Fall 09 by Resource Magazine

$7.99 US/CAN

For the Professional Photo Productionist

www.resourcemagonline.com

Fall 2009

WWW.JACKSTUDIOS.COM PHONE: (212) 367-7590 FAX: (212) 367-8376 EMAIL: INFO@JACKSTUDIOS.COM 601 W. 26TH STREET, 12TH FLOOR, NEW YORK, NY 10001

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TABLE OF CONTENT FALL 2009 2

Table of Content: What’s in store.

Masthead: Wait... who are these people?

Letter from the Editors: That’s what we said.

Letters to the Editors: That’s what you said.

Etiquette: Travel. Air miles, half naked chicks, margaritas... work sucks.

Resource Guide to: Underground Magazines. Rare, just how I like my steak.

Industry Tale: Photo Coup. Photo shoot gone wild.

Trick of the Trade: Fashion Stylist. It’s not easy being fabulous.

SECTION- PHOTO 30

History: Bettie Page. ‘Twas the night before Christmas, when all through the house...

Gallery: David Goldblatt. A photographer reveals the beauty and tragedy of South Africa.

Photo Deco-Page: On Black. Old is the new black.

Technique: Shinichi Maruyama On Shooting Splashes. Not in the eye!!

Interview: Walter Chin. Beef patty with maple syrup, anyone?

Mini Feature: The Craigslist Critique. How to edit your work, at $50 an hour.

SECTION- CREW 46

How to: Sketch a Set. Not Etch-a-Sketch people!

Event: Slideluck Potshow XIII. Pothappy Foodluck Photofood Potshow...

Interview: Catherine Meyler. Location, location, location.

Mission: T-Home. Bringing a set on location...uh?

Locations: Underground. Beauty from the underbelly.

Mini Feature: Career Transformers, more than meets the eye. We care a lot about people who change jobs.

SECTION- STUDIO/EQ 64

Dawn of the Industry: Sun of Wetuk. Let the sunshine in!

Interview: Serge Nivelle. L’atelier Tribeca. Comme c’est grand!

Mini Feature: Cyc-O-Builder: Qu’est ce que c’est? Twad Schuetrum reveals the art and science behind the perfect cyc.

SECTION- AGENCY 72

Birth of a Campaign: Taxi Toronto for MINI. Have you noticed we feature a lot of ads from Canada?

Ad Rocks: Green Works. Graffiti that’s green—not just the color.

Interview: Adhesive. How to put a face on a name and a sticker on your shirt.

Mini Feature: Absolutly. The ads that made us fall in love with ads.

FEATURE ARTICLES 82

Resource Magazine’s EQ 100 Guide. Get your gear from them or be a DORK!

Camera Modifications. Photographers or Mad Scientists?

104

Silver (& Cyan) All Over: The Photography of Billy Name. The Factory’s official photographer.

108

“10 Best 10” Photo-Contest. Resource and Win-Initiative look for the 10 best photographers and their 10 best photos. Could you have guessed from the name?

discover new york city’s most beautiful daylight studio... integrating technology and aesthetics in a modern architectural environment.

• Studio spaces from 1,650 to 7,000 sq. ft. • Private entrance and elevator available • Southern and western exposures • Panoramic views of the Hudson • Full black-out capability • Digital equipment by DPi • All new lighting and grip equipment • Full production services • Digital capture and post production • 15,000 sq. ft. roof deck

information, viewing & reservations 212.344.1999 tribecaskyline.com

SECTION- REVIEWS 122

Where to Take your Client: In Vino and Royale. A Royale with cheese! You know why they call it that? Because of the metric system.

124

Movie Review: Peeping Tom. The granddaddy of all slasher movies.

125

Book Review: Art and Fashion and Fashion. Fashion books reviewed by fashion stylists. What did

126

Go-See: Photo Toys. For the five-year-old in you… or for your kid.

128

Directory: People we’ve used and re-used and used again.

136

End Page. Thank you, come again.

you expect?

Cover and End Images by Claire Alina Benoist - clairealinabenoist.com

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START/STOP PLAY/PAUSE FF/REW RENT

VIDEO GEAR HD Video Cameras Continuous Lights Microphones DSLR Cinema Bundles Video Tripods & Heads

OUR PRICES ARE CHANGING, FOR LESS…

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1st Day

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MEDIUM FORMAT CAMERAS (CONT’) H Series 100mm F2.8.......................... $45

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Sony PMW-EX3 w/16 GB Card .............. $225 $205 $275 $925

H Series 120mm Macro F4 ................... $55

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Sony PMW-EX1 w/16 GB Card .............. $195 $175 $225 $795

H Series 150mm F3.2........................... $45

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$135

Sony HVR Z1U HD Video Camera........... $170 $145 $190 $495

H Series 210mm F4.............................. $40

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Sony HVR-A1U HD Video Camera .......... $125 $115 $135 $365

H Series 300mm F4.5........................... $85

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Panasonic AG-HVX 200AP HD Video Cam......... $155 $130 $195 $595

H Series 50-110mm F3.5-4.5............... $70

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Canon XL H1A HD Video Camera........... $215 $185 $275 $895

Hasselblad 555ELD............................... $35

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Canon XL HA1 HD Video Camera........... $145 $115 $185 $550

Hasselblad 503CW................................ $25

$20

$30

$70

Canon HV40 Video Camera ................... $50

Hass Winder CW................................... $15

$13

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$45

Hass 30mm CF..................................... $35

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$100

Hass 40mm CFE F5.6 ........................... $30

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$80

Hass 60mm CFI .................................... $20

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Hass 80mm CFE ................................... $20

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Hass 100mm CFI .................................. $20

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Hass 120mm CFI .................................. $20

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Hass 150mm CFI .................................. $20

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Hass 180mm CFI .................................. $20

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Hasselblad PM 45 DEG Prism................ $15

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VIDEO ACCESSORIES Red Rock Micro DSLR Cinema Bundle w/Matt Box. $75

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Shoulder Mount Eyespy Rig w/Finder.... $55

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Sennheiser Wireless Mic Set................. $15

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Sennheiser Shot-Gun Mic XLR .............. $15

$10

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Bogen M351 Tripod w/503 HDV Fluid Head ...... $20

