Fall 2008

www.resourcemagonline.com

$6.99 US/CAN

For the Professional Photo Productionist

Fall 2008

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Table of Contents Fall 2008 2

Table of Contents: A description of things to come.

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Masthead: They’re all here!

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Letter from the Editors: What we have to say.

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Letters to the Editors: Knock knock

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RE-turns: 12

Tricks of the Trade: Creative Director. How to take over the world‌with great ads.

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Resource Guide to: Anti-social Communication. How to stay in touch without actually talking to people.

18

Interview: Mark Higashino. Meet the Japanese rock star of photo. Only he can get away with pants like these.

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Photo Deco-Page: The Other Hollywood. When photographers are actually more interesting than their subjects.

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How to: Do a Casting. You could also just hire a casting director.

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Etiquette: Nudity on Set. This is work, not porn.

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Locations: Warehouses. What is left when the machines are gone and the workers quit.

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History: Tupac Shakur. Thug life indeed.

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As Seen in Resource Magazine: Sahadi’s. Where people know your name and which kind of olive you prefer.

42

Fashion: Say Yes to the Pollock Pants. Pants with paint: sexiness every set designers should have.

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Non-RE-fundables: 62

Splashlight SoHo. Birth of a new studio in a classic New York neighborhood.

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The Child Star. Put your kid to work. It’s guilt-free and fabulous!

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Diary of a Location Scout: Part 4 of 4, otherwise known as The end. More bizarre jobs in beautiful locations, with strange people and outlandish encounters.

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The Miami Scene: An Overview of the Photo World’s Most Fabulous Beach Set. A world where pink reigns supreme.

94

The School of B&H. How to learn lighting without going to Photo School.

102

Photo Essay: Venetian Beauties. Meet the beautiful freaks of Venice Beach, just the way we like them.

Cover and End Images by Tom Medvedich.

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Fall 2008 issue

EDITORS IN CHIEF Alexandra Niki, Aurelie Jezequel CREATIVE DIRECTORS Alexandra Niki, Aurelie Jezequel ART DIRECTOR Sharon Gamss PHOTO EDITOR Ben Kaufman COPY EDITOR Edine N. James DESIGN Sharon Gamss Dylan Kahler Lara Peso Shai Zagury Chris Brody Matt Klein Emil Rivera CONTRIBUTING PHOTOGRAPHERS Koury Angelo Bill Cooke Alexandra Cespedes Danny Clinch Emily Anne Epstein Nick Ferrari Carolyn Fong Naoya Fujishiro Eric Hason Ben Kaufman Jason Lewis Tom Medvedich Roman Meisenberg Eros Messina “Chris Scout” Bake Sinclair JJ Sulin Matteo Trisolini Ray Wadia CONTRIBUTING WRITERS Marc Cadiente Ana Callahan Missye Clarke Taylor Dietrich

Emily Anne Epstein Charlie Fish Alec Kerr Marla Lacherza Jonathan Melamed Justin Muschong “Chris Scout” Heather Simon Jeff Siti Rachel Smith Keri Wirth Sachi Yoshii CONTRIBUTING ILLUSTRATORS Matt Klein Ted Kohlmann Emil Rivera INTERNS Chris Brody Sylvia Gyrion Kate Hope Jack Berner Matt Klein Marla Lacherza Nicole Meyers Emil Rivera Coraline Rignon

Resource Magazine is a quarterly publication from REMAG Inc. 215 Pacific Street Brooklyn, NY 11201 Fax 212.358.1854 info@resourcemagonline.com Subscriptions are $30 in the US, US$50 in Canada, and US$60 globally. For subscription inquiries, please email info@ resourcemagonline.com Special thanks to: Anne Attal, Frank Defalco, Chaim Beigel, Mike Lefranier, Rafael Zabik, Kristopher Kowal, Benoit Lagarde, Renate Lindlar, Roman Meisenberg, Phyllis Levine, Rachel Smith, Tom Clancy, Adam Davids and Coraline Rignon.

We welcome letters and comments.

Please send any correspondence to info@resourcemagonline.com

PUBLISHERS REMAG Inc. DISTRIBUTION Brian Byrne brian@resourcemagonline.com Andrew Lucas andrew@resourcemagonline.com ADVERTISING Alexandra Niki alex@resourcemagonline.com Aurelie Jezequel aurelie@resourcemagonline.com

The entire contents of this magazine are © 2008, REMAG Inc. and may not be reproduced, downloaded, republished, or transferred in any form or by any means, without written permission from the publisher. All rights reserved.

For more info, please visit our website, www.resourcemagonline.com

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8 Letter from the editors

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hhh…fall’s cool breeze. Schlepping that equipment and props is not as bad now that it’s not a hundred and ten degrees, right?

Well, there’s no denying that it’s hard to leave behind those warm summer nights, but to look on the bright side, life remains enjoyably inconsistent. None of us would be in this business if we didn’t have some part of us that hated the same old routine. Anything could happen on any given day… and anything usually does.

That’s why we love our crazy jobs so much: they are challenging, always pushing us ahead, forcing us to learn new things, making us adapt to new situations and demands. There’s never a dull moment, which is just how we want our lives to be.

When facing life’s ups and downs, you may want to seek advice from a wise soul. As an old monk once told us in Prospect Park, “Live it up and break it down.” Think about it while you enjoy the magazine and the many truths contained within.

It has now been one year since we started Resource. After minor bloodshed (only paper cuts and things of that sort), we can proudly announce that we will be reaching all the photo productionists who drive the passion behind this business. Thank you for reading Resource and helping make a national presence possible.

We hope to see you all in many more studios, many more parties, and many more countries.

Alex and Aurélie

NOW OFFERING CGI.

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LETTERS TO THE EDITORS:

Knock Knock Dear Resource,

Dear Resource,

I just wanted to say that I loved your article on the death of Polaroid cameras [Goodbye Polaroid, Summer ‘08]. Not only have I loved these cameras since I was a child (a Polaroid was my first camera, and it ignited my love for photography), but I use Polaroids nearly every day for my job. What am I going to do without them?

I have been carrying your magazine around for a while and I think it is absolutely awesome.. I really wish something like this existed when I got out of college. It would have been a great introduction to the commercial photography world. Instead, I ended up working for an egoist photographer who told me that I was lucky he hired me since I only had an English Major background. As a studio manager, I took part in producing, casting, cleaning, invoicing and bookkeeping, second photo assisting, along with wardrobe and prop styling assisting. Phew!

Thanks again for the article. It was a lovely tribute to a near extinct friend. You guys rock.

Sincerely, Olivia Johnson

And I still remember the first time I asked, “What’s an art buyer?”

Vivian Ip VIVIAN ARTISTS

DRIPBOoK PhotograPhers, stylists, hair + MakeuP artists, illustrators, designers, galleries, Magazines, agencies, and More. a new way to browse artists worldwide. a new way to ProMote your work. find and be found. driPbook.coM

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studios capture location file management retouching prepress

chauffeur service experienced location assistance fully stocked equipment room climate controlled digital suite power when and where you need it new york to miami

visit www.shootdigital.com/coyote for more information 23 east fourth street, new york, new york 10003 tel +1 212 353-3330 fax +1 212 353-0367

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Remember the Gold Fish song? You know, the one still stuck in your head? How about that “Make 7 Up Yours” T-shirt that you still wear to the gym?

Let’s talk about those Schick commercials you stumbled on while surfing YouTube—the one you emailed to your brother under the subject “Schick is off the Heezy!”? Yeah, Schick is off the heezy and it’s not just because of its titanium razor blade: it rocks because in a society cluttered with advertisements, it manages to hold your attention for more than five seconds. Perhaps these advertisements are the reason you don’t change the TV channel during a commercial break. Hell, they might even inspire you to go out and buy their products. But do you ever stop and think about the people behind the scenes? They work for advertising agencies and conceptualize multiple ad campaigns every year. These people are creative directors.

Billy Faraut, the brains behind the Schick campaign, moved to New York from Paris in 1991 and has taken on the advertising industry with full force. He has worked for powerhouses such as DDB, Ogilvy, and currently J. Walter Thompson. As a creative director, Faraut has developed campaigns for Hershey, Volkswagen, Rolex, Kleenex, and Schick, just to name a few. Whether working on an ad for print, TV, or the web, he administers each project from the client’s initial brief all the way through execution. Faraut is responsible for generating ideas, overseeing creative teams, finding actors, photographers, directors, and finally selling his vision to the client. How does one man manage to juggle all these responsibilities while banging out some of the most cutting edge and profitable ads of our time?

Will You Go Out With Me? “You’ve got to woo the client. As most clients admit, they need to see it to believe it. I can’t just make a presentation by explaining my idea, especially when it’s something eccentric or risqué. When presenting a new idea for an ad campaign, I bring in necessary visuals, potential actors, music, and a little charm of course: anything to ensure the client will believe in my vision. Sometimes they don’t, so it’s important to have a back-up plan. At times I come into a presentation with five ideas just to be safe. Once I’ve earned the client’s trust, I take them on a wild ride.”

By Heather Simon | Photo by Roman Meisenberg

Tricks of the Trade :

The Art of Juggling “There is no methodical way to conceptualize and produce a successful ad, so time management is always a concern. I work on five accounts at once, with deadlines ranging from a tight six weeks to as long as six months. I’ve learned it’s best not to micromanage. The trick to juggling is to let a couple of balls drop. I delegate accounts to my creative teams, while reserving a couple of key accounts for myself. I am never totally void of hands-on responsibilities. I love to draw up sketches and think up crazy ideas with my partner. The task of balancing my duties as a creative director while conceptualizing new ideas for my clients keeps me busy, but it’s an invigorating busy.”

Creative Director

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I Will Back Down “I’ll do ads for alcohol, but not for handguns or cigarettes. There’s no shame in passing on an account in order to stay true to your beliefs.

JWT is a big agency, and if you’re Mormon and don’t want to work on campaigns for products that have caffeine, someone else will. Besides, if you can’t relate to the product, it’s likely your ad will lack heart. I have found that the most successful ads don’t talk down to the consumers.

You have to show humility in order to connect your product to people. It’s hard to do that if you are opposed to the product.”

Making Headlines “A good ad grabs the viewer’s attention. A great ad gets the viewer to spend time with it. A killer ad makes news headlines. You want people to drive miles to see your ad like a national monument.

Brands today are a part of pop culture. I want the brands I develop to be as controversial as the celebrities in the tabloids. With the uproar of new media advertising, I am constantly on my toes thinking of new ways to attract consumers. If I’m stuck, I jump to another account and work on that for a bit. When I begin to get bored with an account, it’s time to push the envelope further. I have fun with the challenge of bending the rules while still pleasing the client.”

Increase the Peace “At times, clients don’t see things my way even after I’ve done everything in my power to illustrate my point of view. I’ve learned that in this industry it is best to choose your battles wisely, especially when it comes to dealing with a new client. I cross my fingers and hope that over time they will trust my vision. I’ve also learned it’s important to consider the opinions of others. If I’m working on a commercial and the director has an off-the-wall idea, I will put the project on hold and share it with the client. Collaboration and compromise are key in this industry: they’re the best way to ensure your ads stay creative while still appealing to the masses.”

Why Don’t We Do It On The Road?

“In the elevator? Poolside, maybe? Ideas come when you least expect them. One moment I’m having a drink in a pub in Prague and before I know it I’m tipsy and brainstorming a multi milliondollar ad campaign. Advertising is about honesty and relating to people, so it’s impossible not to find inspiration in everything. In order to be successful in this industry you have to think outside the box while still appealing to the consumer. The best work doesn’t always happen in the office. You’ve got to step outside of your comfort zone and get creative. Just have fun with it!”

Anti-social Communication

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By Justin Muschong | Illustration by Matt Klein

RESOURCE GUIDE TO:

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undred years ago, people who wanted to communicate with someone in a far off land had to write and dispatch a letter, which was not even guaranteed to reach its intended recipient. Luckily, in our advanced modern times, two people anywhere on the planet can call each other up at any time and have an in-depth conversation. The ease with which we can get in touch with others has been one of the foremost contributions to the rapid advances mankind has made in recent years. Thanks to technology, you can never be out of touch with the world around you.

Son of a bitch.

Sometimes, you want to be out of touch with the world around you. Whether you’re watching a movie, engrossed in a book, or just zoning out, the chirp of your cell phone is always there to jar you out of your state of meditation, a constant presence that remains irritating no matter which Journey song you have programmed as your ring tone. Yet you can’t just turn off the damn thing, because then some terribly important piece of news (or more likely, gossip) may escape your notice.

Good thing technology is there to bail you out of the same dilemma it put you in. When you don’t feel like talking, you can still stay in contact through all sorts of wonderful gizmos and programs that will store your incoming messages and let you respond to them at will. Sure, you could respond to that voicemail with a personal telephone call, but isn’t it easier to text “k thxs :)”? Rude? Not with that adorable smiley face.

AIM:

Skype:

P ROS: ) Works on all computer platforms ) Most universally used instant messaging program ) V oice and video chat included ) Can be integrated with your cell phone

P ROS: ) Works on Windows, Mac OS X , and Linux ) Calls can be made to other users of the program for free ) A vailable in 2 8 languages ) Search feature allows you to Þ nd other users by name, e-mail address, or location ) A bility to conference call up to 10 people V ideo chat

AOL Instant Messenger

CONS: ) V ersions available for platforms other than Windows are extremely outdated and have limited functionality ) A d-supported, so you’ll be bombarded by annoying animations at the top of your buddy list ) Some IMs are cleverly disguised as spam and/ or viruses ) Limited customer support Bottom line: If you’re still a Windows user, it’s probably your best option. In fact, you probably have it loaded onto your computer already. But if you’ve sold your soul to Steve Jobs, the Mac version has an ancient user interface and limited capabilities.

Telephone and messaging program

CONS: ) The customer service is apparently not so great. ) The per minute price for calling a landline or cell phone varies anywhere from $ .0 2 to over $ 1.0 0 ) Most people avoid using the text chat feature ) P eople cannot respond to text messages sent to their cell phone.

Bottom Line: Getting people to convert from A IM to Skype for instant messaging purposes is a burden. A fter all, they’ve

had those screen names since middle school, and it’ll be a cold dark day before they give them up and come up with something new. But, when you’re out of the country and actually want to talk to those you left behind, Skype works wonderfully as a way to stick it to the Man and skip out on long distance fees. Just make sure you or that computer nerd acq uaintance of yours can take care of any software problems.

iChat:

Apple’s multi-protocol messaging program

P ROS: ) Supports contacts from A IM, .Mac, Bonjour Messaging ) Will also support Jabber messaging and contacts, including Google Talk, on OS X operating systems Tiger or later ) V ideo and audio chat

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•When using OS X 10.5 Leopard, you can “screen share” with other iChat users •When using Jabber transport, you can also import Yahoo! and MSN messaging contacts CONS: •Only works on Mac operating systems •Limited customization options •Older versions lack basic features such as tabbed IM windows, profile customization, ability to see mobile users, buddy list groups, and autoreply away messages.

Bottom Line: It’s a simple and easyto-use alternative to AIM for Apple users. The Bonjour feature is perfect for urgent inter-office discussions regarding where to get lunch. Those who have made the upgrade to the Leopard operating system will find that almost all of the drawbacks of the older versions have been addressed.

E-mail

Mail delivered via electronic means

PROS: •Almost everyone has an email address, even your grandmother •Can be sent directly to your Blackberry, iPhone, or other form of nuisance •Easy to access when you’re not home CONS: •If you haven’t jumped on the smartphone bandwagon yet, you must log onto a computer to check mail •Files must be under a certain size to be sent •Mailbox size may be limited Bottom Line: E-mail has executed traditional letter mailing ganglandstyle and has become almost everyone’s basic form of communication.

Depending on whom you ask, it’s connecting people across continents and changing the way we live and work, or utterly destroying basic literacy. Just remember that “Plz can you haz give me job?” is not a proper cover letter.

PIN Messaging:

Blackberry’s Messaging Service

PROS: •Picture messaging capabilities •If all your friends have Blackberry’s, there’s no need to buy a separate text plan CONS: •You need a Blackberry...sorry iPhone users •Have to be in a data usage service area to send the messages Bottom Line: Currently, you’re required to buy a data usage plan when you purchase a Blackberry, so everyone who has acquired their BB legally can PIN message other holders for free. It’s a good alternative to SMS messages because you won’t have to pay the separate fee, but it’s doubtful you’ll be able to convince die-hard Apple users to convert to Blackberry.

Facebook Messenger:

Facebook’s pre-installed messaging program

PROS: •Works on all Windows, OS X, and Linux systems •Nothing to download; if you have a Facebook account, you already have it •No need to create a new user name or screen name •Buddy list already created for you from Facebook friends CONS: •Only text chat •New program, not heavily used yet •In-browser application Bottom Line: Facebook’s messaging program is a recent addition to the site. It appears in the bottom right corner of your home page and allows you to chat with other Facebook users who are online. That’s about the extent of it. Seriously. You can’t even leave an away message.

