 212.388.1111 manager@bathhousestudios.com www.bathhousestudios.com
16 Beaver Street Studio 16 Beaver St. New York, NY 10004 212.425.4736 info@16beaverstudio.com www.16beaverstudio.com
Boutique Studios 1089 Broadway Brooklyn, NY 11221 917.500.2238 NewYorkPhotoDesign@gmail.com www.BoutiqueStudiosNewYork. com
Above Studio 23 E 31st St. New York, NY 10016 212.545.0550 x3 info@abovestudiorental.com www.abovestudiorental.com
Brooklyn Big 80 Vernon Ave. Brooklyn, NY 11206 786.346.5933 BrooklynBigStudio@gmail.com www.BrooklynBigStudio.com
Brooklyn Studios* 211 Meserole Ave. - 2nd Fl. Brooklyn, NY 11222 718.392.1007 brooklynstudios@verizon.net www.brooklynstudios.net
Go Studios* 245 W 29th St. New York, NY 10001 212.564.4084 info@go-studios.com www.go-studios.com
NoHo Productions* 636 Broadway - 8th Fl. New York, NY 10012 212.228.4068 info@nohoproductions.com www.nohoproductions.com
Some Studio 150 W 28th St. - #1602 New York, NY 10001 212.691.7663 somebody@somestudio.com www.somestudio.com
Camart Studio Rentals 6 W 20th St. - 4th Fl. New York, NY 10011 212.691.8840 rentals@camart.com www.camart.com
Go Studios Penthouse* 318 W 39th St. New York, NY 10018 212.564.4084 info@go-studios.com www.go-studios.com
Picture Ray Studio* 245 W 18th St. New York, NY 10011 212.929.6370 bookings@pictureraystudio.com www.pictureraystudio.com
Splashlight* 75 Varick St. - 3rd Fl. New York, NY 10013 212.268.7247 info@splashlight.com www.splashlight.com
Cinema World Studios 220 Dupont St. Greenpoint, NY 11222 718.389.9800 cinemaworldfd@verizon.net www.cinemaworldstudios.com
Good Light Studio* 450 W 31st St. - #9C New York, NY 10001 212.629.3764 manager@goodlightstudio.com www.goodlightstudio.com
Pier 59 Studios* Pier #59 - 2nd Fl. New York, NY 10011 212.691.5959 booking@pier59studios.com www.pier59studios.com
Steiner Studios* 15 Washington Ave. Brooklyn, NY 11205 718.858.1600 jeddey@steinerstudios.com www.steinerstudios.com
Dakota Studio 78 Fifth Ave. - 8th Fl. New York, NY 10011 212.691.2197 matt@dakotastudio.com www.dakotastudio.com
Industria Superstudio* 775 Washington St. New York, NY 10014 212.366.1114 info@industrianyc.com www.industrianyc.com
Pure Space* 601 W 26th St. - #1225A New York, NY 10001 212.937.6041 rida@purespacenyc.com www.purespacenyc.com
Studio 225 Chelsea* 225 W 28th St. - #2 New York, NY 10001 917.882.3724 james@jamesweberstudio.com www.studio225chelsea.com
Eagles Nest Studio 259 W 30th St. New York, NY 10001 212.736.6221 eaglesnestnyc@yahoo.com www.eaglesnestnyc.com
jack Studios* 601 W 26th St. New York, NY 10001 212.367.7590 ron@jackstudios.com www.jackstudios.com
Root [Brooklyn]* 131 N 14th St. Brooklyn, NY 11211 718.349.2740 info@rootbrooklyn.com www.rootbrooklyn.com
Studio 385 77 Franklin St. New York, NY 10013 212.393.1307 contact@exposurecapture.com www2.exposurecapture.com/ studio.html
Factory Studios* 79 Lorimer St. Brooklyn, NY 11206 718.690.3980 carrie@factorybrooklyn.com www.factorybrooklyn.com
Location 05 205 Hudson St. New York, NY 10013 212.219.2144 info@location05.com www.location05.com
Root [Drive-In]* 443 W 18th St. New York, NY 10011 212.645.2244 info@driveinstudios.com www.driveinstudios.com
Fast Ashleys Brooklyn* 95 N 10th St. Brooklyn, NY 11249 718.782.9300 michael@fastashleysstudios.com www.fastashleysstudios.com
Metrodaylight Studio* 450 W 31st St. - 8 & 9th Fl. New York, NY 10001 212.967.2000 info@metromotion.com www.metromotion.com
Shoot Digital* 23 E 4th St. New York, NY 10003 212.353.3330 info@shootdigital.com www.shootdigital.com
Gary’s Manhattan Penthouse Loft* 28 W 36th St. - PH New York, NY 10018 917.837.2420 gary@garysloft.com www.garysloft.com
Milk/Formula* 450 W 15th St. New York, NY 10011 212.645.2797 www.milkstudios.com