$15

$25

$50

DIGITAL BACKS Phase One P25+................................... $365 $340 $395 $1050 Phase One P30+................................... $395 $375 $435 $1150 Phase One P40+................................... $405 $385 $450 $1175 Phase One P45+................................... $425 $405 $475 $1250 Phase One P65+................................... $455 $425 $495 $1325 Phase One Adapter for Mamiya RZ67.... $35

$30

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$135

COMPUTERS/MONITORS Apple Mac Pro 8-Core........................... $275 $250 $300 $795 Apple Mac Book Pro 15"....................... $105 $85

$135 $390

Eizo 24" Monitor................................... $125 $110 $135 $365 Apple Cinema Display 30" .................... $100 $85

$135 $300

$100 DIGITAL CAMERAS & LENSES

MEDIUM FORMAT CAMERAS

Canon 1DS Mark III ............................... $125 $105 $160 $495

Leica S2-P Body................................... $315 $275 $405 $1365

Canon 1DS Mark II................................ $95

Summarit-S 1:2.5/70 ASPH. CS ............ $50

$45

$65

$220

$75 $60 Canon 5D Mark II.................................. $75

$95

$275

APO-Tele-Elmar-S 1:3.5/ 180 CS .......... $60

$55

$80

$265

Canon 7D ............................................. $60

$45

$85

$225

APO-Macro-Summarit-S 1:2.5/120 CS.. $60

$55

$80

$265

Canon 50D ........................................... $45

$35

$60

$175

Summarit-S 1:2.5/35 ASPH. CS ............ $50

$45

$65

$220

Canon 40D ........................................... $35

$25

$50

$125

Hasselblad H2 Body w/80mm Lens....... $75

$70

$85

$225

Canon 100/2.8 Macro ........................... $15

$12

$18

$55

Hasselblad H2 Body Only...................... $55

$45

$70

$175

Canon 135/2.0 L........................................ $20......$15

$25

$70

H Series 35mm F3.5............................. $45

$40

$50

$130

Canon 16-35/2.8 L II.................................. $24......$22

$26

$75

$23

$65

$26

$75

$80

H Series 50mm F3.5............................. $40

$35

$45

$110

Canon 24 1.4 L ........................................$22 .....$20

H Series 80mm F2.8............................. $30

$25

$35

$80

Canon 24/3.5 L TS-E................................$24 .....$22

Adorama has offered the best prices for retail photo equipment for the past 20 years. Now we're doing the same thing for rental equipment. e new Adorama Rental Co. has simplified things. We'll give you one price that should work with even your most challenging budgets. In order to keep pace with the constant shi of the media marketplace, ARC has invested over two million dollars worth of new equipment and upgrades to our regular inventory, which we constantly rotate. We invite you to check out our new prices and equipment with the confidence you'll receive up-to-date equipment and the best pricing in the industry.

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$200 $75 OLD PRICE:

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full Week

DIGITAL CAMERAS & LENSES (CONT’)

1st Day

Add’l Day

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$55

CONTINUOS LIGHTS (CONT’)

Canon 24-105/4 L IS ............................ $22

$19

$29

$70

Arri 650W Fresnel Fixture...................... $16

$13

$20

Canon 24-70/2.8 L ............................... $24

$21

$31

$70

Lowel DP Light ..................................... $12

$10

$15

$40

Canon 300/2.8 IS L............................... $50

$45

$55

$150

Lowel Pro Light w/Barndoors 250W...... $10

$12

$35

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Canon 35/1.4 L..................................... $21

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Dedolight Self Contained Head w/Accessories.....$20

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42 W 18 ST 6FL NYC 10011 T 212-627-8487

Canon 45/2.8 TS-E ............................... $24

$22

$26

$75

Canon 50/1.2 L..................................... $25

$21

$32

$90

STROBES

Canon 70-200/2.8 IS L ......................... $24

$22

$26

$75

Profoto Pro 8A Air 2400 Pack + Head Kit .............$85

$80

$90

$250

Canon 85/1.2 L II .................................. $32

$28

$41

$100

Profoto Pro 7A 2400 Pack+ Head Kit .... $65

$55

$70

$185

Canon 580EX II Speedlight.................... $15

$12

$20

$55

Profoto Pro 7A 1200 Pack+ Head Kit..... $55

$50

$65

$165

Nikon D3X ............................................ $145 $125 $185 $625

Profoto Acute 2R 2400 + Head Kit ........ $45

$40

$45

$125

Nikon D3 .............................................. $125 $110 $165 $530

Profoto Acute 2R 1200 + Head Kit ........ $35

$30

$40

$120

Nikon D90 ............................................ $35

$25

$45

$135

Profoto Pro 7 B2 KIT ............................. $80

$70

$90

$235

Nikon 105/2.8 G ED VR Micro ............... $20

$18

$23

$65

Profoto Acute 600B Kit.......................... $55

$50

$60

$160

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Profoto 600 Compact Kit....................... $35

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$28

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Nikon 14/2.8 D ..................................... $24