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Text messaging:

The other form of cell phone communication

P ROS: ) A ll cell phones bought after 2 0 0 0 have text messaging capabilities ) A llows for communication when talking is inappropriate: in class, during a presentation, at work, etc. ) Less awkward than a phone call ) “Bulk Text” - send one message at once to your entire phone book ) Newer phones allow for picture and video messages ) Major advance in booty-calling technology CONS: ) P ricey if you don’t buy a separate messaging plan ) Text message spamming Bottom Line: Nearly everyone text messages these days, but not everyone has bought a messaging plan from their carrier yet. Make sure that you do: an unlimited use plan will only set you back $ 10 or so, but without one, the per message charges, usually ten cents per text, can q uickly add up. Text messaging can also reduce your minutes usage and save you money on the monthly bill.

Microsoft Office Communications Server: Microsoft’s answer to IMing for the corporate world

P ROS: ) Works on Windows and OS X ) Multi-party web conferencing ) V oice and video chat ) F ile transfer ) Works with A IM, Yahoo! and MSN contacts CONS: ) Not F ree ) A ll IMs sent and received can eas easily be recorded by your company Bottom Line: This is a great pro program for ofÞ ce overlords who want to keep track of their employees.

If you’re one of those employees, however, you’ll have to watch your

language and remember to kowtow to the company line with every click of the “Send” button. On the plus side, the Þ le transfer feature is a good instant alternative to e-mail.

It’s as if your A IM buddy list grew up twenty years, put on a suit, and is keeping you under constant surveillance.

Adium:

Instant messaging program for Mac OS X

P ROS: ) Can connect to A IM, Jabber, Google Talk, MSN, Yahoo! and Myspace IM accounts ) Utilizes Bonjour messaging feature ) A vailable in 2 2 languages ) Good customization options CONS: ) Only works on OS X ) No audio or video chat capabilities Bottom Line: If you’re a Mac user who still uses some non-Leopard, dinosaur operating system, A dium is the way to go. It’s basically iChat without the video and audio capabil capabilities, but to compensate for what it lacks, it can integrate almost all of the messaging programs out there.

In addition, the visual customization options are attractive enough for some Leopard users to resist making the upgrade.

Meebo

All your IM accounts in one browser window

P ROS: ) Works on Windows, OS X , and Linux ) Can be accessed on iP hone and iP od Touch ) Collects all your instant messaging contact buddy lists into one consolidated list ) No need to download software ) Can be accessed from any computer CONS: ) H aving to keep a browser window

open can be annoying Bottom Line: Meebo is a smashing idea in theory, but its use in real-life is limited to when you aren’t home and can’t download software. A nd who really has more than one buddy list to consolidate? H yperactive teenagers, to be sure, but eventually you reach an age when it’s hard enough to even log onto A IM.

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’s couch when o in h s a ig H k r a sleeping on M s a w s ll o D Y the N The bassist of o it on the d s t’ e L “ . w ie v r DP into an inte e th d le g n a r lly w Resource fina blem-solver. o r p e th r e v e , ested roof,” he sugg

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INTERVIEW:

Mark Higashino Portrait and interview by Emily Anne Epstein

From the view of his Union Square apartment, he reminisced about the times when the neighborhood was a tad different. Andy Warhol’s Factory was down the street, Union Square was known as Needle Park, and he rolled his own Tri-X to photograph punk shows at CBGB’s. He watched the city take on all different shapes—and his career has been just as polymorphous. He has worked in advertising, fashion, and film across the globe. We’re talking the arctic here.

We’re talking Toyota. Jim Jarmusch. Even a little David Bowie.

The unbelievably approachable and always all black-attired photographer took an afternoon to share how he got started… and how he’s never going to stop.

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How did you move to New York?

I studied a little bit of fashion after I graduated from high school. My parents wanted me to be an architect, but I was into fashion because of all those new things going on in glam rock, like David Bowie and Led Zeppelin. So I decided to go to the Fashion Institute in Japan.

I studied space design and window display. And then one summer my friends and I decided to go on a road trip. We spent about two months together. We were three crazy, young, Japanese arts kids cruising from San Francisco to Mexico and then Los Angeles—the car was like seven hundred dollars from an ad in the newspaper. When we went back to Japan, I met two artists from Boston and told them my story. I told them about Route 5, that beat up car, the desert, the Beatles, the Doobie Brothers, the sun and all that, and they said, “California is not America. If you are interested in art, you should come to New York City.” So three days after I graduated, I came here by myself.

What were those first few years like?

When I was a poor artist with big ambitions, I assisted Marco Glaviano, one of the founders of Pier 59 Studio, and one of the top five fashion photographers at the time. I interviewed with him, he liked me and asked me to come to his studio. He had a duplex, a huge penthouse on Central Park South. When I walked in, there were all these supermodels and makeup artists… and I said, “Wow! I’d like to be a fashion photographer, but this is impossible.” My dream was crushed because everything seemed so gorgeous and unattainable to me. I could not be like that—it was too much. I stayed one week and gave up.

I was disappointed, but I liked music so I turned to shooting music.

Who was the most memorable person you have worked with?

I’m still in contact with him. His name is Sukita: he’s seventy-three years old, a photographer, and still shooting. He worked with David Bowie and shot the “Heroes” album covers while he was in London. He came as a DP when I was doing TV commercials, and I stopped him and said, “I know your name and your work. It’s great to finally meet you.” Since then, whenever he comes to New York he always asks me to work with him.

What’s your favorite thing to photograph?

When I was young, a beginner, I was too shy to shoot models. They always complain, so I got into tabletop photography. A product never complains; even early in the morning you can get up and say, “OK, I’m going to make this lipstick beautiful!” But I was interested in shooting models, people, and portraitures. It got easier when I came to New York; there were just so many interesting people.

Where do you like to watch people in NYC? I like music, especially rock music, and when I moved here there were all these punk and new wave things happening. All these characters, Studio 54, Andy Warhol’s Factory, every night I would go to nightclubs like CBGB’s to shoot. I would use film, but I had no money, so I would roll my own film, Tri-x, and shoot one roll a day. And I would just spend the weekend in my bathroom darkroom, processing, processing, and processing.

Eventually, a magazine found out there was this guy shooting music and they asked me to shoot KISS at the Palladium. It paid five hundred dollars for a couple hour shoot. And that was my first job.

What is your day like when you’re working as a DP? Pre-production is very important. We have to go on location scouting and find a spot, decide what camera to use. Most of my shoots are commercial; I make all the decisions. Lighting, everything is calculated. When time comes for the shoot, it’s about the emotion between the characters and me.

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What do you see when you photograph people?

There are two types of people: real and famous people. With a real person, I try to see a strong impact in their eyes, nose, whatever, and then I decide on lighting. My lighting is very simple. Like sunlight: I put two lights, a key light and one more. When I work with famous people, it’s different. The talent has to approve every photograph. I check old magazines to see which angle of their face they prefer. I set up the lighting based on my research and shoot them, and they say, “Ah, you know my best angle!”

After that they loosen up. Basically, they’re human and I’m human. I just open up my whole heart.

What sort of advice would you give photographers who are looking to have careers as multifaceted as yours?

I grew up as a classic photographer—making black and white prints, using temperature controls and manipulating developers… Whatever the client wanted me to print, I could control all the fine qualities. It’s like cooking food: I just keep testing and trying to make something new. It’s a dash of salt, pepper, maybe some cayenne… For young people, my advice would be to just keep shooting. Find a theme. Trying to find a theme is very difficult in a big city. There are so many elements; it’s confusing. If you go to Switzerland, there are beautiful landscapes, but everyone is shooting the same beautiful landscapes. In a city, the beauty, the idea, and the point of views are always changing, so just believe in yourself, in your eyes, and keep shooting. Remember to put your soul into it.

What was the craziest shoot you’ve ever done?

Michelin. That was a crazy one: they built an ice castle and polished a frozen lake surface. It was windy and minus forty-five degrees; I was very nervous about using the camera in this weather. I got a heat pack with temperature control to put on the camera, and my assistant would take the camera apart and put it back together to keep it warm. Since they had polished the surface of the lake, the place got very slippery. We couldn’t wear spike shoes so we were sliding everywhere. I had to put a sharpie dot on the surface of the ice to mark where the tripod would be. When I got ready to shoot, the tripod had moved and I told my assistant, “Don’t move my tripod! I need to shoot!” But he hadn’t touched it-—it was the wind.

What do you look for in an assistant?

I don’t like people to come without their books: if you are a young photographer, I want to see your work. And then I ask, “You are in the darkroom loading 4x6 film and someone knocks, ‘Hello? Hello?’ What do you do?”

Some people answer, “Hold on! I’m in the darkroom!” And that’s the wrong answer. You know why? Because they are in the dark, they can’t see anything. If you say something, maybe spit will get on the film. Don’t say anything—just kick the door… That is an important test.

What’s next for you?

I think of my friend Sukita who is still shooting motion pictures, so my mission is to shoot until I die. Until my body has stopped.

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Photo deco-page:

The Other Hollywood

By Rachel Smith | Photos by Matteo Trisolini

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On the red carpet, photographers and celebs have two very distinct roles to fill. Though these roles may seem opposing, they are, in actuality, entirely symbiotic. But what would it look like if the photographers turned the cameras on their own kind? Photographer Matteo Trisolini explored this idea with “The Other Hollywood,” a series in which he captured the paparazzi in their natural habitat. Trisolini acted not as a fellow shutterbug but as a different kind of reporter—one with a more artistic and even sociological intent, lending the concept of press photos a raw spin. Rather than showcasing manicured limbs, jutting shoulders and hip haircuts posed in front of bright, bold sponsors’ names, Trisolini’s coverage of a star-studded event is a hectic display of seeming chaos and animosity. While he may have missed out on the million dollar shot of the night, his images place the viewer perfectly atop the typical wave of bustle and disorder that hovers continually beside a red carpet. When viewed head on, the army of photogs’ scramble for the front-rope position and a shot of that moneymaking smile is just as eye-catching as the A-listers they are after. We can almost hear them scream, “Hey Rosie!”

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30 How to

HOW TO:

Do a Casting

By Jeff Siti | Illustrations by Emil Rivera

Y

ou wake up. After politely crying at the foot of your bed for an hour, the cat has moved in for the less diplomatic chinnudge. “I will cut your throat and watch you bleed,” he says in perfect English. You are naked except for your socks and have no reason to doubt him. Last night you dreamed you were being led to the guillotine as an enemy of the Revolution at the height of la Terreur. The mob surged, rabid to see your head roll awkwardly on the stained wood. It is cold in your apartment.

The food bowl is empty. Then your nightmare suddenly leaps into reality. You booked a couple of Brazilian models for the new Explore Iceland! shoot today. How could you get your casting so wrong? Here’s what you didn’t do.

Step One: Casting is like panning for gold. You are probably not the heir to any fortune if your great-grand pappy sifted through a few handfuls of creek mud and called it a day. In that case it’s time to get knee-deep, wet, and dirty. Grill your clients.

Find out exactly what they want. Ethnicity, gender, age, height, hair color, and general style are all things you need to cover in the initial stages. You don’t have to be a master globe maker to know there are not a lot of beautiful dark-skinned women running around Reykjavík, but it is your job to produce what the clients want. A little bit of research and inherited brainpower should do you right.

Step Two: Get fiscal. You need to let your clients know how much what they want will cost. This means budget. If they’re looking to use the image on billboards and magazine spreads, they’ll need to neatly, and with a steady hand, insert a couple of zeroes on that check. Big things cost more than small things.

Step Three: Location. Before you secure a casting studio, imagine the desert.

Dry, cracked, and choking to death under the heat. Now imagine rainwater from the distant mountains making its way through the peaks, valleys, and grasslands, and ultimately settling in the arid sand. Suddenly, crocodiles, bisons, and herds of all sorts of goofy hoofed creatures dying of thirst burst out of nowhere. Life happens. Mayhem ensues. This is exactly what the studio will look like nine seconds after the doors open to hordes of models, so make sure you get the biggest possible space you can find.

Step Four: Procure photogenic people. Using the handy and detailed specs you have acquired from the clients, relay the message to model and talent agencies. If you’re not looking for the usual 5’11” one-hundredand-three pound chain-smoking waifs, you should place an ad on casting websites. Mainstream agencies also don’t generally carry sword swallowing jugglers or Nordic Vikings, so you may have to do a little research for these special requests.

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Step Five: Get excited, it’s casting day. The Romans employed crucifixion as a means to keep people in line, but you can set the tone early with an even more practical technique: the sign-in sheet. Amidst the chaos, there must be order. After signing in, have everyone fill out a casting sheet, which should coincide numerically with the signin sheet. Number eleven will lose her mind if it looks like number fourteen is getting anywhere first. Control the masses.

Step Eight: War room it. After receiving the clients’ preliminary response and feedback, put everyone on hold. Contact the agencies, or the talents themselves if they don’t have representation, and let them know you are considering them for the job. Make certain they know the shoot date to avoid any possible conflicts. Wait again.

Step Six: Digitize the talent. The generally accepted system is a digital portrait with the casting sheet for reference, a 3/4 shot, and a full-length picture. When the day is over, your brain will be useless: you need to visually reference who you liked, despised, and who simply was not right. It’s also good to get pictures relevant to the job. For instance, if your French Revolution nightmare ever proves to be a weird omen and you are casting for a Marie-Antoinette beheading scene, stick their heads in a prop guillotine and tell them, in an upbeat and reassuring tone, that they were born to be executed.

Step Nine: Book people. Now that the clients have made a final, blessed decision, you may move forward. Call, confirm, book–in that order. Give them everything they need to know. The wherewhen-how-and-what discussion is customary and appropriate.

Step Seven: Edit your pics. Study them. Stare at them. Ask them questions. Ask them if they think you like them. Lie to them. Looks are obviously crucial, but so are attitude and personality. Often times, clients do not attend castings; therefore decision-making depends on images alone. If someone looks great but deserves to be murdered on principle, they may not be the right choice. Breathe, concentrate, and then choose wisely. Upload the chosen few onto your website and send the link to the clients.

Then sit by the phone and wait for them to get back to you. Unless you are recovering from or suffer a genetic predisposition to severe alcoholism, a drink or two may help pass the time.

Step Ten: Kill more trees. Tie up any loose ends and paperwork.

If you require release forms of any nature, make sure they are signed in ink before the shoot. The last thing you want is one of your talents questioning the terms when shooting is about to begin. You run a tight ship, and if she goes down, you go down.

That has always been the way of the sea.

There are few professions that require one to work around gorgeous nude women.

By Jon Melamed | Photo by Eric Hason

Nudity On Set

Etiquette:

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Certainly, doctors are among the few who see and touch nude people for a living, but their patients are generally of varying degrees of beauty. A day in the life of a pornographer is probably so over-saturated with nudity that the view of a pair of surgically augmented breasts offers about the same degree of excitement as two cantaloupes do to a food stylist. Then there’s us: the crew on photo shoots. Although we do not work nude shoots everyday, they come around once in awhile and the models are generally, according to society’s current standards, of an agreeable body shape and size.

If you are of the sexual orientation which finds such thing titillating, how do you stay focused on set? How does one defy their carnal urges–urges which are so deeply engrained in us by our most basic of instincts–to reproduce? One thing is certain, whether you are a physician or a member of a photo crew: it is your job and you must remain professional.

NE VER:

A LWAY S :

Allow the dressing room to become a peep show. For a nude model this may be her only bastion of privacy. Even if it is something as makeshift as a few taped V flats placed in the corner of the studio, it is still her sanctuary and should remain as such. That means only people directly involved with wardrobe should find their way back there.

Avert your lecherous gaze. Okay, take one quick look. Damn, she’s a babe, right? What I wouldn’t do to…get back to work right now!

Scan the unclothed model for imperfections. On the glossy pages of magazines and as the imposingly large images adorning billboards, these women are seemingly flawless creatures. No matter what schadenfreude you get from searching models for blemishes, stretch marks or superfluous nipples when you see them in the flesh, and before the gentle and generous hand of the retoucher, do not do it!

It is obnoxious and makes the models feel uncomfortable.

Offer your employees less pay for a nude shoot with the promise of a free peak. It’s work, not porn, and you should always aim to keep a professional atmosphere.

Hire a green assistant for a nude shoot.

Even a shoot involving skimpy underwear can be a dicey foray into the photo industry for a newbie. It is best to wean them slowly, perhaps starting with a swimsuit shoot and working from there.

Forget to keep the model warm in between shots. You don’t want her to resemble a freshly plucked chicken, so keep her warm and avoid unsightly goose bumps.

If you can, hire a gay or same sex assistant. Everybody can appreciate a pretty body, but when you take out the sexual attraction, this allows for a more focused staff who may view the bare model objectively rather than as an object of desire.

Keep boundaries as to how sexually charged a photographer can be in inspiring his subject. Their flirtation is just part of their onset charisma and often helps to get the model to essentially “make love to the camera.” Just be sure to distinguish what is professional flirting and what is just down right sleazy. To put it simply: some photographers flirt with models while shooting and some flirt by the craft service table.

Reprimand a lecherous assistant. It shows that you are professional and strive to keep your staff in check.

It is paramount to keep the model comfortable. Too often, models are treated as inanimate objects, almost as if they are just another prop. If necessary, imagine yourself as the only one nude onset, bare buttocks pressed against the cold cyc. Hopefully, this will humble you.

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LOCATION:

Warehouses

By Justin Muschong | Photos by Tom Medvedich

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Ramshackle old buildings naturally project a creepy, unsettling vibe.