Shooting Kitchen* 13-17 Laight St. #12 New York, NY 10013 917.262.0816 jackie@shootingkitchen.com www.shootingkitchen.com
Gary’s Loft* 470 Flushing Ave. Brooklyn, NY 11205 917.837.2420 gary@garysloft.com www.garysloft.com
Neo Studios* 628 Broadway - #302 New York, NY 10012 212.533.4195 mail@neostudiosnyc.com www.neostudiosnyc.com
Silver Cup Studios 42-22 22nd St. Long Island City, NY 11101 718.906.3000 silvercup@silvercupstudios.com www.silvercupstudios.com
Sun Studios* 628 Broadway - 6th Fl. New York, NY 10012 212.387.7777 sunstudios@sunnyc.com www.sunstudios.com Sun West Studios* 450 W 31st St. - 10th Fl. New York, NY 10001 212.330.9900 bookings@sunwestnyc.com www.sunwestnyc.com The Space* 425 W 15th St. - 6th Fl. New York, NY 10011 212.929.2442 info@thespaceinc.com www.thespaceinc.com Tribeca Skyline Studios* 205 Hudson St. - PH New York, NY 10013 212.344.1999 claudia@tribecaskyline.com www.tribecaskyline.com
Zoom Studios* 20 Vandam St. - 4th Fl. New York, NY 10013 212.243.9663 zoomstudios@yahoo.com www.zoomstudios.net SURFACE RENTALS Surface Studio* 242 W 30th St. - #1202 New York, NY 10001 212.244.6107 www.surfacestudio.com WARDROBE RENTALS RRRentals* 245 W 29th St. - #11 New York, NY 10001 212.242.6120 info@rrrentalsny.com www.rrrentalsny.com WARDROBE SUPPLY Manhattan Wardrobe Supply* 245 W 29th St. - 8th Fl. New York, NY 10001 212.268.9993 info@wardrobesupplies.com www.wardrobesupplies.com
WEST COAST LOS ANGELES, CA PHOTO LABS A&I Photographic & Digital Services* 933 N Highland Ave Hollywood, CA 90038 323.856.5280 mail@aandi.com www.aandi.com The Icon* 5450 Wilshire Blvd Los Angeles, CA 90036 323.933.1666 icon@iconla.com www.iconla.com PHOTO EQUIPMENT Calumet* 1135 N Highland Ave. Los Angeles, CA 90038 323.466.1238 www.calumetphoto.com
Castex Rentals* 1044 Cole Ave. Hollywood, CA 90038 323.462.1468 service@castexrentals.com www.castexrentals.com
Milk LA* 855 N. Cahuenga Blvd Los Angeles, CA 90038 323.469.8900 info-la@milkstudios.com www.milkstudios.com
Pix Inc.* 211 South La Brea Los Angeles, CA 90036 323.936.8488 rentals@pixcamera.com sales@pixcamera.com www.pixcamera.com
Quixote Griffith Park 4585 Electronics Place Los Angeles, CA 90039 323.851.5030 abel@quixote.com www.quixote.com
RENTAL STUDIOS 5th & Sunset* 12322 Exposition Blvd West Los Angeles, CA 90064 310.979.0212 jblakely@mac.com www.5thandsunsetla.com Lightbox Studio* 7122 Beverly Blvd Los Angeles, CA 90036 323.933.2080 info@lightboxstudio.com www.lightboxstudio.com
Pier 59 Studios West* 2415 Michigan Ave. Santa Monica, CA 90404 310.829.5959 alexandra@pier59studios.com www.pier59studioswest.com Siren Studios* 6063 W Sunset Blvd Hollywood, CA 90019 323.467.3559 gambino@sirenstudios.com www.sirenstudios.com
Smashbox Studios Culver City* 8549 Higuera St. Culver City, CA 90323 310.558.1460 sb@smashboxstudios.com www.smashboxstudios.com Smashbox Studios West Hollywood* 1011 N Fuller Ave. Hollywood, CA 90046 323.851.5030 sb@smashboxstudios.com www.smashboxstudios.com The LA Lofts* 6442 Santa Monica Blvd Los Angeles, CA 90038 323.462.5880 thelalofts@mac.com www.thelalofts.com The Studio* 6442 Santa Monica Blvd - #202 Los Angeles, CA 90038 323.791.7757 jewely@thestudiola.com www.thestudiola.com
SAN FRANCISCO, CA PHOTO EQUIPMENT Calumet* 2001 Bryant St. San Francisco, CA 94110 415.643.9275 www.calumetphoto.com Pro Camera Rental & Supply* 1405 Minnesota St. San Francisco, CA 94107 415.282.7368 www.procamerarental.com PHOTO LAB Dickerman Prints* 3180 17th St. San Francisco, CA 94110 415.252.1300 info@dickermanprints.com www.DickermanPrints.com Light Waves Imaging* 130 Russ St. San Francisco, CA 94103 415.431.9651 orders-sf@lightwavesimaging.com www.lightwavesimaging.com