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$26

$75

Profoto 300 Compact Kit....................... $30

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$105

Nikon 16/2.8 D Fisheye......................... $18

$17

$19

$55

Profoto Pro 7A Bi-tube Head ................. $45

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$50

$135

Nikon 17-35mm 2.8 ............................. $24

$22

$26

$75

Profoto Pro Ring Flash 2 (New Style) ..... $55

$45

$60

$190

Nikon 17-55/2.8 DX.............................. $24

$22

$26

$75

Profoto Acute Ring Flash ....................... $25

$20

$30

$70

Nikon 24-70/2.8G ED-IF AF-S ............... $24

$22

$26

$75

Lumedyne 400WS Kit ........................... $30

$25

$105

Nikon 300 2.8 G-ED VR......................... $48

$42

$50

$150

Lumedyne 400WS Booster.................... $10

$12

$40

Nikon 400mm 2.8G AF-S VR ................. $105 $98

$113 $325

Lumedyne Signature Series Flash Head $12

$11

$15

$40

Nikon 45/2.8 PC-E Micro ...................... $21

$20

$23

$70

Lumedyne 1600 Ring Flash Head.......... $25

$20

$30

$75

Nikon 70-200mm 2.8 VR ...................... $32

$28

$38

$100

Nikon 80-400/4.5-5.6 VR...................... $24

$22

$26

$75

GRIP EQUIPMENT

Nikon 85/1.4 D ..................................... $24

$22

$26

$75

Avenger 40" C-Stand............................ $7

$25

Nikon SB 900 Flash .............................. $15

$12

$17

$55

Avenger Medium Roller w/Griphead ...... $10

$12

$35

Bogen Mega Boom ............................... $35

$30

$38

$105

CONTINUOS LIGHTS

Bogen Super Boom............................... $17

$16

$20

$55

Litepanels LP-Micro.............................. $15

$13

$20

$55

Avenger Mini Boom .............................. $7

$20

Litepanels 1x1 Bi-Color Flood or 1x1 Bi-Focus... $65

$55

$75

$275

12X12 Modular Frame Complete........... $35

$30

$40

$100

Litepanels Miniplus-One Lite Kit............ $45

$40

$50

$175

12x12 Silk Full Stop.............................. $15

$14

$18

$55

Litepanels Ringlite Mini Kit.................... $65

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$75

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Mag Liner w/Tray.................................. $35

$30

$45

$135

2x4 Kino ............................................... $45

$40

$50

$185

Reel FX II Fan........................................ $35

$30

$40

$110

4x4 Kino ............................................... $50

$45

$55

$195

K5600 Joker Bug 400........................... $90

$75

$115 $350

Arri Compact Fresnel 1200W HMI ......... $125 $115 $160 $475

ANNOUNCING NEW PRICING WITH DISCOUNTS INCLUDED

Nikon 14-24/2.8 G ED........................... $28

WEEKEND = Thurs. after 4:30 PM until Mon. before 10:00 AM. This is a partial list and prices ARE subject to change without notice. Please view our complete line of products at adoramarental.com.

NEW PRICES. NEW EQUIPMENT. CLEAR AND SIMPLE. NEW LINES OF EQUIPMENT – UPGRADED INVENTORY – STREAMLINED PRICING…

Fall 2009 Issue EDITORS IN CHIEF Alexandra Niki, Aurelie Jezequel CREATIVE DIRECTORS Alexandra Niki, Aurelie Jezequel ART DIRECTOR Sharon Gamss COPY EDITORS Sara Ciaverelli, Meagan Dwyer, Kate Hope, Edine N. James, Sara Roth DESIGN Chris Brody, Sharon Gamss, Katie Iberle, Katherine Lo, Deva Pardue, Lara Peso, Emil Rivera, Evan Turk CONTRIBUTING PHOTOGRAPHERS Koury Angelo, Claire Benoit, Simon Biswas, Gregor Collienne, Steve Duncan, Quim Fabregas, Nick Ferrari, Carolyn Fong, David Goldblatt, Gabriela Herman, Heather Johnson, Carey Kirkella, Stephen Kosloff, Elizabeth Leitzell, Sarah St. Lifer, Shinichi Maruyama, Billy Name, Bob O’Connor, Kah Poon, Peter Riesett, Katie Shapiro, Rony Shram, Sarah Small, Jacob Snavely, Adam Sherwin, Ted Sabarese, Tom Watson, Bunny Yaeger, Kfir Ziv CONTRIBUTING WRITERS Sophia Betz, Jessica Bosch, Marc Cadiente, Sara Ciaverelli, Christine De Lassus, Matthieu Duquette, Charlie Fish, Molly Marie Griffin, Alec Kerr, Stephen Kosloff, Elizabeth Leitzell, Jon Melamed, Justin Muschong, Stephanie Nikolopoulos, Jenny Kate Sherman, Heather Simon, Jeff Siti, Feifei Sun, Kenny Ulloa, Dan Wetuk, Jessica Witkin, Keri Wirth, Sachi Yoshii

REMAG Inc. 139 Norfolk Street #A - NY, NY 10002 info@resourcemagonline.com Subscriptions: $30 in the US, US$50 in Canada, and US$60 globally. For subscription inquiries, please email info@resourcemagonline.com Special thanks to: Brian Byrne, Eduardo Citrinblum, Mark Chin, Walter Chin, Adam Davids, Hans Neleman, Steve Nardone and Andy Warhol. Corrections: Our apologies to Michal Weinzettl, Archive’s Editor-in-Chief, whose name was mispelled in our interview of him. On the Summer issue, Deva Pardue and Galia Venguer worked as Graphic Interns, while Kate Hope was one of our Copy Editors, but they were not credited: a belated thank you to all. We welcome letters and comments. Please send any correspondence to info@resourcemagonline.com The entire contents of this magazine are ©2009, 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 FIND US IN BARNES & NOBLES AND BORDERS ACROSS THE COUNTRY!

CONTRIBUTING ILLUSTRATORS Katherine Lo, Steve Nardone, Emil Rivera, Evan Turk INTERNS Maria Camila Pava, Victor Harshbarger, Sarah St. Lifer, Melka Lucas, Florian Meissner PUBLISHER - REMAG Inc. DISTRIBUTION info@resourcemagonline.com ADVERTISING Alexandra Niki alex@resourcemagonline.com Aurelie Jezequel aurelie@resourcemagonline.com

is a quarterly publication from

Alec Kerr is your average happy-go-lucky film geek residing in NH. He works as an editor and writer for The Conway Daily Sun. He is weighing his options on places to go and things to do on a much-needed vacation.

After heading a capture company for the last 5 years and teching for some top shooters, Adam Sherwin has recently set up shop in Brooklyn. “Finally back behind the lens,” he says, with plans for a new website next spring and a couple of special projects this fall.

Sophia Betz is a writer from Seattle; she is in search of good coffee everywhere she goes. She enjoys semicolons, mixology, road trips, and occasionally posing for photos taken by her buddy Lizzie, who took this shot.

Sharon Gamss is Resource’s Art Director since the beginning. Besides Resource, she does iphone applications and web design, but photography is her first and ever-lasting love. See more at at www.sharongamss.com.