Having outlived their original function, they are now visible corpses out in the sunshine, waiting patiently for nature or man to finish off what time has already started. Touring one’s hollow husk is like attending the wake of a person you didn’t really know: you probably shouldn’t be there, but you feel a strange obligation to pay your respects anyway.

Abandoned warehouses possess more of this mournful quality than any other neglected buildings. They represent the most basic of designs: four walls and a roof, created for the very simple purpose of storing any object that can fit through their doors.

A warehouse put to good use is teeming from wall to wall with merchandise stacked on pallets, boxes, and crates stretched to the horizon, with cranes and forklifts manipulated by their cursing operators, a place of life and industry. When all those things are taken away, literally nothing is left.

In other circumstances this is an ideal state. Your desk at work, for example, would look a lot better if the surface were clear of coffee-stained papers, and you might actually be able to entertain guests at your home if you could ever manage to clean up after yourself. But a warehouse with nothing in it is broken, the empty space a mute witness to its own uselessness, staring back blankly at anyone daft enough to wander inside. It almost seems to project senility, as if confused as to why things have changed. “Something used to be here, something that should still be here...but what?” A warehouse is dead when empty, and yet, as long as the walls still stand, its resurrection remains possible.

“1896” / 592 Johnson Ave. Brooklyn / www.the1896.com / 718.451.6531

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For Rent / 5 South 11th Street / 6,500 sq.ft / Ray Martin 718.839.3968 /www.loftsbrooklyn.com.

382 Metropolitan St. Williamsburg, Brooklyn / Britz Realty 212.372.0958

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For Rent or Sale / 3116 Cropsey Ave., Coney Island / Charles Fabbella @ Ben Bay Realty 917.453.0053 “The Foundry” / 42-38 9th St. Long Island City / www.thefoundry.info / 718.786.7776

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Available for future performance and arts rental / 51 Bergen St., Brooklyn / 718.488.6188 For Rent / 1349 Inwood Ave. Bronx / Sean Harony 347.538.0020

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40 History

History 41

HISTORY:

Tupac Shakur Tupac Shakur, by Danny Clinch, New York City, 1993 . By Charlie Fish | Photo by Danny Clinch

By 1993, Tupac Shakur had already starred in two films, released two albums, and scored four Top 10 Billboard singles. In a time when rap music was just starting to break new ground, Tupac was redefining what it meant to be a successful rap artist, bringing his music, style, and persona to millions of households, much to the chagrin of politicians, police officers, and parents alike. His violent lyrics, always tempered with messages of self-empowerment, waxed poetic about the troubled life of growing up in inner-city ghettos. From an early age, Tupac was witness to violence, incarceration, and drug abuse. Many of his relatives had close ties to the Black Panther Party in New York City. The bending and breaking of laws to achieve racial empowerment remained an underlying ideal instilled in the rapper.

Much of his first album dealt with the inequality he saw in law enforcement’s treatment of young black males, and the retaliation he thought was necessary to end it. From the very beginning, Tupac’s explosive lyrics were reflective of the life and beliefs he stood for. “Thug Life” was more than a tattoo for Tupac; it became an idiom on its own, representing a life where one can overcome inequality and make a name for himself. The public, however, often associated the term with the constant legal issues surrounding the rapper (and much of his entourage). As quickly as his lyrics and music catapulted the young rapper into fame, controversy and legal troubles were sure to follow. By the end of 1993, Tupac Shakur’s runins with the law included being charged with shooting two off-duty police officers, as well as being convicted of sexually abusing a young woman.

From then on, Shakur endured a highly publicized life of fame and notoriety. While his records sold upwards of two million (a staggering feat for rap artists at that time), Tupac’s turbulent personal life was front-page fodder. The rapper survived multiple gunshot wounds, served eleven months in prison for sexual abuse, and was a pivotal figure in the bitter East Coast/West Coast rivalry. Ultimately, complications from a 1996 drive-by shooting claimed his life. He was only twenty-five years old.

Despite the aggressive, tempestuous image the world had of Tupac Shakur, others recognized his raw talent. Arguably one of the greatest rappers of all time, Tupac continues to reach millions of people because of his literary prowess. He was as much a poet as he was a rapper, tackling sensitive subjects, such as teen pregnancy, gang violence, and his mother’s crack addiction, with a poetic and truthful tongue.

Rolling Stone Magazine recognized his talent early on and contacted a then up-and-coming Danny Clinch to shoot a portrait of the rising star.

Upon his death, the photograph would become the cover of the magazine and one of the most widely seen images of the slain rapper.

Resource caught up with the talented Clinch to hear firsthand what it was like to photograph Shakur long before his untimely death changed the face of rap yet again.

On the assignment: I got that assignment from Rolling Stone Magazine. They said that the photo was going to be a quarter page and that I should shoot something that was a tight shot—simple and graphic. I remember thinking how cool it would be if this record blew up and they decided to put my photo [of Tupac] on the cover. So I thought let me shoot something that would be cover-worthy, something simple where there’d be a lot of room to accommodate for a cover’s layout.

On Hip-Hop: One of the stories that I tell about the early part of my career was the opportunity that I got through hip-hop. The bigger name photographers, like Albert Watson or any of those guys, weren’t shooting hip-hop [artists].

‘Cause there really wasn’t that much money in it unless it was an editorial piece. Or, they would if they thought that particular artist had integrity and they had a reason to want to photograph them. A lot of the hip-hop [acts were] falling to the younger photographers, which I was at the time. I had gotten in with guys at Def Jam. I was shooting LL Cool J, Public Enemy, 3rd Bass and bands like that. I’m sure I probably showed Tupac some of those photographs at the time, just to let him know that I’d photographed some of his peers. At that time in my career, I would always bring a portfolio of some photographs I had taken just to show them to people.

On the image: I only met him that one time. He was professional, he showed up on time.

He came with no entourage, [just] one guy, like a handler of some sort. He [chimed] right in and said he was excited to take some pictures. He rolled a couple of blunts; that was how we worked. We got to work and he had a jacket that said “Thug Life” on it. I took some pictures where I put the jacket over the top of the table so you could read the words. He and I were talking and I said, “Why don’t you change your shirt? We’ll try a different shirt so we have some options.” He took his shirt off to change and I saw all the tattoos.

And I said, “Oh man, those tattoos are awesome. What about we just do a couple where I could see your tattoos, with your shirt off?”

On Tupac being photographed: He was very comfortable in front of the camera and really on point. He really was interested in being photographed. And the camera really liked him, to run a cliché by you there. He was really personable. I had a great time because of that. He was participating. You have to work around some people. They just stand there, they don’t really project anything. [I’d] have to do it all with lighting and composition and by trying to distract them.

Tupac was really giving back, he was really presenting himself to the camera and you can see that in the whole session; he was into it.

On the Polaroid: At the time—and I don’t do this anymore—I had a Polaroid book. I would take a Polaroid of the artist and put it into this 5x5 inch book that I had, then I would ask him to sign it on the other side. I handed it to Tupac and he wrote, “If a photograph is worth a thousand words, then photographers are worth a million.”

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AS SEEN IN RESOURCE MAGAZINE:

Sahadi’s Specialty & Fine Foods

By Marc Cadiente | Photos by JJ Sulin

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D

o you want a history lesson along with a handful of almonds and dried fruits, an ounce of cumin, and a quart of Naflion olives? Then head over to Sahadi’s on Atlantic Avenue in Brooklyn where the Sahadi family has been offering Middle Eastern and hard-to-find specialty foods to New Yorkers for over fifty years.

business owners who choose to separate themselves from their customers: “Without them, we’d have nothing.” And Charlie encourages his staff to embrace his philosophy of treating the customers well. “I get upset if my customers aren’t greeted when they enter the door. I want their experience to be a pleasant one. I tell my staff, ’You’re not doing the customers a favor, they’re doing you a favor.’”

The store looks and feels like New York. The lofty space made of bricks and mortar serves as a canvas for the vast array of products that make the store so unique. Jars, bottles, boxes, and cans with seemingly indecipherable labels read like graffiti across long lines of stainless steel shelves, inviting curious shoppers to pause and ogle products of foreign lands. Jugs, bins, and barrels filled with every bean and grain imaginable are grouped together like an epicurean cityscape, while the aromas of prepared food and spices are like a symphony for the olfactory. And the history of Sahadi’s is not just about the business—it reads like a true New York tale and a piece of the American dream.

Charlie’s dedication to his customers goes further than his daily presence and the words he speaks. His commitment is reflected in the way the store is run. Unlike other specialty stores, Sahadi’s offers some products in bulk. From beans and nuts to olives and spices, customers have the freedom to purchase as little or as much as they want. Of course, this approach has not always worked out for the store. One-on-one attention to customers takes more time. “There was once this woman who came into the store and bought an ounce of twenty spices to fill her spice jars. Twenty minutes and $13 later, she was done.” But there was a long line of irritated customers waiting after her. Always one to respond to the clients, Sahadi’s tweaked the system to make everyone’s shopping experience more time-efficient and pleasant. “As an owner, it takes years to build customers, but it takes only a minute for a customer to ruin a business.” These are words from a wise man, but Charlie is quick to respond, “I’ve never been the greatest student, but I’m blessed to have common sense.” The sixtyfour-year-old adds, “I enjoy helping people. When I retire I want to tutor people going into business. I have forty-five years of practical experience to offer!”

Though the Brooklyn store, as we know it, has been around for over fifty-five years, Sahadi stems back to 1895 when Abrahim Sahadi opened A. Sahadi & Co. in New York. In 1919, Wade Sahadi migrated to America from Lebanon and worked for his Uncle Abrahim. By 1941, because of generational differences, the more ambitious Wade and his staid uncle parted ways. Wade was bought out with lentils, chickpeas, and olives, among other products, and with this, he opened up his own business.

During the mid-1940s, the Brooklyn Battery Tunnel was being constructed and with the excavation being done on both the Brooklyn and Manhattan sides, many homes and businesses were displaced. Wade and his business partner moved to Atlantic Avenue in a Middle Eastern neighborhood full of businesses with similar cultural backgrounds. Since then, the store has been growing stronger with the late founder’s sons, Charlie and Richard, at the helm of the business. Charlie’s two children have also decided to work with their father, making Sahadi’s a third generation enterprise (which also includes Sahadi Fine Foods, a manufacturer, distributor, and importer of specialty foods).

Step into the door at Sahadi’s and you’re brought back to a time when the local grocer knew his customers—and that’s because the convivial and loquacious Charlie does know his customers.

“When I ask my customers how their son or daughter is, it’s not because I try to pass the time, but because I really know them. I think of my customers first as friends, second as customers.”

On any given day that the store is open, you’ll find Charlie chatting with friends, helping customers find what they’re looking for, mopping up a spill, or helping to bag groceries. Whatever needs to get done, he will do. He emphasizes that he’s not like other

Charlie and his family have made Sahadi’s one of those places where, if you stop a moment to ponder, you might realize: Yes, this is quintessentially New York, and, yes, this is what all the hype is about. Sahadi’s has established itself as a New York institution because it reflects the city and all of its diversity, charm, flavors, and sensibilities—and we, as New Yorkers, would not have it served to us any other way.

Sahadi’s Specialty & Fine Foods 187 Atlantic Ave, Brooklyn, NY 11201 718.624-4550 www.sahadis.com

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Welcome to the era of multicolor and Attention Deficit Disorder shades of everything.

Green Neon is the new black and mauve is the new white. The same goes for your shirt, your curtains, and your toaster. You know you want it!!! Even your trousers are begging for it. No one under the age of twenty-eight wants to see models in black pencil skirts standing in front of a plain white background, regardless of the set designer who growls and prowls just to make the set the exact color of Navajo White. BLAH!!!

Although it is highly disturbing to bump into Mr. ‘Established Artist Left Over From The 80’s’ walking down the street in SoHo, decked in his highly designed and splattered pants he purchased at some chintzy store somewhere in Zurich. Being deliberate is sooo money. But take those same pants and put them on some sweaty, hard working set designer, and there you have caked up, neon elbow greased sexiness. That’s the real Pollock, baby!

Welcome to the era of Pollock Pants. Or, “I got paint all over my seven-year old pants and I don’t give a fuck” look. Set designers have introduced a new jungle animal style of jeans, primed with hard work, blood, sweat, and time constraints. They pay their rents by getting the right background, mood, scene, and earn every red splatter on their baggy or taut asses. Don’t even try to imitate because you’ll be getting hate. The look is Mad Max concentrated cool without the fashion model filler. This is a look you’ve got to earn, not burn your cash for!

title 47 On Kevin, T-shirt, pants and sneakers his own throughout On Andrea, dress and jacket by Zac Posen Shoes from RRRental Showroom

FASHION:

Say Yes to the Pollock Pants

By Ana Callahan | Photos by Eros Messina for ďŹ zz photography | llustrations by Matt Klein

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On Andrea, skirt (worn as a dress) by Zac Posen.

Jewelry and shoes from RRRental Showroom.

title 49 On Andrea, blouse by Ming’ks.

Trousers by Zac Posen.

Hat, cuff and boots from RRRental Showroom.

50 title On Andrea, jacket by Ming’ks.

Tights and shoes from RRRental Showroom.

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On Andrea, Blouse and skirt by Zac Posen.

Cuffs and shoes from RRRental Showroom.

Stylist Jazz Ramcharitar/Ford Artist Make- up Lynn Lamorte Hair- Javon Johnson Models Andrea/Next, Kevin Brennon

By Ana Callahan | Illustrations by Ted Kohlmann

Tales of an Amazonian

Fashion Editor

INDUSTRY TALES:

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Indigenous species of the Fashion Editor kind come in two types of plumage. The first are heartless Vikings who make everyone shudder at the thought of bringing them the wrong blend of coffee. The second are the fun-loving Amazonian kind who feeds their crew, nurtures their talent, and rewards everyone with a round of margaritas after a hard day’s work. This particular study will focus on the Amazonian species.

Although after you read this you might want to think of my subject as a saint.

We’ll call her Philippa.

Here are a few of her adventures:

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Costa Rica. Black, menacing turbulence with only the shell of a two-seater Cessna separating your life’s work from the thunderclap of God, and Philippa swears she only has two minutes to live. Rig Shaw plane finally touches down into jungle blackness.

Fashion Editor for a fresh, upbeat, women’s health magazine opens her eyes and spies nothingness. No crew, no craft table with food, not even the remote flicker of a firefly to help tread the path. She stumbles out of the plane and feels her way through hot and steamy darkness. She’s greeted by a botanist’s wet dream: enter Mr. Exotic Jungle, a cactus covered with black poisonous spindles and spikes. As he greets her with open arms, Philippa decides to bypass him with a one-hundred and eighty flip over his head. She fails to avoid the prickly embrace and lands on the ground sans the grace of a jungle cat, having acquired a new coat of seventy black, poisonous spikes sticking out of her skin. The makeup artist who finally finds her has to pluck them one by one. During the days following the incident, Philippa must nurse the seventy spike wounds to make sure they don’t turn into thriving little pustules of happiness. Ha, ha, funny, right? This photo shoot not only includes a trip to the local hospital where the staff still uses bamboo as Band-Aids, but also hints at the prospect of death. Ha, ha, funny, still?

Kids, being a Fashion Editor will take you places, like an exotic island off the coast of Finland without electricity, but with no shortage of outhouses. Will they pay you enough? Well, the veritable smorgasbord of money might be as elusive as a ski resort in Atlantis, but your work will be seen by millions. Getting the right shot of a model in a sports bra drinking a glass of water off the coast of New Guinea takes a factory. Perhaps even tidal waves!

Philippa is so determined to transport the reader to a different time and space that she’s even willing to scale the most jagged edged cliff for the right shot, deal with models who don’t pay attention, and dodge constant bitching bullets from envious colleagues. For one particular assignment, Philippa goes scouting for a perfect spot in Hawaii. She stands on top of a rock, proud of her bubbling lava flow of volcanic, creative ideas. Before she can

pat herself on the back, the rock transforms itself into a mini Pele, and lava approaches her at mock speed trying to rip her and her atoms to bits.

Even the glamorous wrap up parties that Philippa and her crew throw after a kick-ass shoot can be dangerous. On that particular evening, the party takes place on a wonderful ship off the coast of Guadalupe or somewhere near the Bermuda Triangle.

Everyone is in a fanciful, celebratory mood while the sailors seem to be your average ne’er-do-wells that want to piss on everyone else’s parade. As the celebration wears on and the drinks are flowing, Phillippa hears a grim cracking sound. The sailors have failed to pay attention to their course at sea: they are so annoyed with the photo crew that they managed to snag the bottom of the ship on a coral reef. The back half of the ship begins to slowly sink. Philippa lowers her drink, looks at her friend and asks, “Are we going to die?” Her friend replies, “I don’t have any money!” The young models begin to cry and panic. Fast forward to the rescue. Phillippa is on land the next day and spies half of the boat bobbing up and down in the water.