PRODUCTION SUPPLIES JCX Expendables* 3050 23rd St. San Francisco, CA 94110 415.824.4110 jcxex@pacbell.net www.jcxex.com STUDIO RENTAL 4th Street Studio* 560 4th St. San Francisco, CA 94107 415.593.7755 info@4thststudios.com www.4thststudios.com Dogpatch Studios* 991 Tennessee St. San Francisco, CA 94107 415.641.3017 info@dogpatchstudios.com www.dogpatchstudios.com Left Space* 2055 Bryant St. San Francisco, CA 94110 415.285.5338 studio@leftspace.com www.leftspace.com LUX-SF* 2325 3rd St. - #347 San Francisco, CA 94107 415.633.6063 studio@lux-sf.com www.lux-sf.com Purebred Studio* 436 N. Canal St. #7 South San Francisco, CA 94080 650.952.6200 info@purebredpro.com www.purebredstudio.com Sintak Studio* 2779 16th St. San Francisco, CA 94103 415.255.7734 studio@sintak.net www.sintak.net The Nine Studios* 349 Ninth St. San Francisco, CA 94103 415.252.8551 brandon@theninesf.com www.theninesf.com
NATIONAL EQUIPMENT/ GEAR Cru-Dataport 800.260.9800 www.cru-dataport.com FUJI www.fujifilm.com Manfrotto www.manfrotto.us Sigma 800.896.6858 www.sigmaphoto.com ORGANIZATION APA (Advertising Photographers of America) 800.272.6264 www.apanational.com PORTFOLIO REVIEW NYC FotoWorks 917.470.9197 www.nycfotoworks.com VIDEO SHARING WEBSITE Vimeo www.vimeo.com WEBSITE BUILDERS LiveBooks www.livebooks.com SmugMug www.smugmug.com
*Distribution sites. FOR LISTING OR ADVERTISING INFORMATION PLEASE CONTACT: info@resourcemagonline.com
ajproductions ny
ajproductions ny
ajproductions ny producti o n - ca s t i n g - l o c a t i o n s co u t i n g
917.209.0823 212.979.7585 www.a jproductionsny.com a jprodnyc@mac.com
“The Men Behind F-Stopper” continued from Page 69
// BOOKMARKED It’s super-easy to record audio, and that’s a huge thing for us. And as we’re both Windows users, we edit all of our videos in Premiere. PH: When we’re on location, or running around a concert or a football game, we have to go as minimal as possible. In that case, we go with a D4 or a D7000, with a lens that can stabilize itself—that’s crucial. When we’re in a studio and have more time to plan out what we shoot, we use the same cameras but we have tripods, and we take extra steps with the sliders and fancy production value. But, really, at the end of the day, it’s all about coming up with a great story, and editing something that’s enjoyable to watch. I’ve seen so many videos from highend photo shoots that are uninformative, or not interesting to watch, or something we’ve seen a million times before. All the gear in the world can produce an awesome looking video, but you need to have a storyline. Which is very different from photography, where you hit the shutter and you’re done—the emotion can be contained on a single frame. CAN YOU DESCRIBE A TYPICAL DAY AT THE OFFICE? PH: A lot has changed over the last few months. Up until January, FStoppers was literally Lee and I with an office manager, Lauren. We had two or three people doing sporadic things, but then we hired a full team of writers. Our jobs really changed—from us having full control of the website to letting the writers post whatever they want. Our jobs are now much more of a manager job—we make sure our writers are working hard and finding good stories, we keep track of traffic, deal with advertisers and those types of relationships. A lot of the videos we shoot just come out of nowhere. We may not have anything planned for the next month, and then a photographer will call up and say, “Do you want to come up to Seattle? I am shooting an Olympic athlete.” And we’ll jump on it. It’s not as planned out as people would like to think it is. HOW DO YOU DECIDE WHAT TO POST? LM: Generally, if we like it, we post it. If we’re bored by it, we don’t post it. If it’s somewhat informative and entertaining, it’s good enough to go on our site. But, believe it or not, 90% of videos online are neither of those things. PH: And the larger we get, the more submissions we get. It’s amazing, the things people send us. They’ll send us a vacation documentary that had nothing to do with anything and is poorly shot. It’s almost like they’re just fans, and they wanted to show us their video. Other times, people will send