Steve Duncan is an urban explorer and historian. Since 1999, he has been photographing the underground of New York and other major cities around the world. See his work at www. undercity.org

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DPN Your original New York Penthouse Location-Inside, Ouside, and More...

o, what are you thinking right now? How do I make money? How do I get work? What do I do when my last twenty bucks runs out? When the fuck will this fucking recession end?

Well, as you may have heard before, “You can’t always get what you want, but if you try sometime you’ll get what you need.” It seems like a lot of us—even some who may not have expected to be in this club—have had to humble ourselves. Appreciate what we have and make it last. Nobody is above anything anymore. This year has been quite a case in point. Annie is broke; MJ passed away; businesses shut down; and life generally made its twists and turns—perhaps just a little more than usual. However, this year hasn’t been a let down either. Growing hurts. We’re growing. So, what are you thinking right now? What’s Resource’s magic answer? Nothing. Only, “You can’t always get what you want, but if you try sometime you’ll get what you need.” Hopefully, if we put our minds and energy towards thinking in new ways, considering new opportunities, we’ll get what we need. And in 2010, we’ll all get what we want. Thanks, Mick!

Alex and Aurélie

BROWSE calumetphoto.com • Get the latest gear quickly • Comprehensive product information • Chat with our technical experts • Read inspiring articles and view the work of successful pros • Always open to help you

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RENTING ALL OF THE FOLLOWING BRANDS AND MORE!

CHICAGO, IL 312.440.4920 OAK BROOK, IL 630.860.7458 SANTA ANA, CA 714.285.0143 LOS ANGELES, CA 323.466.1238 SANTA BARBARA, CA 805.965.7053 SAN DIEGO, CA 760.737.6002 STORE HOURS: Call location for times or visit our website.

LETTERS TO THE EDITORS:

That’s what you said. Hi there,

Hey Resource,

I was at the Resource/Root Brooklyn party and I met you guys, briefly, as one does at those events. I think that Resource is a great magazine and am so happy that I have a copy in hand. Kudos to all of you.

I recently attended the first “Stop Assisting” meeting. Just wanted to say what a great idea it was.

Linda Linda Lancaster Bob Carey Photography t 718.383.4413 f 718.383.5261 www.bobcarey.com

Tell us what you think! Email us at info@resourcemagonline.com.

It’s such an amazing opportunity for any assistant trying to make the jump to working photographer. It’s hard enough to make contacts and work your way up the ladder, never mind in this whirlwind economy. Resource is always reaching out to bring people in the photo community together and help us all get a little bit ahead. Thanks! L. B.

Abe Sands. Winner of Profoto Assistant’s Monthly Competition

Abe Sands

“A person’s face isn’t intended to move this way. To persuade it we enlisted the help of a high powered leaf blower. It’s amazing what 215 mph of air can do to a face. When I was a kid using my parents’ leaf blower I would always turn it around and point it at my face to see what kind of faces I could make. The Pro-8 Air helped me get the shot by having the fastest recycle time I’ve ever worked with. When 215 mph of wind is blowing on a face it creates a quickly changing landscape. To capture the best shot you need to shoot quickly. When you see a shot you have to take it, you can’t wait for a pack to finish recycling. With the Pro-8 I didn’t need to wait.”

Assistant for Gary Land

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ETIQUETTE:

Travel By Kenny Ulloa I Photo by Sarah St. Lifer

etter than average accommodations, toothsome dinners, complimentary drinks, and a most-to-all B Bexpenses paid trip to some tropical island you never really knew existed. Although this may sound

like the gleeful exploits of a lavish businessman, it is in fact part of a job for a 22-year-old second photo assistant who usually shares a bedbug-ridden loft in Brooklyn with a skate punk. This youngster is no prizewinner-he is merely a workman on a mission, ready to squander that per diem burning a whole in his skinny jeans pocket.

Travel jobs are pretty nice; actually, let’s admit it, they’re the envy of your friends. Though you may casually dismiss your LA flights as an inconvenience, you cannot wait to get on that overseas trip. You downplay the travel job as a mere perk, but deep inside you yearn for that work-cation experience that gets you miles away from those bitter studio lattes and chalky cycloramas.

Always:

Never:

Arrive to the airport early. Those chunky cases of photo gear may look like the ingredients of a fashion shoot masterpiece, but to the TSA they look like trouble. So be prepared for long waits and inspections. Leave your sense of entitlement in the limo: TSA employees don’t care who you are. Be polite and you’ll be at the gate chomping on your $9 minisandwich from Chilli Express in no time.

Be snappy with Customs officials. This is for those traveling with Carnets (Merchandise Passports). Customs can detain you and your possessions if you don’t have the proper documentation to claim your items. Do the research and get the right papers, or suffer the consequences of paying fines larger than your yearly freelance salary.

Introduce yourself to everyone on set. This is a standard “setiquette” rule, but you’d be surprised how many people don’t do this. It’s not required, but try to remember names. You don’t want to be that person on Day 6 saying to the laboring production assistant, “Um, you, can you help me? Wait, what’s your name again?”

Admit to your significant other that you had a great time. He/She works in an office in Midtown, so your tropical escapades just seem like flamboyant nonsense to the less worthy non-photo productionists.

Pack light. It’s still work, so pack lightly and logically. You’re going to be working long hours, so dress comfortably. This isn’t the time to show off that new Barney’s ensemble. Use the old theater rule: you should be able to do a handstand and jog in place without looking like an idiot. Help the cute stylist in the airport. She’s carrying an exorbitant amount of body bag-like cases full of clothes, shoes, and accessories, all to make this editorial special. So be nice and help her if you can. Per Diems. Be respectable and conscious of your spending habits and keep track of your receipts. A happy Producer equals a happy set. Clearly label your luggage. Do something clever. Wrap your pelican cases, or whatever your bags may be, in a crazy colored tape. The entire photo industry has hard black cases, so it’s essential to be able to easily track your stuff.

Order drinks before the client. Sometimes, after the crew dinner, there might be money leftover for alcohol-fueled-fun-time, but never anticipate free booze. Remember that assuming makes an ass out of you and… actually, just you. Go hard on the first night (or any night for that matter). Everyone’s going to know, and you will hate yourself in the morning. Hook-up with anyone on the crew. Everyone’s going to know, and you will hate yourself in the morning... (scratch the latter if you hook up with the model). Complain about the flight. Many relay their flight experiences with a Dante-esque approach, ignoring the marvel of modern-day transportation. “It was like being in a rotting cage at the bottom of a Chinese freight ship.” Relax. You ate Sun Chips, drank a Diet Coke, and took a nap for four hours. Sit back and appreciate the miracle of flight.