Take note future Fashion Editors, this is how you get the perfect shot, the perfect set, and transport your reader: it takes a steel head, iron determination, and the soul of an Amazonian to get it done. Pay homage to St. Phillippa and WELCOME TO FINLAND.

iPOD SNAPSHOT:

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The Beat Goes On and On and On

By Charlie Fish | Photo by Nick Ferrari

Small Black leather case / Heather’s iPod- Assistant Food Stylist Are You Happy Now-Michelle Branch 1 No one Will Do- Mary J. Blige 2 Enough Cryin’-Mary J. Blige 3 About You- Mary J. Blige, Nina Simone, will.i.am 4 Be Without You (Kendu Mix)-Mary J. Blige 5 Let Me Blow Ya Mind: Eve and Gwen Stefani 6 Genie in a Bottle-Christina Aguilera 7 Lady Marmalade- Christina Aguilera, Mya, Pink & Lil’ Kim 8 Little Lies-Fleetwood Mac 9 Nobody Wants To Be Lonely-Ricky Martin & Christina Aguilera 10 We Belong Together-Mariah Carey 11 I Hear a Symphony (single)-The Supremes 12 Fallin’-Alicia Keys 13 Open Arms-Journey 14 Goodbye Girl-Hootie and the Blowfish 15 Crazy in Love-Beyonce 16 Lady-Kenny Rogers 17 Killing Me Softly With His Song-Roberta Flack 18 Get Busy-Sean Paul 19 Oye Como Va-Santana 20 Independent Women (Part 1)-Destiny’s Child 21 Wicked Game-Chris Isaak 22 Mandy-Barry Manilow 23 I Can’t Make You Love Me-Bonnie Raitt 24 All Around The World-Lisa Stansfield 25

White old four button iPod / Josette’s iPod- Hair Stylist

Hollaback Girl-Gwen Stefani 1 Arabian Knight Rider-Jay-Z 2 If You Had My Love-Jennifer Lopez 3 Love Don’t Cost A Thing- Jennifer Lopez 4 Sexyback-Justin Timberlake 5 My Love (feat. T.I.)-Justin Timberlake 6 Leavin’-Jesse McCartney 7 Party People-Nelly 8 I’m Yours-Jason Mraz 9 Love In This Club-Usher 10 Lollipop-Lil’ Wayne 11 Bleeding Love-Leona Lewis 12 Hollywood’s Not American-Ferras 13 London Calling-The Clash 14 After Midnight-Eric Clapton 15 Eight Miles High-The Byrds 16 Mr. Tambourine Man-The Byrds 17 Back To The Old House-The Smiths 18 Duke Of Earl-Gene Chandler 19 I Got A Woman-Ray Charles 20 Blackbird-The Beatles 21 Blackbird-Sarah McLachlan 22 Black Sunshine-White Zombie 23 Bulls On Parade-Rage Against the Machine 24 Strawberry Fields-The Beatles 25

White video Ipod black translucent case / Graham’s iPod- Model

1 Hold You In My Arms-Ray LaMontagne 2 Talk Show Host-Radiohead 3 Samson-Regina Spektor 4 Summer Love-Justin Timberlake 5 Fiery Crash-Andrew Bird 6 FutureSex/LoveSound- Justin Timberlake 7 I’ll Come Running Back To You-The Wave Pictures 8 Ambulance-Pilate 9 Oh Lately It’s So Quiet-OK GO 10 Bubbly-Colbie Caillat 11 Love Like This-Natasha Bedingfield 12 Boss-Rick Ross 13 Paper Planes-M.I.A. 14 Every Day-Rascal Flatts 15 Say-John Mayer 16 Touch My Body-Mariah Carey 17 I Don’t Want To Miss A Thing-Aerosmith 18 Lucky-Hoobastank 19 Shiver-Coldplay 20 Love Song-Sara Bareilles 21 In Love With A Girl-Gavin Degraw 22 Summertime-New Kids On The Block 23 Shake It-Metro Station 24 Don’t Stop The Music-Rihanna 25 Sexy Can I-Ray-J

Black Video iPod / Calvin’s iPod- Set Builder

1 Knife-Grizzley Bear 2 Crosses-Jose Gonzalez 3 One More Night-Stars 4 Oh! You pretty Things-David Bowie 5 Calendar Girl-Stars 6 Don’t Make Love So Hard-The Good Life 7 Your Birthday Present-The Good Life 8 Lovestain-Jose Gonzalez 9 A Case of You-Joni Mitchell 10 Fade Into You-Mazzy Star 11 The Dress Looks Nice On You-Sufjan Stevens 12 Dreams-Fleetwood Mac 13 Don’t Stand So Close To Me-The Police 14 Can I Stay-Ray LaMontagne 15 Jolene-The White Stripes 16 You Know I’m No Good-Amy Winehouse 17 Strange and Beautiful (I’ll Put a Spell on You)-Aqualung 18 The Boy Who Blocked His Own Shot-Brand New 19 Sink, Florida, Sink-Against Me 20 Braille-Regina Spektor 21 Chips Ahoy-The Whole Steady 22 Love Is A Losing Game-Amy Winehouse 23 Land of a Thousand Words-Scissor Sisters 24 Of Angels and Angles-The Decemberists 25 Coconut-Harry Nilsson

Hard to believe that sometime last year, Brooklyn’s Sen. Carl Kruger proposed legislation that would have made crossing the street while listening to your iPod an offense comparable to jaywalking. Can you imagine? Mere months later journalists were reporting on proper iPod etiquette for city dwellers. What for? This is New York Effing City!

How else are the masses supposed to create their own soundtrack, if not without the limitations of how loud the bass can boom and how dance-inducing the beat can be? We walk to the beat of our own mp3 player, and we do it unabashedly. Admit it, there are just some songs that put that extra pep in your step, and transform the dirty, overcrowded city sidewalks into the world’s longest runway, albeit for three minutes and forty-three seconds at a time. Personally, I’d rather overhear the tinny variations of today’s Top 40 over Loudy McLouderson’s maddening phone calls any day of the week. Besides, eavesdropping on a person’s musical inclinations often reveals much more about their true personalities than a fifteen second phone call sound bite. “She was all, like, whatever!” Indeed. I guess that makes me an aureur, an iPod “Peeping Tom,” if you will.

Fortunately for me, these four iPods are chock-full of beats to snoop in on. Let the music play. And let it play loudly.

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By Jeff Siti

Shooting Your Assistant

INTERNATIONAL:

Over two hundred million years ago, during an era the dinosaurs called the Permian, most of the dry land on earth formed a supercontinent known as Pangaea. Adam and Eve lived there, and together with all their little English-speaking forest animal friends, they frolicked naked through the trees, where they mated. They procreated. They begat. Then someone ate some organic fruit, fingers were pointed, genitalia became the devil’s work, and worlds started floating apart. And we’re lucky they did because here we are, right where we should be, thousands of miles from who knows where.

But fear not, those of you who lust for wander. Thanks to the brilliant magazine feature you’ve stumbled upon we’re bringing those worlds directly to you, and we’re happy to do it. Some people seek adventure by traveling to the inaccessible recesses of the world, places that require inoculation and tests of might and wit, but you know better.

You don’t want to find yourself in the wilds of some Costa Rican rainforest under a canopy sky filled with vicious Howler monkeys: you want to find yourself on the couch, where you know it’s safe.

This time around, the International Page’s Fotografia Espectacular is about “Shooting Your Assistant,” and no one even knows what that really means. It’s up to you. Maybe we’ll find out what’s inside together. Maybe we’ll find all sorts of magical things in there. Maybe there’s candy.

Maybe there’re naked people. Maybe there’s both. Bingo.

Submit your photo for the International Productionist Contest!

Go to our Photo Contests on our website for more info: www.resourcemagonline.com

Previous page, left:

NEW YORK, NY. Artist: Melvin G. Jackson Title: Self-portrait Camera used: Minolta 3xi, T-Max 400 Concept: My mind’s eye is the bridge; the lone accessible pathway toward a dreamscape of the mystery inside of me. This image is an introduction or a cover to an entire collection of creative imagery.

Another world existing beyond the two dimensional surface of what you see. And my thoughts help me to bring them into reality. You are in essence a witness to the shooting assistant inside of me.

Contact: www.artbistro.com/member/kingdom7nation

Previous page, right:

ICELAND Artist: Desmond Cannon Title: Tripping the Light Fantastic Camera used: Canon EOS 40D Concept: One of the silhouetted people in the background was my friend Chris who came with me to Iceland. We assisted each other on the trip—helped each other set up shots, and shared lens & filters.

Contact info: des1962@eircom.net

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SINAI, EGYPT Artist: Tanya Spencer Concept: This photo was taken at the very beginning of a sand storm. We had to postpone the shoot.

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International 59

On left:

NEW YORK, NY Artist: Roger Hagadone Title: Beer Belly Joe Camera used: Canon 1ds MK2 Concept: My assistant Joe was standing in for a model during a light test and was joking around as usual with hilarious poses. When he revealed his beer belly, I was instantly inspired to photograph him in the classic Demi More pose.

Contact info: www.rogerhagadone.com 212.714.9587

On top: Artist: Denis Sorokin Camera used: Canon 5D Concept: I took this photo at my friend’s home studio. This is about shooting a model, and the line between the photographer’s eye, the camera, and the model.

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NEW YORK, NY Artist: Wagner A-Z Camera used: Canon 20D Concept: My roommate is my assistant, and vice-versa.

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62 Splashlight SOHO

splashlight.

By Justin Muschong Portraits and environment photographs by Blake Sinclair and courtesy of Splashlight Still life by Naoya Fujishiro

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When Benoit Lagarde says these words, there is no winking or ironic detachment, no sense of I’m-just-saying-this-becauseit’s-expected-of-me. They have not been carefully considered beforehand or designed to win anyone over. In fact, they can easily be lost amidst the many other words he speaks with evident passion as he leans forward in his chair, gesturing to highlight his points or to show off the objects and features of which he speaks.

They are simply five words casually spoken while discussing Splashlight, the photography studio he co-founded in 2001, and the photo production industry in general. But they are the key to understanding what makes Splashlight work.

When he says them, we are sitting in EET, the restaurant inside the recently opened Splashlight SoHo location, and in his next breath he begins to tell me about the thought that went into designing the restaurant’s space, which is an elaborate homage to Manhattan’s Dutch colonial history and the nearby Holland Tunnel. The very name of the restaurant is the Dutch word for “eat,” and the national color of the Netherlands, orange, is one of the dominant colors used for the ceiling, chairs, and tables. On the walls are images of old New York City maps and automobile schematics. Through the careful attention that has been paid to the tiniest of details, I can see the truth in those five words.

Since Splashlight’s initial location opened on West 35th Street seven years ago, they have become one of the most well-known photography resource providers in the country. They have expanded to include locations in Los Angeles and Miami, all of which offer services such as studio and equipment rentals, creative

imaging, post-production, and even catering and event hosting.

So why open a second location in New York? “We were running out of space and badly needed to expand,” Benoit said. “We found the space on Varick Street and it was perfect–it allowed us to custom-build all the studios from scratch and also increased the number of dedicated client studios. Finally, all of our operations– executive staff, digital retouching, and account management–are in the same space. At our West Side location, we were spread out over two buildings.”

The notorious vagaries of New York real estate provided an additional incentive. The city has been rezoning much of the West Side, and the 35th Street location has found itself in the cross hairs. No official word has come down from up high yet, but Benoit expects it to close in the first months of 2009. The Splashlight staff is currently scouting for another location to replace the specialized offerings of 35th Street, which can accommodate oversized productions. If you want to photograph dozens of models cavorting across an alien landscape while dodging elephants, the 35th Street location is the place to be. Aaron Limoges, the Digital Capture Manager for Splashlight, said, “We’ve had clients build almost an entire house in one of our studios, and the organization and skill of everyone working together to make something like that happen are really impressive.”

The SoHo studio is smaller and more intimate. According to Benoit, “It’s more refined and there’s much more privacy because of the nature of the space–we can do this because there are less big productions that are stressful or damaging to the building. It has a more beauty, celebrity, high-end fashion focus.” Clients using the location will have four studios to choose from and a number of amenities to enjoy, including retouching and CGI suites, a conference room, a lounge equipped with televisions and a martini and espresso bar, two freight elevators, and a loading dock.

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The studio is on the third floor, the same level as the tops of the few trees in the area, which gives it a feel that Benoit describes as green but private. “I hope with this space that the [photo production] community will see another side of Splashlight. How can we help them do business better? That’s what it is.”

To ensure everything goes right from the start, each client is assigned an account manager who helps them through the entire process, from booking the space to renting equipment, sorting out the logistics, actually shooting the damn thing, and figuring out all that post-production work. “Our client service and relationships are one of the biggest advantages of working with us,” says Benoit. “Our clients get to know us and work with us on a regular basis. We become a member of their team and can help them handle any photography-related question.”

In New York alone, Splashlight has about fifty employees to assist clients with every aspect of their shoots. Benoit views his employees as the studio’s best asset. “You have to treat the operator the same way you treat the customer. By them enjoying what they do, the client is happy,” and from their own words it appears they would agree with their boss. Arri Weeks, Operations Manager for the Los Angeles facility, said, “As a whole, the staff at Splashlight takes immense pride in their work. We expect a 110% from all of our employees, but Splashlight, as a company, gives that, and more, in return. It’s an amazing company to work for.” For them, making sure the clients have all their needs met and are able to focus on the creative aspects is the top priority. Robyn Donnelly, the Front Desk Manager for the Soho and 35th Street locations adds, “The most satisfying part of my job is helping a client solve

a potential crisis during their shoot–they are always so grateful and I really enjoy making things easier for them.” (For more on Splashlight’s employees, please see next page.)

Splashlight seems to be emerging from its adolescent growth spurt to becoming a company capable of riding out with ease any turbulent changes the photo production industry and the New York real estate market can throw at it. “I know we bring a very good service to the industry,” Benoit says. “Now I want to bring craftsmanship. If we can increase [the clients’] level of comfort to increase their level of creativity, I think we will be successful.”

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Name: Francisco Diez-Pena Title: VP of Operations Please describe your role at Splashlight.

What happens on a typical day?

I’m the VP of Operations of Splashlight.

I usually start my day at the 35th Street studio, making sure everything is ready for the clients. I try to greet every single employee.I will probably stay at the 35th location until 10am to be able to say hi to some of the studio clients.Then I will go to our SoHo location, walk around again saying hi to all the employees and clients and again making sure everything is OK. Later I will probably have a meeting with one of the department managers. I try to meet with them at least every two weeks.

I also have a quick call with our LA Office everyday.

I try to be present in the floor and office as much as possible.

How did you become involved with Splashlight? What drew you to the photo production industry?

I came to NY from Argentina in 2003 to continue my career as a photographer. I tried to find a job assisting and it wasn’t easy without experience in NY. People recommended that I intern in photo studios to learn how the photo industry works here. I interned at Milk Studios and then moved to Splashlight and worked in the equipment room. I became the equipment manager, then was promoted to studio manager

and am now VP of Operations. I really like working behind the scenes: I like that by working with a strong team and without making a lot of noise you can give great service and accomplish a lot.

possible. Our goal is for the photographer to focus on the creative side of the shoot rather than being concerned with the technical aspects. A typical day is filled with a lot of movement and excitement.

What do you like best about your job?

The people that I work with, because there are so many different personalities in the different departments and they help you recharge every time. There are new things that happen everyday.

How did you become involved with Splashlight? What drew you to the photo production industry?

I studied film and worked in that field for a while, but photography was my real passion. Building a career around my passion became an obvious choice. At Splashlight, I still learn something new everyday.

Any good anecdotes you can share?

When the blackout happened in 2003, we called right away to get as much generator power as we could. We put all the generators in the street and ran extension cords through the entire studios for people to be able to finish their shoots.

Your ultimate dream?

To own a boutique hotel that I can run with my wife.

Name: Robyn Donnelly Title: Front Desk Manager Phone: 212.268.7247 Email: rdonnelly@splashlight.com

Name: Gokhan Mutlu Title: Equipment Manager Phone: 646-536-9183 Email: gmutlu@splashlight.com Please describe your role at Splashlight.

What happens on a typical day?

I am in charge of the Equipment Department. We ensure every photo crew in each studio and location gets top of the line equipment as quickly and efficiently as

Please describe your role at Splashlight.

What happens on a typical day?

My role as Front Desk Manager involves managing and scheduling all front desk staff to assure excellent client service, and working closely with the maintenance crew to maintain building facilities. I also coordinate special requests from clients, and manage the studio budget.

What do you like best about your job?

The best part about my job is working with my fellow Splashlight staff members. We handle a lot of requests and I always feel like I am part of a great team.

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Name: Jordan Sacks Title: Retouching Manager Phone: 646.536.9220 Email: jsacks@splashlight.com Please describe your role at Splashlight.

What happens on a typical day?

I am the retouching manager here. My days vary depending on what projects we are working on. I work closely with clients reviewing work, going over new jobs, and helping them with any questions or problems. I also am very hands-on and will not hesitate to sit down and complete a project myself. My team and I are very close and I will sit with them and look at work on screen. I am always researching new technologies and trying to improve workflow.

How did you become involved with Splashlight? What drew you to the photo production industry?

I have always enjoyed photography. I started learning on my own in high school and then continued in college. While attending college I learned both conventional and digital photography. I enjoyed Photoshop and strived to learn more about printing, so I spent many a summer interning with photographers and printing shops. When I returned to school for my senior year I taught an intro to electronic imaging class.