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us amazing footage from photo shoots, but they’re glamorized music videos—there’s really no substance to them. Like Lee said, a submission has to be informative on some level, and it has to be entertaining. FOR A LOT OF YOUR POSTS, YOU ENCOURAGE VIEWERS TO LEAVE COMMENTS; HOW DO YOU DEAL WITH COMMENTS TURNING NASTY OR OFFENSIVE? LM: In the past we had to approve every co m m e n t i n d i v i d u a l i t y o r a p p rove a commenter. That isn’t the case now; we have a new commenting system that’s automatic, since we don’t have time to approve everything. Every now and then it does get a little nasty, but
THE MOST IMPORTANT THING IS TO GO OUT AND SHOOT WHAT YOU LOVE TO SHOOT. SET A HIGH STANDARD FOR YOURSELF; BE HARD ON YOURSELF. DON’T LISTEN TO YOUR FRIENDS. it’s nowhere near as bad as on most websites. I think the reason for that is that we keep things so personal. If someone writes a post, it has their picture on it, as well as their website, and people can click on it and see their work... It’s more difficult to be mean to someone you know. PH: We’ve noticed more animosity and trolling on our Facebook group; I think it’s because there’s more anonymity there, whereas on our site, people know us. WHAT TRENDS DO YOU SEE DEVELOPING THAT YOU’RE EXCITED ABOUT? PH: The one thing I really noticed is that everyone is very savvy. Instagram’s popular now, but a couple of years ago our readers were already using it. There are a lot of times, especially on the Facebook group, where I see some amazing photographs and I think, “Man, this is a whole different ballgame now.” Five or ten years ago, when you had your first digital camera, you were just trying to figure out how to use it; now there’re high school kids posting fashion shoots that rival what’s published in magazines. I’m really excited to see the level of photography being raised. The bar is so much higher than it was even a couple of years ago. LM: I’m excited about how easy it is to
shoot video now. Obviously that’s what made FStoppers what it is. If you have the talent to light a still image, then you’re not going to have any problem lighting video; if anything, it’s actually easier. It’s really exciting to watch still photographers create amazing videos. LAST WORDS OF WISDOM? PH: For people who want to take their career to the next level, the most important thing is to go out and shoot what you love to shoot. Set a high standard for yourself; be hard on yourself. Don’t listen to your friends who tell you you’re amazing. You have to compare your work to people you admire. Do whatever it is you enjoy doing, and then put it out there. If you just keep aiming to produce the one perfect picture, you’re going to be disappointed. But if you continue to do work and share it, that’s really what puts you on the map. LM: A lot of people spend so much time putting their work on their personal blog that gets three views a month. Why not go a slight step further and post it on a larger site (whether ours or another photo blog), and have hundreds of thousands of photographers critiquing it? It’s not difficult, and the results will be exponentially better.
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