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RESOURCE GUIDE:

Independent Magazines By Jonathan Melamed I Illustration by Katherine Lo

tarting your own magazine seems like a good idea. Meet once a week with a couple of your creative friends, buy a digital camera and a Mac, have a few beers, perhaps indulge in some performanceenhancing substances to pique creativity and perpetuate productivity, and the magazine will practically create itself. The hardest part will be planning where to have the launch party, right?

WRONG! Just last night we closed production of my magazine, Overflow, and the hours we spent finishing layouts marked the end of three months of hard work, while keeping an over-full time job as a set builder. By the end of the night, my partners and I were all enemies, my girlfriend was texting me and threatening to outsource bedroom talent for the evening if I didn’t spend at least one night that week with her rather than working on “that stupid magazine,” and I had become a certified chain smoker. I know what you’re thinking—we’re not saving lives over here or curing cancer. We’re just producing a pop culture magazine in South Brooklyn, why take it so seriously? Why spend hours agonizing over a magazine that you distribute for free and people will potentially just flip through for as long as it takes them to suck down a latte or take a crap?

If you have to ask, then you just will never understand, and magazine publishing is not for you. For those of us at Overflow and the other fine publications featured below, it is the most important thing in the world. Driven by a love for finely-crafted journalism, graphic design, photography, and a desire to be in “the know,” media-heads find nothing more satisfying than creating a well-rounded magazine. It’s an ego thing, of course, to think that you can shape the way people think about current events, or art, or politics, and if you are successful at it, you can call yourself a tastemaker and drink for free at all the major events in your city. But it is also a dedication thing. Publishers and their teams work hard to portray their sub-culture or subgenre in a meaningful and entertaining manner. Let’s take a quick look a few of the finest indie magazines out there.

Katherine Lo - www.katsoupdesign.com

A Magazine Curated By

Found Magazine

Focus: International fashion Availability: Subscription, online Frequency: Bi-annual issue, monthly blog Origin: Belgium, founded in June 2004 Website: www.amagazinecuratedby.com Notes: Only comes out twice a year, but they keep their look and feel fresh by bringing on a guest curator for each issue. Only available online.

Focus: Art, photo, music Availability: Subscription, newsstands, online Frequency: Annually Origin: Chicago, founded in 2001 Website: www.foundmagazine.com Notes: A digital collection of â&#x20AC;&#x153;found things,â&#x20AC;? mostly loves letters and birthday cards. Kind of a dorky form of voyeurism.

Baby Baby Baby Magazine Focus: Photo, fashion, art Availability: Selected newsstands, subscription, American Apparel stores, online Frequency: Quarterly Origin: Mexico Website: www.babybabybaby.com.mx Notes: If Celeste and Vice had a child, their love child would be Baby Baby Baby.

Alarm Magazine

Gradient Magazine

Focus: Music, art Availability: Subscriptions, newsstands, online Frequency: Bi-monthly Origin: Chicago, founded in 1995 Website: www.alarmpress.com Notes: Alarm covers all avant-garde artists of all mediums.

Focus: Music, art, fashion, culture Availability: Subscription, newsstands, online Frequency: Monthly Origin: Founded in 2008 in Chinatown, New York City Website: www.gradientmagazine.com Notes: The magazine covers all things design, from fashion to furniture.

Celeste Magazine Focus: Photo, fashion, art Availability: Selected newsstands, subscription, American Apparel stores, online Frequency: Quarterly Origin: Mexico City Website: www.celeste.com.mx Notes: Celeste Magazine mixes ethereal fashion spreads with an irreverent and somewhat scandalous slant.

Grafik Magazine Focus: Graphic design Availability: Subscription, newsstands, online Frequency: Monthly Origin: London Website: www.grafikmagazine.co.uk Notes: An awesome magazine and good source of inspiration.

Me Magazine Focus: Art, fashion, design, music, culture Availability: Subscriptions, newsstands worldwide, online Frequency: Quarterly Origin: New York, founded in 2004 Website: www.memagazinenyc.com Notes: An international magazine which

focuses mainly on highly in-depth profiles and features some great portrait photography.

Ninja Magazine Focus: Fine art, photography, fashion, design Availability: Online Frequency: Monthly Origin: Paris, founded in 2006 by the MOW nonprofit organization

Website: www.ninja-mag.com Notes: Exactly the underground photo mag that any photography lover would love. It’s unfortunately only available for download as a PDF. Not my favorite format, but a good jump-off point.

Overflow Magazine Focus: Fashion, culture, nightlife, real estate

Availability: Distributed for free locally in South Brooklyn, subscription, online Frequency: Quarterly Origin: Brooklyn, founded in the spring of 2009 Website: www.overflowmagazine.com Notes: I can’t write about my own magazine!

Under the Radar Focus: Music, photography

Availability: Newsstands, subscriptions, online Frequency: 5 issues per year Origin: California Website: www.undertheradarmag.com Notes: This indie music rag has covered some now extremely popular bands back when they were still gigging around the country and selling demos out of the back of their parents’ Volvo.

INDUSTRY TALES:

Photo Coup By Heather Simon | Illustrations by Evan Turk

Evan Turk: evanturk.com

keep a postcard of a foreign sunset over my desk at work; golden houses staggered under a serene peach-magenta sky. It’s the only place I’ve traveled to that I can be certain I will never revisit. The government hasn’t officially banned FlexArt Productions* from returning, but during a photo shoot last winter, the hostile police force made it clear we were no longer welcome. Besides, it would be irresponsible as a producer to insist that my clients fill out life insurance policies.