Since college I have worked at a few different shops, but none gave me all the opportunities that I have now at Splashlight.

Working here allows me to interact earlier in the creative process. I can better help photographers and agencies this way.

Name: Aaron Limoges Title: Digital Capture Manager Phone: 646.536.9218 Email: alimoges@splashlight.com Please describe your role at Splashlight.

What happens on a typical day?

As the Digital Capture Manager, I ensure that all of our digital equipment (computers and cameras) is up to date, functioning properly, and that all of our digital technicians are allocated appropriately on photo shoots. In addition, I oversee the Post Production department, which handles the digital asset management services and any processing or print requests from our clients.

How did you become involved with Splashlight? What drew you to the photo production industry?

I came here to further my knowledge of digital workflow and to gain more handson experience with high-end camera equipment. As much as I enjoy shooting, I realized some time ago that I was drawn more to the inherent solitary nature of it, rather than the big-production aspects of advertising or fashion shoots. While I will always continue to shoot my personal work, being in an environment that allows me to discuss what I love and stay current with photographic equipment and trends is the reason why I enjoy this side of the industry.

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TTHH EE CC HH II LL DD M O D E L MODEL

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By Charlie Fish | Photos by Jason Lewis

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To a child, a photo shoot is just a collection of stimuli: bright lights, a person’s face occluded by a black camera, toys, dressing up, and other children. Parents and photographers coo and coddle the child, issuing directions with excitement and the right intonation: “What do we do when we’re sad?”

“Can you touch the sky?”

And somewhere along the line, when the cameras stop clicking, there’s feeding and naptime.

But child modeling isn’t a day in the sandbox for the numerous magazines targeting parents, or for the billion-dollar companies mass-producing clothes for tots, or for the forty-five plus modeling agencies in the Northeast that represent America’s youth. Child modeling is a lucrative business, and a thriving one at that. For every cute tyke you see in a stroller, odds are someone’s already told the parents, “Your kid should be a baby model!” Indeed, you’d be hard-pressed to find a mother who’ll tell you otherwise. It’s often the opening line parents say when they first call an agency, their voices hopeful and excited.

“I can’t even tell you how many times I get that phone call in a day,” says Amanda Blaire, Vice President of Product Model Management. A full service print agency, Product represents children, teens and adults.

Looks are important, but it takes much more than a cute smile and rosy cheeks to make it in this business.

Parents interested in having their baby represented by the agency must first submit a photo online at the Product Model Management’s website. It’s then up to Amanda and her team to spot that certain something that reads as star potential: “After looking at pictures this long, and every single day, eight hours a day, you see it. It becomes natural to your eye. They’re not posing; they seem natural.” Children lucky enough to get called in then have to impress the agency with their demeanor and personality. In this industry—and at such a young age—it’s critical that the children listen easily and take direction, are disciplined enough to hold poses, and have a great smile. Amanda adds that, above all, her agency looks for, “A child that can show emotions through the camera.”

The question for parents then becomes, how does my two-year-old learn to emote? Can it be taught, or is it a talent they’re born with? For Judy Villeneuve, it’s seemingly a combination of the two. Her daughter, Marcelle (about to turn three), has spent the last year breaking into the industry. Marcelle has already graced covers of magazines, been on in-store posters, and even walked in a New York City fashion show. “On average,” Judy says about her working daughter, “She works two days per week for approximately two hours.” Marcelle’s parents are no strangers to the entertainment industry. Her Quebecois father is a musician, and Judy herself (who is of Jamaican descent), occasionally takes acting gigs, and was walking the runway at the age of seven.

While the flair for the artistic may certainly run in Marcelle’s genes, her mother ensures that Marcelle is adequately prepared for each shoot. Judy spends time at home with her daughter rehearsing key phrases and the reaction that goes along with each. While on the job, Judy might coach Marcelle by saying, “Daddy’s telling you a joke.” Right on cue, Marcelle will slap her thigh and laugh.

Marcelle is quickly gaining a good reputation, according to Judy, because of her ability to listen and to perform the simple commands given to her while on set. But

her ethnically ambiguous look also weighs heavily in her favor. The mixed-race toddler has a tan complexion and fine features, with short-cropped dark hair and an infectious smile. She can pass for almost any nationality, but still looks like your typical, all-American child. “Often parents have to go to go-sees with their child,” Judy says, “but because of her looks, she gets booked immediately for jobs. We’re just told what jobs to go to, just from the picture alone.”

“It’s harder to find ethnic kids that book [jobs], so we’re more open to bringing them in,” says Amanda about model diversity. The need for different looks is growing steadily, as evidenced by the increasing number of agencies catering specifically to ethnically diverse kids. Judy was lucky to have found such an agency in Generation Model Management. “Clients go to them,” she says, “because they want unusual looks.”

When asked how Marcelle’s father reacted to his toddler’s part time job, Judy replies candidly. “Initially he was afraid of some sort of exploitation,” she explains. “But what I’ve shown him is that you can really turn it into a positive. What it’s doing for her is creating a really mature personality,” she assures. “A lot of parents send their kids to schools at an earlier age so that they can learn to socialize. Marcelle is way advanced as far as that’s concerned. She’s very self-confident, comfortable with adults and children, and all of this is because of her early exposure to the industry.” Just how did the precocious tot end up becoming a working model? For Judy, it was all about the right shots. “I bought a camera, set up lights in our apartment and took so many pictures of her on her second birthday,” she explains. “I mailed the pictures out maybe the following day, and a week hadn’t gone by that we got called.”

Becoming Marcelle’s mommy-agent is nearly a fulltime effort for Judy as well. “It is an everyday job in the sense that I keep constant contact with the agency,” she informs. Because children grow so quickly, and their faces change so rapidly, the industry doesn’t require headshots or comp cards like they do for actors and models. Instead, parents continually provide the agency with new photographs of the child. “You have to keep them abreast of the number of inches they’ve grown, or the weight they’ve gained, or their measurements because the clothes have to fit perfectly,” Judy says. Even the matter of hair growth becomes subject to approval. The agency then picks out the photograph they think best represents the child, and uses that one photo to send out to different clients.

And all that is prior to getting called for a job. Amanda says she likes to tell prospective parents up front what to expect because, aside from the glamour of having your child photographed on elaborate sets and wearing new clothes, the process involves a lot more work than one would think. “[The parent has] to be readily available, and have a free schedule to take the child in and out of the city anywhere from two to five times a

title 75 week, for either go-sees or jobs. Be prepared to take your child out of school if they book a job. Be prepared at a moment’s notice. We get tons of clients who call us the morning of [a shoot].” Amanda adds, “We just had Entertainment Weekly call us at eleven and they needed a child by twelve!”

Perhaps one of the hardest aspects for the parents, and one Amanda insists they be prepared for, is criticism.

Judy echoes Amanda’s advice, “It’s as frivolous as any of these industries are going to be. Yes, they’re babies. But it’s still a business.” The reality is that no parent wants to be told that their child isn’t the right fit, for whatever reason. When the pressure’s on the photographer— when the picture is worth the right dollar amount— photographers aren’t as nurturing as parents would like them to be. “I’ve had parents that called me in hysterics, crying, saying, ‘They didn’t even look at my child. They kicked us out just based on the picture,’” Amanda says of the more stressful situations on set.

It’s precisely this occurrence, the rejection process, that most parents fear for their children. How the child deals with it is what will determine whether they have the thick skin necessary to continue on in the child modeling industry, and further. Judy says, “One of the first things I taught Marcelle was, ‘What do we do when we fall down? We get up!’”

On the business end, clients are always prepared to handle instances where the child or baby isn’t cooperative. “With babies and small kids, you never know what you’re going to get,” Amanda says. “It could be that the baby is not having a good moment or a good day, or the shoot is during a baby’s naptime or feeding time. All of a sudden the baby has a breakdown. There needs to be a back up right away,” she adds. Indeed, children squirm and can’t hold still, or they’ll tire of the many costume changes, or they’ll simply throw a tantrum. This is usually around the time that the photographer will, without missing a beat, yell, “Next!”

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Judy might coach Marcelle by saying, “Daddy’s telling you a joke.”

Judy might coach Marcelle by saying, “Daddy’s telling you a joke.”

Right on cue, Marcelle will slap her thigh and laugh.

Right on cue, Marcelle will slap her thigh and laugh.

Photographing the Child Professional photographer Meredith Zinner has a unique approach to photographing children. “I treat them like human beings rather than infants,” she says. Zinner has been photographing children for twelve years, and says it’s imperative to have a genuine rapport with a child. She has no studio and insists on following the child around his or her home, and picking up on their energy. “I like them to be comfortable so they can just be. And then I capture that,” she says. And when it comes to tantrums, Zinner insists it’s best to let them ride it out. “I take many time outs,” she says, “I say let them cry! Get it out, and move on.” Often, though, it’s the parents’ nervous energy and anticipation that can disrupt the child’s mind frame. Her favorite technique? She’s very hands-on.

“I always ask the kid first if I can take pictures,” she explains. “They’ve always said yes; they then want to see the camera. And I show it to them. I always show them pictures of themselves, which they always like!”

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From Model to Star Photographer Jade Albert was a pioneer. In the early 80s, Jade was responsible for utilizing child models as props for fashion.

One of her trademarks—dressing small children in their parents’ oversized clothes—revolutionized the way photographers and advertisers viewed children. Having photographed child models for over twenty years, Albert has seen many of her former subjects blossom into the Hollywood elite. “I’ve photographed Jennifer Connelly, Kirsten Dunst, Raven-Symone, Mischa Barton, and Lindsay Lohan,” she says. Michelle Trachtenberg, Emmy Rossum and Corbin Bleu round out her roster of famous faces. Albert has remained in the industry for so long because, as she puts it, “I’ve been one of the first. You’ve got to grow through times and you’ve got to evolve.”

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80 title So back-up children are booked for each model.

Sometimes they’ll be similar in ethnicity, with similar hair lengths, eye colors and features. Other times there’ll be a variety to choose from. But one thing is constant: each child, whether photographed or not, usually gets paid the same as the child whose photo will inevitably be chosen.

Pay rates for child models differ from client to client, but usual numbers range from as little as $45 dollars an hour (for smaller magazines), to as much as $200 (for bigger clients like department stores), with a twohour guarantee. “I always tell the parents this is not something they should do for the money,” Amanda says. Whereas a child model can make up to $20,000 in a year, their adult counterparts sometimes make as much in one sitting. And earning $20,000 is not as common as most parents would like to believe, according to Amanda. For the agency to make money off of child modeling, it’s all about quantity. “We really need to have a lot of kids booking a lot of jobs in order to make money,” she says. In other words, the more

child models there are, the less likely it is that one model will get enough work to pay the big bills. It’s a small number of children that are booking consistent jobs at high rates.

So if the money isn’t great, and the time spent running to go-sees takes up as many hours that go into a work week, where’s the payoff for both the child and the parent? As Judy mentioned, she already sees a more mature, socially capable daughter. Judy’s hope for Marcelle is that she grows up to be confident enough to tackle whatever career opportunities come her way, whether it is as a CEO or Hollywood actress. For some parents, Amanda points out, modeling serves as an outlet for a different type of energy: “Maybe it’s an acting energy or maybe it’s just a kid that likes to pose in front of the camera, or play dress up, and modeling serves as a nice outlet for it.”

The key to a successful and happy child model, for Amanda and Judy, is relatively simple. Judy asserts that, for now, Marcelle shows an aptitude for the

title 81 profession. “It’s amazing how many little things could irritate certain children, where they wouldn’t have anything to do with modeling. And others really gravitate to being able to do it consistently,” she says, referring to her daughter. But the minute Marcelle doesn’t want to model any longer, Judy says she’ll respect her daughter’s decision. For Amanda, there is often a disconnect between what the parent wants for their child, and what the child really wants. “A lot of times the parents will make it out to sound like the kid loves [the whole experience],” she says, “And then I’ll get feedback from a client saying that same kid definitely doesn’t want to model.”

It’s important, both say, to know your child’s strengths and limits. Child modeling continually proves to be a great tool and asset for children, helping to establish maturity and poise, and often leads to greater opportunities later in life. Regardless, every parent needs to remember that their child should be having fun, which is an idea often forgotten by the industry. It shouldn’t be a job or a chore for the child, and there needs to be a healthy balance of down-time and time for simply being a kid. After all, childhood is a one-shot deal. And that’s worth more than any picture or paycheck.

Talents and Crew: Stylist Alexandra Niki - Hair & Make-up by Elizabeth Yoon - Wardrobe from RRRental Showroom - Talents Irene Duffy, Megan Kelly, Francesca Luongo, Jocelyn Nazario, Vivian Ra, Leila Ribeiro

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B&H 81

The

f o l o o h c S

B&H The Underground Guide to Professional Lighting

By Emily Anne Epstein Sourcebook pages courtesy of B&H Photo Photo By Nick Ferrari

In the seventeenth century, Sir Isaac Newton poked himself in the eye repeatedly with a needle while staring at the sun to uncover the secret structures of light and color.

Nowadays, rather than injuring your optic nerve or skimming Sir Newton's "Optiks," you can just read through B&H’s Professional Lighting Sourcebook to learn about light, lighting, and which equipment to use (and even how to use it).

With around eight-hundred and fifty-nine pages (and growing), the book is anything but, and all about, light. Sometimes called the "bible" of lighting, professionals, students, and amateurs herald it as THE resource for the industry. And luckily, it's free. B&H released the first edition in 2004. It has since not been reprinted, but eco-friendly pdfs are available online on the B&H’s website.

B&H had a team of four experts researching, dissecting, and explaining the spectrum of tools available. They worked on it for a year. They contacted manufacturers who had models but no manuals. They tried their hand at explaining basic physics; inverse square law? Lux? Candelas? The book is divided into fifteen sections that range in topic from packs to heads, strobes to light meters. Each chapter opens with an explanatory section, followed by a detailed list of products and their specifications. There are lessons on how to position equipment and how to troubleshoot different situations-unfortunately, there is only so much a softbox can do to fix 80s hair…(see page 848).

As a part of the philosophy of B&H, the book exemplifies their commitment to education. Whatever your lighting need, you will be able to benefit from it. We hear from a reliable source that the book is soon to be updated as technology changes, but for now it remains the ultimate guide to lighting.

Sorry Newton...

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The Layout:

Hi Nick,

This is the idea for the layout. We’d love to keep it slick and sexy. No shadows. Black background would be nice. We’d really like to create an image for this company that conveys speed and style. The weightlessness of the board is an important feature. So we’d really like to stress how thin the board is. Let’s talk in a bit.

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The Miami Scene An Overview of the Photo World’s Most Fabulous Beach Set

By Marla Lacherza

Photo by Jason Lewis

There is one word to describe Miami.

Hot. Very, very hot. as a definition of Miami, but they should be considered when thinking of it. The city has been a center for culture, diversity, and vision since the late 1800s. Known to most as the “Magic City,” Miami is more than just a pretty face.

Between the cracks, hiding beneath the alluring Art Deco façade, lays the commotion of a bustling city. Miami’s ratio of business to leisure is almost fairly balanced; however, imEnd your preconceived ideas of Miami: Miami Vice and ages presented in advertisements are quite deceiving, luring CSI are not where this place begins or ends. Miami could be paradise, full of white beaches and diamond-cusped waves. us into a fantasy of far niente.

The major difference between Miami and New York is that However, like any beautiful woman, it all depends on the lighting! Miami has night life, pollution, natural views of the Miami is openly inviting, offering beautiful beaches, a shiny pink sun, misty air and the comfort of finding it this way for Everglades, and it sometimes graces the cover page of the latest Spiegel catalog. None of these elements set themselves literally six months out of the year.

The city of Miami, Florida, is full of extra-active UV rays, soft sand, and one big beautiful blue sky that mirrors one big beautiful abyss of water and land. The idea for photography in Miami came to life in the 1980s when an East Coast studio buff realized the city’s potential.

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Photographers Our good side, please!

Some say that a picture holds a thousand words, but the message sent from the shutter to the pupil is not always accurately perceived. Intuition, Instinct, and Integrity are not the only I’s that go into the world of a photographer. There is a sacrifice photographers have to be willing to make when working for a client, and that is skewing their own thoughts to better the project at hand.

When asked where they get their inspiration from, Miami-based photographers agree that the city itself is a naturally inspirational place. After all, beauty never goes out of style.

Bill Cooke 786.223.0700 www.miamiphotojournalist.com Julie Dickinson 954.554.2156 www.juliedickinson.com Dirk Franke 305.861.8578 www.photobusiness.com Larry Gatz 305.751.5007 www.larrygatz.com Ken Hayden 305.781.9364 www.kenhayden.com John Loomis 786.220.1215 www.johnloomis.com Daniel Portnoy 305.253.8262 www.danielportnoy.com Brian Smith 305.301.0191 www.briansmithmiami.com

Photo by Alexandra Cespedes

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Production Services Broder Productions 305.343.2388. www.broderproductions.com

Crew Photo Peeps You NEED! Miami is loaded with photo assistants, photo labs, supply services, studio rentals, and production services. Brian Smith, a renowned Miami photographer of twenty years, helps industry newbies by providing a list of contacts in his blog, which offers a ton of noteworthy info and advice for any possible future photo conundrums.

Picture Perfect Productions 305.759.9954 www.pictureperfectmiami.com Tandem Productions/Dawn Boller 954.326.9395 www.tandemps.com Y.E.S Productions 917.238.9591 www.yesproductionsnyc.com

Location Services Big Time Productions 305.672.5117 www.big-time.com Go Scout/Julie Chang 305.665.5440 www.goscoutinc.com Mobile Art Productions (Maps) 305.532.7880 305.532.7880. www.mapsproduction.com

Prop Houses Ace Props 305.756.0888 www.propshopmiami.com Lease a Piece 305.534.2787 www.leaseapiece.net

Photo by Jason Lewis

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Make-up/Hair Artists, Wardrobe Stylists Time Out! Powdering Our Noses.

Whatever the look may be that you are seeking to achieve, it is for certain that Miami has a professional support system willing to tackle the challenge of transformation. Natural, fashion-forward, glamour, fantasy, airbrush, body make-up, and special effects--no matter what you are looking for, Miami has been there and done that. Make-up and hair products are camera and lighting compatible, wardrobe is eclectic in its offering, and the creative team collaborates to produce free-flowing sun-kissed locks and golden-bronzed complexions.

The rest of the world is forever grateful...

Artists by Timothy Priano 305.674.9020 www.artistsbytimothypriano.com Blink Management 305.532.7511 www.blinkmanagement.com CA Management 305.534.7770 www.ca-agency.com Ford Artists 305.534.7200 www.fordartists.com

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Modeling Agencies Striking a Pose.

Miami modeling agencies undeniably scout for models who look as natural and vibrant as sunlight. A bodacious body and soft skin are necessary for a modeling career in the South East. Due to its location in Southern Florida, Miami has a large South-American and Caribbean population.

This unique Latin flavor is reflected in many of the models working there, who embody a curvier, tanner look than the pale, waif-ish figures favored in New York. Particularly in New York City’s fashion world, frail physiques are most photographers’ dream. However, if a Kate Moss-type were to show up cigarette in hand, with twig legs and a translucent complexion, most Miami crews would call it grounds for hospitalization. It is easy to see that swimsuits and beach-swept hair are the winning look for Miami’s very bronzed subjects.

Model Agencies

Casting Directors

Elite 305.674.9500 www.elitemodel.com

Brad Davis Casting 305.759.9000 www.braddaviscasting.com

Ford Models 305.534.7200 www.fordmodels.com

Ellen Jacoby Casting International 305.373.0073 www.ellenjacobycasting.com

Irene Marie Models 305. 672.2929 www.irenemarie.com MC2 Model Management 305.672.8300 www.mc2mm.com Michele Pommier Management 305.674.1733. www.michelepommier.com Wilhelmina Models 305.672.9344 www.wilhelminaportfolios.com

Miami Talento Casting 305.567.0720 www.miamitalento.com Universal Casting 305.674.1703 www.universalcast.com Unique Casting 305.532.0226 www.uniquecasting.com

Photo by Ben Kaufman

Motor-homes R U in Need of an RV? If you are going to be on camera, you are going to have to look good! Motor-homes are an integral part of the process: where else can the model get ready, the client get a bite to eat, and you get a chance to go to the bathroom?

Happy Productions inc.

305.336.4033 www.happyproductions.com Metromotion 305.531.1700 www.metromotion.com

Mobile Art Productions (Maps) 305.532.7880 305.532.7880. www.mapsproduction.com Paragon 305.878.1177

Mirikesh, inc.

305.531.9493 www.mirikesh.com

The city of Miami offers a plethora of beautiful backdrops; hence, indoor shoots are significantly less of a concern or priority than in less fortunate locales. Nevertheless shelter or a white cyc are sometimes needed: a sunset on a beautiful beach is not always the appropriate set up for every shoot.

Lights, Camera... But Where Is the Action?

Carousel Studio 305.576.3686 www.carouselstudios.com

Photo Studios

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F/ocus 305.532.9533 www.focusrental.com Glass Haus Studios 305.573.1395 www.daylightmiami.com One Source Studios 305.751.2556 www.onesourcestudios.com Splashlight Miami 305.572.0095 www.splashlight.com Studio 27 305.573.3311 www.studio27miami.com Studio 212 305.674.1700 www.mapsproduction.com

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Photo Assistants Leaning On A Strong Shoulder.

Young aspiring photographers are not usually given the opportunity to start working on their career before aiding someone else’s. Photo assistants in Miami are known to be efficient, eager, and reliable. Three necessary attributes when helping an industry veteran on a demanding schedule! It is common knowledge that a good assistant is the most vital ingredient when creating a smooth shoot. Fresh out of college, assistants are in dire need of experience to broaden their skills and build up their resume. Enthusiastic to get a head start, these beginners take on responsibilities that include (but are not limited to) preparing sets and lighting, transmitting files, and maintaining the studio’s appearance.

JP Cummingham

305.761.6011

Jonathan Dann

917.453.1746

Guillermo Erb

305.947.8536

Craig Miller

305.772.5152

Brad Youngberg

954.295.6637

Photo by Alexandra Cespedes

118 title Equipment Rental

Depends on the Lens Some may fear that since Miami’s supply services and rental studios are few, they are not nearly as thorough as ones found in New York or Los Angeles.

Let the truth be known that this assumption is a lie!

Miami has equipment rental companies that are known and trusted by industry professionals.

On average, equipment rentals for an all day shoot will run you about twelve hundred dollars, compared to the usual fifteen hundred dollars a day in New York. Bear in mind that every photographer requires different equipment, so costs will vary.

Aperture Professional Supply (Miami Beach) 305.673.4327 www.aperturepro.com Pitman Studios 305.256.9558 www.pitmanphotosupply.com Shootdigital Coyote: Mobile Equipment Room 212.353.3330 www.shootdigital.com/coyote World Wide Foto 305.756.1744 www.worldwidefoto.com

Equipment is also available through most studios.

Photo Labs Grab a Lab Before handing over your hard day’s work, know who it is you are handing it to. Miami has a few popular and well respected photo labs that will cater to your beck and call.

Photo labs are the grand finale of a job well done. Miami labs are known to provide reliable services and immaculate end results. It is important to have the utmost trust in your lab technician; after all, they have the power to ruin everything.

District Lab 305.672.1002 www.districtlab.com

Photo by Ray Wadia

Industrial Color 305.695.0001 www.industrialcolor.com

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Catering

Good Directions, Good Food, and Good Crew (Equal a Successful Shoot) Photo Producer Dawn Boller believes in the power of good catering. No matter what your political/emotional/religious views are on the slaughtering of barnyard animals, Miami’s catering services get down with whatever it is that you’re into! Working on a sunny beach all day is often misconceived as practically being on vacation; however, treading through sand and sun can be quite exhausting.

Vegan chef and catering veteran Dionette Kalkhofer will be of service to all your omnivore cravings. Dionette’s eatery offers food for a light and mindful appetite.

Miami is also known for having culinary tastes much like its atmosphere–South of the border and SPICY! Cuban sandwiches are more than an acquired taste down in this Latino-influenced part of Florida. Come prepared with bottles of ice cold water because this food will set your mouth ablaze!

Dolce Events and Catering 305.519.6252 www.dolce-events.com Dionette Kalkhofer/OM Garden 305.856.4433 www.omgardenonline.com My Buddy’s Catering 305.534.5768 305.794.2335 www.moviefood.com

Photo by Alexandra Cespedes

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Miscellaneous

Weather No Sweater Weather…Ever!

A clear advantage to Miami are the sunny skies and warm air that can be found in the middle of January. According to experienced photographers, the most operative time for shooting in Miami is from November through May. Post photo season, Miami natives pack their bags and head North for the remainder of the year (or go on vacation). The erratic rainfall in the summer months is clearly incompatible with photography.

Permits and Other Paperwork Miami-Dade Mayor’s Office of Film & Entertainment (one-stop permits) 305.375.3288 www.filmmiami.org City of Miami Beach Office of Film & Print 305.673.7070 www.miamibeachfl.gov City of Miami Mayor’s Office of Film, Arts and Entertainment 305.860.3823 www.ci.miami.fl.us

Photo by Ben Kaufman

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We just can’t help feeling relaxed.

Hotels

There is an ambiance that sets Miami apart from other cities, and although the area was first blessed by nature, man brought the finishing touches. Hotels and resorts have now become the main attraction here; from tourists to photo shoot crews, everyone gets tickled pink when thinking of their lofty lounge hot spot. Most shoots take advantage of the hotels’ lobby, patio, and courtyard areas. The city’s architecture ranges from Art Deco jewels to sleek, modern wonders.

Albion Hotel 305.913.1000 www.rubellhotels.com

Sanctuary South Beach 305.673.5455 www.sanctuarysobe.com

Delano 305.672.2000 www.morganshotelgroup.com

The Setai 305.520.6000 www.setai.com

Hotel Victor 305.428.1234 www.hotelvictorsouthbeach.com

The Shore Club 305.695.3100 www.morganshotelgroup.com

Raleigh Hotel 305.534.6300 www.raleighhotel.com

The Standard Miami 305.673.1717 www.standardhotels.com/miami

Sagamore Hotel 305.535.8088 www.sagamorehotel.com

The Hotel 305.531.2222 www.thehotelofsouthbeach.com

Tides 305.604.5070 www.tidesouthbeach.com

For accommodations and boutique hotels as locations, contact: Greater Miami Convention & Visitor Bureau 305.503.3244 filminfo@gmcvb.com

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LIAISON:

The Confident Collector

S

ecrets unfold as the neophyte is permitted to forge into uncharted waters on an excavation toward discovery. Thanks to Muriel Quancard-Johnson and Delphine Perru, co-founders of OPUS, the quest to conquer the enigma of the modern-day art scene is finally accessible to all. OPUS is an upscale travel service entirely dedicated to exploring the worlds of contemporary art, design, and architecture. The fiercely competitive, highly intimidating, tradition-bound art world will gasp as Quancard-Johnson and Perru attempt to create a new breed of collectors. According to Muriel, anyone can be a collector: appreciating art is about trusting your instincts and not relying on a fine arts degree to take pleasure in viewing it. That is the way to become a confident collector. Using British philosopher Frank Sibley’s words, “People have to see the grace or unity of a work, hear the plaintiveness or frenzy in the music, notice the gaudiness of color scheme, feel the power of a novel, its mood, or its uncertainty of tone. They may be struck by these qualities at once, or they may come to perceive them only after repeated viewings, hearings, or readings.”

The creators of OPUS represent polar opposites with Muriel, originally from Bordeaux, France, describing herself as

By Keri Wirth Photos courtesy of OPUS, Paris, New York Photo of Cliff Evans, Empyrean, 2007, detail of a multi-channel video installation; Courtesy of Luxe Gallery, New York

Americanized, a French with an American spirit, while Delphine, the more opinionated of the two, is European to the core, running OPUS from Paris. This dynamic duo ignites passionate ideas.

Complex projects that would normally be pushed aside and forgotten—if they worked separately—are propelled into action. This advantageous partnership consistently reinforces their promise to offer the ultimate experience when exploring the contemporary art world. They are both dedicated to educating art appreciation objectively.

OPUS offers two distinctive types of services: OPUS|A LA CARTESM and OPUS|TRAVELS. OPUS|TRAVELS is a series of excursions designed for groups of ten people. The goal is to discover an art scene before it becomes popular, and the program is engineered to link each contemporary art occurrence with history. In April 2009, OPUS|TRAVELS will go to Portugal for The Art and Soul Festival. The trips flow through specific periods and places of significance, giving the travelers the opportunity to build relationships with local curators, artists, and critics. Local art collectors host receptions for the guests so conversation and debate are part of these unique journeys. The newest and most happening art scenes will be sought out by Muriel and Delphine, and offered

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to ten fortunate travelers on each unique OPUS|TRAVELS tour.

An A LA CARTESM tour is personalized for each guest with a questionnaire completed ahead of time in order to customize it. OPUS

currently offers this service to travelers in New York, Los Angeles, Miami, Chicago, Paris, London, and Berlin. Recently, I had the luxury of being invited on my own personal A LA CARTESM tour in Manhattan with Muriel as my guide.

Muriel carefully calculated my individual flavor and lured me into a world of pop culture and contemporary art bliss.

Muriel and Delphine have done research with gallery owners, respected curators, designers, and architects on the most current trends in selected cities, making it possible for them to seamlessly combine pop culture, art and theory, and connect their respective history with the present-day scene.

I got the opportunity to experience the Bowery Tour with Muriel. Other New York guests with different interests might go on a modern architecture tour or to Chelsea to review various art galleries. The Bowery currently knows a renaissance thanks to

an upcoming art scene, and this tour presents the history of the neighborhood from the first immigrants to the birth of punk rock and the recent implantation of contemporary museums and galleries. An art aficionado I am not; however, I have lived in New

York City for close to fifteen years and I pride myself on knowing quite a few things about Manhattan. My obvious obliviousness to true culture was not apparent until OPUS got a hold of me. After Muriel and I left a gallery in the Lower East Side I had no idea where we were located. At that point, I experienced a surreal sensation: throughout the tour, I was held hostage in an altered reality that existed approximately five minutes from my apartment.

What makes the OPUS service so special was seeing things that the average tourist may not get the opportunity to view when they come to Manhattan. It was an exhilarating voyage through art history. Muriel did not take me to the museums that I have already been to a million and one times. I was getting an exclusive journey into the unknown, and in turn I felt special for getting a higher education that was personally designed around my interests.

Quancard-Johnson and Perru have personally experienced the art world through their previous jobs, and decided they wanted to share their insider knowledge, a knowledge that is focused and entertaining, but most of all, full of heart and soul.

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WHERE TO TAKE YOUR CLIENT:

Rayuela/Solex Review by Sachi Yoshii | Photos by Carolyn Fong

Price $$$$ Food *** Ambiance ****

Rayuela 165 Allen Street, between Rivington and Stanton Streets New York, NY 10002 212.253.8840 www.rayuelanyc.com

I

t’s Monday night in Manhattan, and after skipping around the gritty city all day, you find yourself in the LES looking to take your client somewhere. Enter Rayuela: an airy, lofted bi-level restaurant, undetected behind an iron-clad exterior. It offers “freestyle Latino cuisine,” a blend of Spanish and Latin American dishes, and on Monday nights you can order from a rainbow of five different paellas: classic seafood with saffroninfused yellow rice; spicy, green spinach and jalapenos mixed with seafood, chicken, and chorizo; wild mushroom and brown figs scattered among duck, lamb, and filet mignon; squid ink black seafood; and the popular, white coconut seafood. At $28 each, the paella entrée leaves little room–for both appetite and wallet–to dabble in the rest of the menu. Fortunately, Rayuela also offers a paella trio tasting ($38) at a much more affordable price, perfect for sharing with your client in addition to a couple of their original appetizers.

The Langosta Revolucion ceviche ($17) is a signature dish of executive chef Maximo Tejada, infusing a unique citrus blend rarely seen in traditional ceviche, including kefir lime leaves, calamanci, lime juice and coconut milk with lightly poached lobster and shrimp, topped off nicely with Uruguayan osetra caviar. This surplus list of ingredients made me skeptical, but Langosta Revolucion turned out to be surprisingly delicate and uncomplicated, pairing well with the paellas.

If you are waiting for your notoriously late guest, feel free to sit at the lower level bar dedicated to a myriad of fusion ceviche and meticulously blended cocktails ($12) crafted by mixologist, Junior Merino. When your party arrives, notice the olive tree growing beside the center oak staircase on your way upstairs and admire the light beaming in from the checkerboard windows. The space is beautifully laid out with VIP banquette tables for two, separated by long, sheer curtains, and easily accommodates large groups.

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a j p r o d u c t i o n s n y, i n c production casting location scouting

917.209.0823

212.979.7585

w w w. a j p r o d u c t i o n s n y. c o m

ajprodnyc@mac.com

Solex 126 title 103 First Avenue, between E. 6th and E. 7th St. New York, NY 10003 212.777.6677 www.solexnyc.com

F

rederick Twomey partnered up with Christophe Chatron-Michaud to create a sleek French addition to Twomey’s well-known and beloved Bar Carrera and Bar Veloce empire. The frosted exterior, futuristic curved ceiling, and shiny steel tables at Solex offer plenty of space for a small group to talk shop over a glass of wine ($7-16), and if you go early enough in the evening, you may be able to avoid the lovey-dovey couple crowd that wine bars tend to attract.

Despite being a nearly perfect wine bar with a polished and professional ambiance ideal for entertaining an upscale client, Solex manages to throw your swagger off slightly as you stumble in and out of barstools that are just a little too tall. Once you are able to shimmy comfortably into a seat, you will see that any and all pretensions are left at the door.

The sommeliers are knowledgeable and courteous, and more importantly, French.