To me, location adds the oomph that brings cutting edge ideas to a revolutionary level. Something magical happens when creative minds venture into uncharted territory, even under the most disastrous of circumstances. “Prepare for the worst, hope for the best,” but even an obsessive-compulsive planner like myself can’t battle a coup d’état with stain stick or Imodium. Andy Klieg, the creative director at NMC, had been a friend of mine for years. So when he asked me to work with him on the Heels Over Head campaign, featuring shoes made out of recycled material, I was excited to push the envelope even further than usual. The concept was to have models crowd-surfing in a mosh pit, with the shoes contrasting with the archaic, unrecognizable landscape and the heightened emotions and energy of the scene. “Klieg, this historic city with its unpronounceable name is ideal for the shoot. With the money we’ll save on accommodations, transportation, and extras, you’ll be able to optimize your idea. We can even stage our mosh pit during a live concert,” I explained over afternoon cocktails during one of those autumn days when sitting outdoors without a sweater is tolerable. “I thought I told you to never talk budget with me while I’m drinking? It hinders my creative juices when I have to think logically. The place is perfect... besides, Paul LeRoid already agreed to do the shoot.” Klieg winked. “Paul LeRoid?!” He wasn’t just a fashion photographer, but an artist who I’d had a longtime creative crush on and with whom I had always wanted to work. “He’s a total prick you realize.” “But his expressive usage of color and the way he maintains continuity in a world of chaos…” I gushed. “That’s why I’m hiring him in spite of his little, I mean him being a little prick.” We clanked glasses and prepared for a shoot that neither of us will ever forget. As the plane landed on a slab of concrete surrounded by white spiny mountains and armed guards, my stomach churned. “Back to the Balkans! Now where are my Percocets?” Paul muttered, his hands gripping the armrest as the plane jerked forward to a halt. He was sitting in the row adjacent to mine and had managed to avoid any eye contact during the entire fifteen-hour flight. After we deplaned, we met our driver in the parking lot and made our way toward the city. In the car, while everyone slept, I desperately searched a foreign radio station to explain the military display. The next morning I went to the concert venue early to oversee setup. We had sandwiched our mock mosh pit between the stage and the real mosh pit using a short chain link fence as a barrier. Just as we were finalizing the set, the stylist arrived frantic. “Some of the models are freaked out. They want to fly home tonight.” “Wait, what?” My heart stopped. We had planned for at least two days of shooting. “What the hell is going on? Where are the models?” Klieg and Paul hurried over to the side of the stage.

“Some of them woke up early to go sightseeing and witnessed some sort of demonstration in the city.” “Damn those PETA people.” Paul rolled his eyes. “This is serious. The people are ransacking the Parliament and the President’s calling it a coup d’état.” “OK,” I turned to Klieg who was looking at me for an answer. “Well, we’re nowhere near the Parliament so there’s no need to panic. Let’s go forward with the shoot and not do anything drastic.” “So we should risk our lives—“ the stylist cracked as she looked up flights on her BlackBerry. “Oh, goody! The band is here!” snapped Paul. “They’re on a red-eye tonight and so am I,” she clicked away. “In case you’ve forgotten, a social upheaval doesn’t override your contract,” Paul snarled. “Everybody calm down. Let’s just go with the flow and gauge the situation as it progresses.” “If there even is a situation,” Paul retorted before putting on his headset and walking across the stage. A crowd had already formed at the base of the barrier. A stream of orange flooded the sky as the sun slowly sank behind the icy mountaintops. For those final moments of twilight as the models and extras let loose in the staged mosh pit, I felt calm. But as the sky grew dark, so did the audience. Skeletons of trees blew furiously and the lights and barricade began to sway. “At least the energy of the crowd is rubbing off on the models,” Klieg joked. But I couldn’t even fake it. The band stopped singing and everyone in the real mosh pit was chanting in a language none of us could understand. I noticed some of the models trying to edge off the set and heard Paul barking on my headset. The lead singer threw down his guitar, held up a flyer and ignited it. Viciously the real moshers charged the barricade. One of the lights shattered. Screaming, the models fled to the parking lot. “We have to get out of here!” I shouted in my headset to Paul who was lost in the crowd. Sirens blared and before I could round everyone up the police had the venue surrounded. “PAUL!” I searched for him in the crowd. “Where the hell is he? He’s going to get himself killed!” “Pricks never die,” comforted Klieg as he salvaged the generators. Paul was injured in a scuffle with the policemen, who then attempted to charge FlexArt with provoking the riot. Before I had a chance to show them our permit, they scurried to the stage where the angry mob was setting things on fire. Our staged shoot had suddenly become a documentary—the images captured something revolutionary. You can see it in the models’ eyes: it’s a fear and excitement that surpasses any actor’s ability. As I leave my office and walk down Third Avenue to meet Klieg to discuss our next creative endeavor, I look up at a Heels over Head billboard. It belongs in a museum.

Names have been changed.

TRICKS OF THE TRADE:

Fashion Stylist By Feifei Sun I Photo by Rony Shram

Emma Pritchard: emmapritchard.com Rony Shram: ronyshram.com

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n the last ten years, fashion stylists have become almost as ubiquitous as celebrities. Between fashion shoots and red carpet appearances, the work of stylists is constantly scrutinized. Here, Emma Pritchard—who has worked with Justin Timberlake, Teen Vogue, and Entertainment Weekly—reveals the ins and outs of her routine.

A Passion for Fashion Is Not Enough H$86C +#.. J

A Passion for Fashion Is Not Enough. What I’m looking for in an assistant, firstly, is someone who is very responsible—someone who doesn’t just want to play with clothes. You’ve got to be professional. There are a lot of contacts and samples to keep up with.

Let’s Get Physical. Styling is a difficult job because people think it’s just about clothes, and that it’s all fun all the time. It’s also incredibly physical—you’re lifting and carrying samples from place to place.

It’s Not About Ability. It’s About Availability. People think that styling is about having good style yourself, and while that’s certainly helpful, it all comes down to getting the right brands in your book. Every season there’s an “It” dress or shoe, and all the client wants to know is, “Did she get that dress?” Come Hell or high water, you have to get that sample.

It’s a Tiny Industry, In More Ways Than One. When Sarah Jessica Parker was shooting Sex and the City, she would put on a sample, shoot the scene, and take it off right after. Then the publicists would fly the dress to the next person. When you think about it, there’s one sample for the whole of America, sometimes the whole world. A typical collection has forty-two pieces, so those forty-two garments are being shared among God knows how many people… and of course there’s a pecking order.