Price $$ Price $$ Food **** Drinks/Food **** Ambiance *** Ambiance ***

The small dishes are spectacular and I would readily frequent Solex for their food alone. There is nothing wrong with sticking to the standard cheese and charcuterie trays ($16), but these are typical Manhattan-style small portions, and I would highly recommended splurging on a savory French alternative. The raclette savoyarde ($9) is an oozy, bubbly mess of raclette cheese melted over baby Yukon gold potatoes, served with an assortment of sliced meats, cornichons, and a baby arugula salad. The Alsatian tart is a nice alternative to thin crusted pizza with a light, flaky pastry crust topped with smoked bacon, caramelized onions and crème fraiche ($9)–great for sharing. Another group favorite is the sashimi-quality yellowfin tuna tartare ($10) served on potato chips. For those on a budget, indulge by ordering the beloved cocotte brioche ($5)–a soft boiled egg over gruyere cheese, ham, and sour cream–or nibble on fries ($4) served with béarnaise, ketchup, and a mustard dip made with saffron, chili pepper, and rouille, a spice from the South of France.

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Atelier

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PROPS. SETS. WARDROBE

Styling services. www.ateliertwelve.com

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MOVIE REVIEW:

Beatles For Every Season

By Alec Kerr | Illustrations by Emil Rivera

A HARD DAY’S NIGHT

HELP!

Reporter: Are you a mod or a rocker?

Ringo: Um, no. I’m a mocker.

Ringo: Look, John, I’ve had some great good times with this finger, and how do you know I wouldn’t miss it?

A mob of screaming girls chases after four young Liverpudlian lads in the opening shots of A Hard Day’s Night. It remains one of the most iconic images of movie history, but this film is much more than just its opening.

While its predecessor was shot quickly and on a low budget, Lester chose a different approach for his second Beatles’ film.

The success of A Hard Day’s Night guaranteed him a bigger budget, and he took full advantage of it. It would have been easy to take the money and make a shallow jet-setting movie, but instead Lester delivers a madcap parody of such films. The plot of Help! has The Beatles on the run from a religious cult and a pair of mad scientists who want a sacred ring that refuses to come off Ringo’s finger.

Director Richard Lester crafted a vehicle for The Beatles’ music and personality that reined in John, Paul, George, and Ringo, but didn’t restrict them. We see a fictionalized, manufactured version of The Beatles, with actors playing Paul’s mischievous grandfather and the band’s exasperated handlers, but their loopy sense of humor comes through as being all their own.

The Beatles are positioned as a Marx Brothers-esque unit. They all toss out one-liners, but John gets the lion’s share, making him the rebellious Groucho force of the film.

With its mix of documentary-style footage and narrative filmmaking, the film has a French or Czech New Wave feel. Its beautiful, crisp black and white aesthetics revolutionized how a band should be shot. Lester utilizes close ups, low and high angles, and even allows for a lens flare. These “imperfections” are what make this movie unique.

For those who aren’t fans of The Beatles’ music, the film still has much to offer as both a comedy and piece of art. By presenting classic comedy in the experimental style of European cinema, Lester made a film that transcends time and enters history books as more than just a footnote in The Beatles’ story. A Hard Day’s Night earns its own chapter.

Release Date: August 11, 1964 Director: Richard Lester Writer: Alun Owen (screenplay) Main Actors: The Beatles Producer: Walter Shenson Music: The Beatles, George Martin (musical director, composer and musical arranger) Distributor/ Studio: Proscenium Films, United Artists Corporation and United Artists

Lester uses a bright color palette, clever transitional titles, as well as angles and perspectives that are even more radical than in A Hard Day’s Night. The appearance of a dreamlike intermission feels like a precursor to Monty Python’s absurdist anarchy. It is not surprising that George would go on to work closely with the Monty Python troupe in his post-Beatles years.

The musical set pieces, especially “Ticket to Ride,” with the Fab Four skiing in the Alps, and “I Need You,” with the band performing surrounded by tanks and British military, are extraordinary. There are some equally fabulous comic set pieces, most memorably a sequence in which a shrunken Paul takes an orange soda bath in an ashtray.

The color, location shooting, special effects, and more cultivated plot moved the film away from the simpler pleasures of A Hard Day’s Night. Although not nearly as classic, thanks to its whimsical abandon and satirical edge, Help! is just as special.

Release Date: August 25, 1965 Director: Richard Lester Writers: Marc Behm (story), Charles Wood (screenplay) Main Actors: The Beatles Producer: Walter Shenson Music: The Beatles, Ken Thorne (musical director), Barrie Vince (musical editor) Distributor/ Studio: Subafilms, Walter Shenson Films and United Artists

Movie Review 127

YELLOW SUBMARINE

LET IT BE

After the critical and public lambasting of The Magical Mystery Tour TV special (the first production The Beatles wrote and directed themselves), the group lost interest in films. As they were still under contract, the idea for animated Beatles came to life.

The Beatles needed one more film to honor their contract with United Artists, so it was decided to film their rehearsal and recording process followed by their first live performance in three years. What was shot was a band on the brink of implosion.

John: Break the glass.

George: We can’t!

Paul: It’s Beatle-proof.

John: Nothing is Beatle-proof!

The Beatles wanted little to do with the project–even their speaking voices were done by impersonators–but in the end they were thrilled with the final product. How could they not be? Yellow Submarine is an audacious piece of animation that successfully captures the essence of the psychedelic free love era.

While it is clearly from a specific moment in time, Yellow Submarine doesn’t feel confined by it. The timelessness of the film stems from the music, but also from its story, which plays like a fairy tale filtered through Lewis Carroll’s looking glass. The Beatles travel to Pepperland to do battle with the authoritarian Blue Meanies who hate music and happiness. It is all an excuse to preach the message that “All You Need Is Love,” but it is done with an endearing childlike innocence spiked with cheeky Beatle-isms like, “Must be very tiring being Time… it’s a twenty - four hour day.”

Forty years later, what is most astonishing is that the film’s surreal visuals don’t feel dated. The animation is so artfully rendered and perfectly meshed with the songs that music and visuals almost seem to be feeding off of each other, especially and most brilliantly during “Eleanor Rigby.”

Release Date: November 13, 1968 Director: George Dunning Writers: Lee Minoff (story & screenplay), Al Brodax (screenplay), Jack Mendelsohn (screenplay), Erich Segal (screenplay), Roger McGough Main Actors: The Beatles Producer: Al Brodax Music: The Beatles, George Martin (musical director) Distributor/ Studio: Apple Corps and United Artists (1999) (USA) (theatrical) (re-release)

George [to Paul]: I’ll play whatever you want me to play, or I won’t play at all if you don’t want me to play, you know. Whatever it is that’ll please you, I’ll do it.

Clocking in at eighty minutes, Let It Be is a sanitized record of a tumultuous time. Much of the infighting during this period has been removed. What is left is mostly good-natured jamming, but even then it is apparent that things are askew. Paul comes off as overly controlling, while John seems completely distracted by Yoko Ono. One of the most revealing moments allowed to stay in is an early version of “Maxwell’s Silver Hammer” where Paul switches the chorus to “Maxwell’s silver hammer made sure that John was dead.”

The film concludes with the infamous rooftop concert and captures that old Beatles magic. The band seems to be having fun again and enjoying playing together. Director Michael Lindsay-Hogg goes down to the streets and intercuts hilarious reactions from the unsuspecting bystanders.

The last official release of Let It Be was in the early ‘80s on VHS and laserdisc, but bootleg DVDs are available at a reasonable price and of decent quality. Similar footage was released for The Beatles Anthology, but what makes Let It Be fascinating is that it is presented without hindsight. There are no interviews, ruminations or commentaries. The events are simply left to stand on their own.

Release Date: May 20, 1970 Director: Michael Lindsay-Hogg Main Actors: The Beatles, Linda Mccartney, Yoko Ono Producers: Neil Aspinal, Mal Evans Music: The Beatles, Phil Spector (music producer) Distributor/ Studio: Apple Corps, United Artists Corporation (1970), and United Artists

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Review:

6 Sick Hipsters/False Flat

Review by Taylor Deitrich | Photos by Nick Ferrari

“6 SICK HIPSTERS” BY RAYO CASABLANCA KENSINGTON BOOKS

Rayo Casablanca is not a hipster. He can talk the talk, but an ordinary façade skews his inner workings. He does not exhibit an unhealthy preoccupation with the shallow projection of image and lifestyle–but he does have friends who do.

After conceding that each of the characters in 6 Sick Hipsters was influenced by an aspect of his own personality, it’s easy to believe him. No hipster could have written this book.

A thriller based primarily in Williamsburg, Brooklyn, the novel combines the over-publicized topic of hipsterism with unadulterated violence. Doctor Jeep can be thought of as the ultimate hipster: a psychotic Holden Caulfield in an IronMaiden T-shirt. He’s had enough of the armies of phonies filing out from Urban Outfitters, and of the B-listers with mullets. He’s dispatching with the high dogs, the consciously cool who write paleontological porn or continue into their thirties to accumulate and display their collections of G.I. Joes. The characters have “ordinary” names like Cooper, Wolfgang and Radcliff. Does this betray an early self-consciousness? The quest for the psychological underpinnings of the hipster in its (un)native environment will not end with this novel but, by delving in, you may come that much closer.

I’ll assume there are various motivations for reading a novel like 6 Sick Hipsters depending on your place along the hip/unhip division. A hipster reading the novel will probably do so in anticipation of future bragging rights. If the novel becomes a cult classic (and it might), then he got to it first. If you are not a hipster, or even better, are an anti-hipster, you probably hate them, in which case this novel may be good for you too: they die. And then die some more.

Still, for a reader in the latter category, this book poses problems. The novel is flush with obscure cultural allusions, most of which are musical. This wouldn’t be a problem in itself, except that the allusions are to idols whose influence pulses through the lifeblood of the hipster high horse. There are occasions when trivial knowledge finds its way into comedic times between murders and plot twists, like how to avoid being shot in the asshole and why you shouldn’t accept acid from obese Philip K. Dick fans. Poor description tends to read like satire, so if a definition of the hipster is your motivation, refer to Robert Lanham’s 2003 Hipster Handbook. If you are looking for a book that illuminates the human condition, read Hannah Arendt. This book will serve you poorly if you are looking for anything but an entertaining, and possibly irritating, read.

On an online message board, an anonymous reviewer tagged only as “Steve” shared his clearly unread feelings about 6 Sick Hipsters: “The description of this novel is so bad it makes me want to die. This is the least ‘cool’ thing an author could do. Totally out of touch and, if suspicions are correct, utterly horrible.” In response to Steve I would say, sure, if Casablanca were attempting to illuminate some of the clearly troubling social mysteries of our time, and maybe propose a few tenable solutions, then yes, he is “out-of-touch.” However, he is not attempting such a feat. What he has done is tackle a contentious topic, at least in the urban centers where this conspicuous crowd congregates, creating an occasion for bloody catharsis. And for that, Steve should have said, “Thanks Rayo.”

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“FALSE FLAT” BY AARON BETSKY PHAIDON PRESS

Aaron Betsky owns a house in the Dutch city of Rotterdam that lies in a polder, eighteen feet below sea level. In False Flat, recently reissued by Phaidon Press, he notes with the composed calm of a person shaped by the prolonged anticipation of a literal deluge, that were it not for the dikes and hidden water pumps engaged without break, his house would disappear beneath the tumult of the North Sea. Because of the geography of his mountain-less country, hemmed by water on two sides, the wind never stops blowing—a ubiquitous natural presence that forces architects, urban planners, and designers to consider the elements against which we all must struggle in the routines of daily life.

False Flat is a beautifully rendered narrative (designed by acclaimed Dutch graphic artist Irma Boom and co-authored by Adam Eeuwens) that traces the history of Dutch design from its roots in sixteenth century Europe when the Netherlands was the most urbanized country on the continent. Betsky describes the Dutch world as interior, separated by the outside world by a barricade of dikes. A contemporary of Rembrandt, Pieter Saenredam painted simple Dutch churches filled with light and subtle shadows, while Rem Koolhaas controversially reinterprets modern archetypical shapes through the use of technology, ingenuity, and a deep understanding of space’s relationship to form. In the Netherlands, it is space that holds sway over form.

False Flat represents the subtle sloping of the Dutch landscape. This irregularity is the result of the repossession of a wealth of land that once remained anonymous below the surface of the North Sea and the Rhine. This spatial feature creates cohesion of the “void,” a key element introduced in the Netherlands after World War II. Practitioners of Raumplanung (land-use planning) consider space a construct of human potential, having any number of uses. Designers take an artificial reality and give it meaning through a material world. Filled with interesting historical anecdotes alongside memoir in the form of a bicycleguided travel log, this tale of Dutch design illustrates, with an abundance of color images, the plasticity of our seemingly solid world. We hold back the flood, but only through great effort.

This is a deeply informed read with the most interesting sections devoted to spatial organization and the entrenched theoretical approach to design that continues to influence all Dutch people in their man-made surroundings. Under Raumplanung, the land itself is subject to man’s whims, needs, and desires. Because of this, Dutch designers have much to offer to New York-based architects and space planners, and are uniquely qualified to do so. They represent a careful approach to the engineering of land with social-democratic ideals. Dutch designers, much like those of Central Park, consider leisure and living space crucial to the success of the modern state. And they do it, from the ground up.

LPs Are you accused of jumping on the retro bandwagon, even though you had a fondness for vinyl long before vintage came into the mainstream vernacular? Does your mind tell you digital music is the way to go, while your heart whispers that vinyl will never die and a mix CD will never be a mix tape? Fear not, the people at Etherea know exactly how you feel and provide a safe haven for old, rare, and new records.

Etherea 66 Avenue A (between East 4 & 5th Streets), New York, NY 10009 212.358.1126 - www.etherea.net LPs- prices vary

Fatman speakers These speakers look normal enough on the surface, but after a closer inspection, they appear to be a mad scientist’s attempt to design the perfect stereo. Fatman speakers are sleek and modern, but their design has more than just an aesthetic appeal. Music aficionados have griped from the beginning that the sound quality of MP3s is less than stellar. Those odd looking orange valves are designed to add what the digital compression of music took out: warmth.

Fatman www.fat-man.co.uk Fatman Fatboys: $1,799.99 Fatman iTube Valve Dock: $449.99

Cardboard Speakers When you were a kid, a cardboard box was so much more than just a cardboard box.

With a little imagination it could become just about anything–a house, a boat, a rocket ship–and transport you away to another world. The people at MUJI must have fond memories of such adventures, but their cardboard speakers aren’t a mere flight of fancy. They are the real deal. A novelty item for sure, but you know they are the perfect accessory for your cardboard living room.

MUJI 455 Broadway (between Grand & Howard Streets), New York, NY 10013 212.334.2002 - www.muji.com Cardboard Speakers- $19.95

GO SEE:

A Life Without Music is Not Worth Living

By Alec Kerr | Photos by Kfir Ziv

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Tin iPod cases In elementary school, some kids were lucky enough to carry their lunches in colorful tin lunch boxes. For the rest of us who got stuck with the cheaper plastic models, or actually ate cafeteria food (my condolences), it is time to make our iPod cooler than a PB and J and thermos full of milk. Tinbot provides a wide array of sleek, unique tin iPod cases that are, simply put, totally awesome.

Tinbot www.thetinbot.com iPod case- from $19.95 to $29.95

Bathroom Speakers Singing in the shower is easy, but listening to music while bathing has always been quite the conundrum. Sure, there are shower radios, but they’re limiting. And blaring the stereo in the other room isn’t ideal either. In both cases the missing factor is control. But the fine people at Audio Cube have provided the solution. Just plug your iPod or mp3 player into these waterproof speakers and the problem of no bathroom tuneage is eradicated.

Audio Cubes 69 East 8th Street (between Broadway and Mercer St.), New York, NY 10003 1-888-xLOVE-AC - www.audiocubes.com Zumreed Rain Drop iPod Bathroom Speaker: $59.99 (shot in white: also available in light blue and orange)

Headphones There was a time when headphones weren’t the little hearing aids we now plug into our ears. While the iPod, in its various shapes, sizes, and forms, is chic and stylish, the generic iPod headphones lack personality. Audio Cube has headphones and other electronics that have the looks to go with the functionality. Sure, “looks don’t matter”, but we are all a little bit vain, aren’t we? Indulge and embrace the sin of vanity.