Befriend the P.R. Girls. The P.R. girls are the gatekeepers. That’s not an exaggeration. As everyone’s so busy, people can take forever getting back to you. You could sit and rot waiting for people, so you have to be literally knocking down doors, befriending the P.R. girls, and making relationships. Always be polite, and always be nice.

Sometimes, It’s Best to Keep Your Opinions to Yourself. When I’m styling celebrities, I definitely follow their lead. Sometimes they come all dressed up and in full makeup, and you know that’s the designer they want to wear. At that point I know they don’t really want to hear my suggestions, so I feed off their energy. I’ll always tell them what I’ve pulled, but I’m blasé about it because the minute you say, “You have to wear this,” it’s dangerous.

There Are No Rules. I’m big on accessories, and I collect accessories regardless of season. Know your own style. Know the things you love and collect them over the years, because if you really fall in love with a piece, you will wear it for years to come.

AND Have teamed up to create a new online magazine. NEW CONTENT. EASY NAVIGATION. FUN STUFF. www.photocrew.com/magazine

HISTORY:

Bettie Page By Charlie Fish

Photo by Bunny Yeager I Photo courtesy of PLAYBOY Magazine ÂŠ Playboy

he baby boom. The rise of suburbia. The fear of the spread of communism. A racial divide. Howdy Doody and The Ed Sullivan Show played on the television set while the housewife tidied up and cooked pot roasts. This was America in the 1950s and, nestled comfortably in the underbelly—in the counterculture—a pin-up craze had been booming. Cheesecake photography, featuring provocatively clad women in sexually suggestive poses, was all the rage. Sexpot Marilyn Monroe, with her breathy voice and voluptuous sexuality, reigned over Hollywood. The 50s were full of contradictions; while the mainstream media portrayed a sedate and morally righteous era, sexuality, specifically women’s sexuality, seemed to be steering the art world. Camera clubs were established as a mean to produce “artistic images” without having to adhere to pornography laws. Enter Bettie Page, the black-banged, curvaceous, willing model who never seemed to mind posing in the nude and did so with a genuine smile on her face. In the seven years that she modeled, her photos graced the covers of more magazines than current models would ever dream of. Meanwhile, photos of Page posing in bondage circulated via mail-order fetish magazines. While many balked, Bettie herself often said it was all posing and acting.

met, what the photographer thought about her subject, and why burlesque is still all the rage.

Around the same time, fashion/bathing suit/pinup model Bunny Yeager was longing for a career change from in front of the camera to behind it. The two women shared a love for posing and seemed to understand their market. Bunny knew how to take sellable “glamour shots,” and Bettie knew her infectious smile made an otherwise too risqué photograph seem less vulgar and more approachable.

I wanted to shoot nudes because I had never shot nudes before. Here, I had somebody who was a real model and had posed nude and didn’t mind, so I knew I’d better come up with a good idea. I didn’t want to cover her up too much so all I did was make a little Santa hat.

Charlie Fish: charliefish.info Bunny Yeager: bunnyyeager.com

In 1954, Bunny hired Bettie to pose for her, resulting in the now famous “Jungle Bettie” series as well as the Christmas photograph that introduced Bettie Page to Playboy and its more mainstream readers. A few years later, Bettie Page disappeared from the public eye, leaving scores of admirers wanting more. It would be years before their appetite for the Queen of Pinups was satiated. In the fifty-five years since this photograph was taken, a born-again Page rarely gave interviews. Her influence on fashion and burlesque continues to spread, but so does the mystery surrounding her. Unaware of her resurgence in popularity in the 80s, Page lived many years penniless, by her own account. A televised interview in the 90s aired without showing her current appearance, a request by the elusive Page herself. An unauthorized biography told of a schizophrenic bout that left her hospitalized for years. Her followers may not know the real story; for Bettie, it always seemed to be precisely about the illusion.

Resource chatted with Bunny Yeager, once named World’s Prettiest Photographer by US Camera Magazine Magazine, to learn how the two ladies

An idea is born: I was just starting to shoot and I was trying to think about ideas I could sell somewhere to someone. I didn’t know anything about the business. I only knew that I had been a model for many years and I had posed for calendars and things like that. I thought if I shot something cute like a calendar shot, maybe someone would buy the pictures.

Where to find a Santa hat in 1954: At Christmastime there are Santa hats for sale everywhere you go nowadays, but back then that wasn’t the case. Nobody sold it in stores; this wasn’t commercial yet. So I had to sew it stitch by stitch, by hand and needle. I didn’t have a sewing machine. Right now I’m looking for that hat; I have collectors asking about it. I have a feeling it’s tucked away somewhere with some old sewing material. I never threw it away because it was sentimental to me.

Booking Bettie: A friend of mine had tipped me off that Bettie was in town [South Florida]. I didn’t know who she was, but here was this girl who was coming on vacation and who maybe would pose for me. I said, “OK, put her in touch with me.” Bettie called me and I set up a shoot; I didn’t even set up an interview. I figured if she was good enough to be a model in New York she must be pretty good no matter what she looked like. So I took her sight-unseen and hired her over the phone. When she came into my studio I asked her again, “And you are willing to pose totally in the nude, right?” She said, “Of course!” And I thought, “Well, I’ve never had anybody so agreeable; I’d better start shooting right away!”