Audio Cubes 69 East 8th Street (between Broadway and Mercer Street), New York, NY 10003 1-888-xLOVE-AC - www.audiocubes.com Audio-Technica ATH-ON3 Casual Headphones- $49.99 (shot in lime green: also comes in white, yellow, blue, black, red, gray, light gray, beige, brown, green)

132 Directory

RESOURCE DIRECTORY ARTIFICIAL FOLIAGE American Foliage* 122 W 22nd St. New York, NY 10011 212-741-5555 afdesigngr@aol.com www.americanfoliagedesign.com

ORGANIZATION Lucie Awards 550 N. Larchmont Blvd., Suite 100 Los Angeles, CA 90004 310-659-0122 www.photoawards.com

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Alkit Pro Camera* 227 East 45th St., 12th Fl. New York, NY 10017 212-674-1515 rental@alkit.com www.alkit.com

CATERING Green Catering 61 Hester St. New York, NY 10002 212-254-9825 www.greenbrownorange.com/green

DIRECTORY PhotoCrew.com 310-855-0345 www.photocrew.com Production Paradise 646-344-1005 www.productionparadise.com

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Available Light* 29-20 37th Ave. Long Island City, NY 11101 718-707-9670 info@alny.net www.alny.net Calumet 22 W 22nd St. New York, NY 10010 212-989-8500 800-453-2550 www.calumetphoto.com website@calumetphoto.com CSI Rental 133 W. 19th St. Ground Floor New York, NY, 10011 212-243-7369 www.csirentals.com Foto Care* 136 W 21st St. New York, NY 10011 212-741-2990 info@fotocare.com www.fotocare.com

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PHOTO LABS Baboo Color Labs* 37 W 20th St., #1 New York, NY 10011 212-727-2727 info@baboodigital.com www.baboodigital.com Duggal* 29 W 23rd St. New York, NY 10010 212-924-8100 info@duggal.com www.duggal.com Ken Horowitz Photographic Services* 134 W 26th St. Suite 403 New York, NY 10001 212-647-9939 ken.horowitz@verizon.net L & I Color Lab* 1 W 22nd St. New York, NY 10010 212-206-7733 info@landiphotolabs.com www.landiphotolabs.com

Manhattan Color Lab* 4 W 20th St. New York, NY 10011 212-807-7373 Primary Photographic* 195 Chrystie St., North Store New York, NY 10002 212-529-5609 www.primaryphotographic.com Taranto Labs* 36 E 30th St., Ground Fl. New York, NY 10016 212-691-6070 lab@tarantolabs.com www.tarantolabs.com PHOTO-SHARING WEBSITE Fotki* 866-268-3991 www.fotki.com PORTFOLIO WEBSITE Dripbook PO Box 220-295 Greenpoint Station Brooklyn, NY 11222 contact@dripbook.com www.dripbook.com

PRODUCTION SERVICES ajproductionsny, inc.

212-979-7585 917-209-0823 ajprodnyc@mac.com www.ajproductionsny.com

Props For Today* 330 W 34th St., 12th Fl. New York, NY 10001 212-244-9600 info@propsfortoday.com www.propsfortoday.com

PROP RENTALS Arenson Prop Center* 396 10th Ave. New York, NY 10001 212-564-8383 http://www.aof.com/props/index.html

Props NYC* 509 W 34th St., 2nd Fl. New York, NY 10001 212-352-0101 lohaizasaladin@aol.com

Eclectic Encore* 620 W 26th St., 4th Fl. New York, NY 10001 212-645-8880 props@eclecticprops.com www.eclecticprops.com Manhattan Medical* 509 W 34th St., 3rd Fl. New York, NY 10001 212-239-0043 manhattanmedical@aol.com

The Prop Company* 111 W 19th St., 8th Fl. New York, NY 10011 212-691-7767 propcompany@aol.com www.propcompany.com Taylor Creative Inc./EAST COAST 150 West 28th Street Suite 1001 New York NY 10001 646.336.6808 info@taylorcreativeinc.com www.taylorcreativeinc.com

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Taylor Creative Inc./WEST COAST 136 title 4445 South Valley View Boulevard Unit #4 Las Vegas NV 89103 888.245.4044 info@taylorcreativeinc.com www.taylorcreativeinc.com RENTAL STUDIOS 2 Stops Brighter* 231 W 29th St., 10th Fl. New York, NY 10001 212-868-5555 info@2stopsbrighter.com www.2stopsbrighter.com 20x24 Studio* 588 Broadway, #805 New York, NY 10012 212-925-1403 mail@jennifertrausch.com 320 Studios* 320 W 37th St. New York, NY 10018 212-967-9909 info@320studiosnyc.com www.320studiosnyc.com 3rd Ward* 195 Morgan Ave. Brooklyn, NY 11237

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Atlantic Motion Pictures* 162 W 21st St., 4th Fl. New York, NY 10011 212-924-6170 adam@atlanticmotion.com www.atlanticmotion.com Available Light* 29-20 37th Ave. Long Island City, NY 11101 718-707-9670 BathHouse Studios* 540 E 11th St. New York, NY 10009 212-388-1111 manager@bathhousestudios.com www.bathhousestudios.com Biwa inc.* 214 W 29th St., #1105 New York, NY 10001 212-924-8483 info@biwainc.com www.biwainc.com Brooklyn Studios* 211 Meserole Ave. Brooklyn, NY 11222 718-392-1007 brooklynstudios@verizon.net www.brookylnstudios.net

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Camart Studios* 6 W 20th St., 4th Fl. New York, NY 10011 212-691-8840 rentals@camart.com www.camart.com Capsule Studios* 873 Broadway, #204 New York, NY 10003 212-777-8027 info@capsulestudios.com www.capsulestudio.com CECO International* 440 W 15th St. New York, NY 10011 212-206-8280 info@cecostudios.com www.cecostudios.com Cinema World Studios* 220 Dupont St. Greenpoint, NY 11222 718-389-9800 cinemaworldfd@verizon.net www.cinemaworldstudios.com Composition Workshop* 45 Summit St. Brooklyn, NY 11231

718-855-1211 Setinbrooklyn@mac.com www.compositionworkshop.com Dakota Studios* 78 Fifth Ave., 8th Fl. New York, NY 10011 212-691-2197 dakotastudios@yahoo.com www.dakotastudio.com Daylight Studio* 450 W 31st St., 8th Fl. New York, NY 10001 212-967-2000 info@daylightstudio.com www.daylightstudio.com Dayspace Studio* 447 W 36th St., 5th Fl. New York, NY 10018 212-334-1241 info@dayspace.com www.dayspace.com Divine Studio* 21 E 4th St. New York, NY 10003 212-387-9655 alex@divinestudio.com www.divinestudio.com

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140 title Gary’s Manhattan Penthouse Loft* 28 W 36th St., PH New York, NY 10018 917-837-2420 gary@garysloft.com www.garysloft.com Gary’s Loft* 470 Flushing Ave. Brooklyn, NY 11205 718-858-4702 gary@garysloft.com www.garysloft.com Go Studios* 245 W 29th St. New York, NY 10001 212-564-4084 info@go-studios.com www.go-studios.com Good Light Studio* 450 W 31st St., #9C New York, NY 10001 212-629-3764 rickard.cn@gmail.com www.goodlightstudio.com Greenpoint Studios* 190 West St., Unit 11 Brooklyn, NY 11222 212-741-6864

info@greenpointstudios.com www.greenpointstudios.com Home Studios* 873 Broadway, #301 New York, NY 10003 212-475-4663 info@homestudiosinc.com www.homestudiosinc.com Horvath & Associates* 335 W 12th St. New York, NY 10014 212-463-0061 contact@horvathstudios.com www.horvathstudios.com Hudson Studios* 601 W 26th St., 13th Fl. New York, NY 10001 212-924-2430 info@hudsonstudios.com www.hudsonstudios.com Industria Superstudio* 775 Washington St. New York, NY 10014 212-366-1114 kslayton@industrianyc.com www.industrianyc.com

Jack Studios* 601 W 26th St., 12th Fl. New York, NY 10001 212-367-7590 mike@jackstudios.com www.jackstudios.com James Salzano Studio* 29 W 15th St. New York, NY 10011 212-242-4820 js@salzanophoto.com www.salzanophoto.com Jim Galante* 212-529-4300 jim@jimgalante.com www.jimgalante.com L Gallery Studio* 104 Reade St. New York, NY 10013 212-227-7883 info@lgallerystudio.net www.lgallerystudio.net Laura Little Productions* 515 W 29th St. New York, NY 10001 212-224-4464 studio@lauralittleproductions.com www.lauralittleproductions.com

Light-Space Studio* 1087 Flushing Ave., #420 Brooklyn, NY 11237 212-202-0372 info@lightspace.tv www.lightspace.tv Location 05* 568 Broadway, #805 New York, NY 10012 212-219-2144 info@location05.com www.location05.com Markus Aurelius Studio* 303 42nd St., 4th Fl. New York, NY 10036 212-627-2728 info@photostudiorentalsnyc.com www.photostudiorentalsnyc.com Metropolitan Pavilion* 125 W 18th St. New York, NY 10011 212-463-0071 info@metropolitanevents.com www.metropolitanevents.com Neo Studios* 628 Broadway, #302 New York, NY 10012 212-533-4195 mail@neostudiosnyc.com www.neostudiosnyc.com NoHo Productions* 636 Broadway, #302 New York, NY 10012 212-228-4068 info@nohoproductions.com www.nohoproductions.com Paul O. Colliton Studio* 305 7th Ave., PH New York, NY 10001 212-807-6192 Paul@collitonstudio.com www.collitonstudio.com Persona Studios* 40 W 39th St., 4th Fl. New York, NY 10018 212-852-4850 persona@kristeratle.com www.kristeratle.com Photo Group Inc.* 88 Lexington Ave., #15E New York, NY 10016 212-213-9539 info@photo-group.com www.photo-group.com

Picture Ray Studio* 245 W 18th St. New York, NY 10011 212-929-6370 bookings@pictureraystudio.com www.pictureraystudio.com Pier 59 Studios* Chelsea Piers #59, 2nd Level New York, NY 10011 212-691-5959 info@pier59studios.com www.pier59studios.com Pochron Studios* 20 Jay St., #1100 Brooklyn, NY 11201 718-237-1332 info@pochronstudios.com www.pochronstudios.com Primus Studio* 64 Wooster St., #3E New York, NY 10012 212-966-3803 info@primusnyc.com www.primusnyc.com Production Central* 873 Broadway, #205 New York, NY 10003 212-631-0435 david@prodcentral.com www.prodcentral.com Project 35* 381-383 Broadway New York, NY 10013 212-226-0035 studio@project-35.com www.project-35.com Pure Space* 601 W 26th St., #1225 New York, NY 10001 212-937-6041 rida@purespacenyc.com frank@purespacenyc.com www.purespacnyc.com Rabbithole Studio* 33 Washington St. Brooklyn, NY 11201 718-852-1500 info@rabbitholestudio.com www.rabbitholestudio.com Ramscale Productions* 55 Bethune St., Penthouse New York, NY 10014 212-206-6580 info@ramscale.com www.ramscale.com

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studio galadriel sharon@galadrielstudio.com 646.678.2836

Root Capture 142 131 title N 14th St. Brooklyn, NY 11211 718-349-2543 www.rootcapture.com

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Serge Nivelle Studios* 205 Hudson St., #1201 New York, NY 10013 212-226-6200 www.sergenivelle.com

SoHoSoleil* 136 Grand St., #5-WF New York, NY 10013 212-431-8824 info@sohosoleil.com www.sohosoleil.com

Shoot Digital* 23 E 4th St. New York, NY 10003 212-353-3330 Kevin@shootdigital.com www.shootdigital.com Shop Studios* 442 W 49th St. New York, NY 10019 212-245-6154 Jacques@shopstudios.com www.shopstudios.com Showroom Seven Studios* 263 11th Ave. New York, NY 10001 212-643-4810 maricaso@aol.com www.showroomseven.com Silver Cup Studios* 42-22 22nd St. Long Island City, NY 11101 718-906-3000 silvercup@silvercupstudios.com www.silvercupstudios.com SoHo Loft 620* 620 Broadway, #2R New York, NY 10012 212-260-4300 nancy@nancyney.com www.soholoft620.com

Studio 147* 147 W 15th St. New York, NY 10011 212-620-7883 info@studio147.net www.studio147.net Studio 225 Chelsea* 225 W 28th St., #2 New York, NY 10001 917-882-3724 james@jamesweberstudio.com www.studio225chelsea.com

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GIPSY HOROSCOPE

Money, money, money!

By Missye Clarke | Illustration by Sharon Gamss

ARIES March 21st – April 19th

GEMINI May 21th – June 20st

LEO July 23rd – August 22nd

You are well into the New Year—it’s already more than half old—and the ghosts of this Christmas past continue to give you the spooks every time you open your credit card bills. You’ve heard this before, Aries: pay off that debt in full. Why give away your hard-earned cash (plus interest) when you don’t have to? Want to ram something? Ram that debt down and keep it gone. This is one aspect of your stubborn life you shouldn’t ever budge on.

Your inner twins bicker, “Pay the mortgage on time!” “It’s my best friend’s birthday!”

“No, pay the mortgage on time”… The bottom line—and argument buster: with the economy in the “R” word that no one will say aloud, the last thing you need is a credit rating hit if you’re amiss with the mortgage payment.

Your creative side still wants to ensure that you won’t have a pouting best friend. So offer her a card, maid services, and grocery shopping for a week. Your credit rating stays decent and you keep a longtime pal happy. As for the twins? They’ll be content until another dilemma arises.

You’re proud as you can be Leo, and that’s a good thing…but when your welcome mat is getting a bit threadbare, it’s time to take notice. It’s not charity to accept someone being neighborly, but you need to assert when they’re being too intrusive. Looking for additional work? Network like mad. Need extra income to save for a couch? Try looking in unlikely places like the Salvation Army or Goodwill. Consider putting in volunteer time at a food pantry or thrift store; many others are where you are and wouldn’t mind a pair of compassionate hands to help them too. It keeps you busy and could open many unexpected doors.

TAURUS April 20th – May 20th Bulls like you are hardheaded in all areas of life but finances. Time to get stubborn here too, Taurus. Save for a rainy day. Sure, bargains are found in New York City as often as a stray—and still working—30-day Metrocard.

Save the $81 for an unplanned expense.

While you will be going against the mainstream by saving your cash for something more important than your dating service charges, chances are the emergency won’t land quite so hard. Besides… it’s presumptuous to ask your online date for a loan after having just met.

CANCER June 21nd – July 22nd Stop crabbin’ about the economy, Cancer.

Everything is cyclical, but while the country is in the downturn of its financial cycle, how is your financial house? Are you stuck in the double digits with your credit card companies? Switch to a lower interest-bearing card.

Have too much stuff and paying for storage fees? Sell the loot, lose the added expense, and save the cash from your sold treasures.

You never know when you’ll need it. And don’t worry about being too introverted for this; you may meet someone who’ll pull you out of your tortoise shell and take you for a stroll around Greenwich Village at 3am.

VIRGO August 23rd – September 22nd As meticulously organized and detailed as you are—to the point of being anal—you being unemployed is like a bird being unable to fly due to an injured wing. It happens. Assess your financial situation factually, even if it means bunking at your brother’s crib or in your friend’s spare room to navigate yourself from “here” to “there.” Set parameters in finances and in time; define what milestones will need to be reached as you seek employment. Pressed for meals and clean clothes?

There’s no shame in visiting your friend’s parents laundry facilities for a time, all to save and scrimp as much as possible to get you through to your next job.

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LIBRA September 23rd – October 22nd

SAGITTARIUS November 22nd – December 21st

AQUARIUS January 20th – February 18th

Ah, Libra, since you’re the King or Queen of Perspectives, when it comes to cleaning/ inventorying your financial house, that piper came to get paid, C.O.D. Thankfully, you’re still working and are regularly contributing to your 401K. Once you leave the company, make sure that money goes with you and don’t touch a dime of it, no matter how desperately needed it may seem. That’s why a savings account comes in handy. Early 401K withdrawal penalties abound, including bumping you into a higher tax bracket, or having to pay that money back if you’re still with the company. So do yourself a favor: leave it alone. In financial rearview, it’ll be the best thing you’ve ever done.

Truth-excavating Sags need a unique POV: not everyone’s going to see your side of things, or your imaginary friends hiding out under your bathroom sink, no matter how often you say these things. This isn’t to say your version of things is the end-all, be-all, Sags, and as with anyone else, truth has an ironic way of smacking even you in the back of the head when the time comes. Don’t complain. As you’ve told others before: just deal. The Sabrett hot dog you just wolfed down won’t give you such intense indigestion when this approach is embraced.

When it comes to big ticket items, like a new computer or a car, it’s best to get them, Water Carrier, in cash and paid in full. Why? They depreciate in value, and if you’re looking to lease them, you’re paying full ride for something losing fast its initial asking price.

Later, newer models will follow and because of this, your older— billed and leased for—model, won’t get nearly as much for it should you decide to trade in or sell. When you do purchase these things with your own money, you’ll feel better for it.

SCORPIO October 23rd – November 21st

Caps, here is where erring on the side of caution regarding your identity comes into play. Every debit and credit card in your possession should have it clearly marked “Ask for I.D.” on the signature line space. This way, when you purchase things and have your signature/I.D. with you to prove who you are, you’re clean as a whistle and off to be your usual, charming, Capricorn self.

Being too cautious with your financial life in order to keep someone else from being too fast and loose with it can never be enough.

Now go enjoy Blue Man Group and live in financial peace!

When financially stung, Scorpio, be it your fault or someone else’s, just take the hit. If the hit, however, is an identity theft issue, plan on spending a good deal of time and money righting your good name. Check receipts and shred old pay stubs, Social Security correspondence, and other bills with your personal data on them. And consider getting identity theft insurance.

For $10 or so a month, the small expense is worth wile for keeping your credit rating intact, especially when considering the time off from work and the money spent undoing what could have been avoided.

CAPRICORN December 22nd – January 19th

PISCES February 19th – March 20th Instinctively, you know what moves to make and not make. Still, sometimes you trip up.

In the case of “How Tidy Is Your Financial House?,” it is time to take note of what to toss and what to keep. Unused Crunch gym membership? Sell it and consider working out outside or using at-home DVDs. Do you really need cable when there’s Netflix? And eating out costs twice as much as buying groceries and cooking at home. Look in every financial nook and cranny to see what fat can be trimmed from your budget, especially when your savings are nil and your bills exceed your income.

Next ‘Scopes Theme: New Year—Health & Wellness

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