On Set: We started out doing low-key lighting in the studio, artistic nudes; maybe one or two lights instead of the model being fully lit. I like low-key lighting. It’s very shadowylooking, a little classier and not as blatant as full lighting like strobe lighting might be. In those days I used floodlights. A Graphic camera: I was shooting 4 by 5 color transparencies on a Speed Graphic camera—the kind you see in old 1940s movies with the big flash that all the newsmen used to carry. That’s what I shot that image with. Bettie’s all-over tan: Bettie just loved coming to Florida. The first thing she would do was to get all her clothes off and get an all-over tan. Most girls had white suntan lines where the bathing suit ended and the suntan began. And we didn’t have bikinis then, either, so they had a lot of white space and it wasn’t very pretty. The only thing you could do was to be very clever with makeup, but it’s very difficult to match the suntan color with the white skin tone and have it blend in. We didn’t have to worry about that with Bettie. That was one thing that made the picture look so good, because her skin was all one color. Selling Bettie Page to Hugh Hefner: I thought this [image] was commercial and should sell, perhaps to a calendar company. But after the film was developed, I happened to stop at a newsstand just to see what was out there and I noticed this magazine called Playboy. Playboy I looked at it and thought, “Wow, I bet they’ll be interested in this. I can always get a calendar company later if I don’t sell it to a magazine.” So I looked up the address and sent the pictures in. It wasn’t very long at all before I got a phone call from Hugh Hefner. He said, “We’re just getting ready to do our holiday issue and we received the pictures of Bettie and we liked them a lot. We wanted to find out if you’d be willing to let us use them for our next issue.” I didn’t care what they used it for; I was just happy because this would be a sale for me. They

offered me a hundred dollars. If they’d asked me what I wanted for it I wouldn’t have known what to charge, anyway. With Playboy reacting that way—with Hugh Hefner reacting that way—I made the sale. We never stopped dealing with each other; I still sell pictures to him. He just recently bought some. I think it was in the July issue that they used some of my pictures of Bettie. I’ve also had eight centerfold girls that I discovered and photographed. Playboy doesn’t do that now; they have their staff. But in the old days they allowed me to [pitch new discoveries.] Bettie as muse: I worked with her as often as I could afford it. I couldn’t afford her very often because I was trying to get away from having to work in an office and I wanted to be doing my photography full time. I was sort of in between so I didn’t have a lot of money for photo supplies or model fees. She was the first model [I worked with] who really was a true model and not just somebody who was dabbling in posing nude once in a while. Bettie, the Dark Angel: When I read [about Bettie’s mental issues] I thought, “This person is lying. Why are they making up all these stories? Bettie’s such a sweet girl. She’s not like that. How could she be like that?” I couldn’t believe these things. You have to realize, when I photographed Bettie my whole impression of her was she was a sweet girl, a pleasure to work with. She loved working with me; I could tell she enjoyed posing. We worked well together because she got something out of it, emotionally. We were doing poses like jumping, leaping and dancing; not just standing still and moving an arm or a leg. We were doing all kinds of action shots so it was physical work for her, but I know she enjoyed it because she always said she was happy working with me. Pin-ups: It all started with old-fashioned calendars done by artists who painted pin-up girls. They then sold their photos to calendar companies that sold them to garages, gas stations, places where men bought tools. That’s where I learned how to pose, by looking at the old calendars I grew up with that my mom and dad always had on a wall because they were free. We didn’t care that there was a pin-up girl on them. Nobody

cared. They weren’t nudes, of course; they were just cute little “lifted skirts” images with maybe a puppy dog tugging at the skirt, or the wind lifting it up. They were provocative but they weren’t dirty in any way. So that’s the [reference] that I had when I was shooting and starting out; those kinds of poses that wouldn’t offend anyone but you’d appreciate looking at, whether you were male or female. They would just be cute.

it’s what I do when I photograph a girl—I try to make her look as pretty as possible using makeup and proper posing.

Being in front of camera versus behind it: I thought, “Someday, I’m going to get old and I won’t be able to pose for fashion or bathing suits or anything. Who knows what kind of figure I’ll have years from now?” So I had to think about some sort of a career. I couldn’t count on a man supporting me. What if I didn’t have a husband when I got older? That’s why I studied photography and learned all about darkroom work and lighting. I became very good at lighting. And I think I’m still very good.

Naysayers: I felt comfortable doing what I was doing. I wasn’t doing controversial, crazy nudes. I was doing artistic things. I didn’t get into anything that would be questionable. I had no problems with people resenting me. I never got it from the male photographers. They might have talked about me behind my back, but I never heard it. Everybody seemed to accept me.

Bunny the Plastic Surgeon? At one time I thought I wanted to be a doctor. I wanted to be a plastic surgeon because I was always thinking about making women look beautiful, more beautiful. I guess that, in a way,

Feminist, feminism: I don’t see myself as anything that sounds like that. I wasn’t trying to prove anything to anyone. I did what I liked to do. And they say if you do that, you’ll be happy.

The Burlesque revival: It’s a male/female thing. Men are interested in looking at pretty women, and they’ll always be interested in looking at nude pictures and nude girls. And women like to feel that they’re pretty and they like to pose. It’s a mutual admiration society.

creative ideas creative spaces creative people creative tools creative thoughts creative options creative time

cappuccino a place to create

studios location capture camera & lighting rental retouching asset management

www.shootdigital.com 23 east fourth street, new york, new york 10003 tel +1 212 353-3330

GALLERY:

David Goldblatt By Sophia Betz I Artwork courtesy of the artist and The New Museum

hen then-emerging South African photographer David Goldblatt was assigned to photograph London in the 1960s, he walked the streets for three weeks without taking a single image. In his earnest attempt to capture the time period and the people of London, he became aware of a distinct discomfort in trying to represent a place not his own. He knew then he was meant to photograph his native South Africa. Goldblatt’s photographs are expertly captured–at once straight-forward and arrestingly complex. The intimate depictions of his subjects and the physical landscape that surrounds them evoke both the personal and political stories that make up South Africa’s complicated history.

Intersections Intersected: The Photography of David Goldblatt opened at New York City’s New Museum in July. In an illuminating talk with New Museum Chief Curator Richard Flood, Goldblatt discussed his meticulous process photographing a country with a profoundly complex past and an astounding diversity of race, lifestyle, and experience among its people. He describes himself sardonically as “an unlicensed, un-appointed social critic of the country.” His intimate photos show the intricate relationship South Africans have with each other, their land, and the complex collective history of the country. Despite the multitude of major political events that has shaped the nation’s course–and perhaps because of this–Goldblatt prefers to avoid photographing major, planned political events, and does not consider himself a news photographer. He does, however, consider his photographs to be highly political, whether they are of an expanse of ground full of deadly blue asbestos, the near-ubiquitous depictions of the AIDS ribbon, or of the monuments erected by the government that ignore the suffering tied to the country’s history. In Goldblatt’s words, “Events might interest me, and certainly interest me as a citizen of South Africa, but events don’t interest me as a photographer. It is the conditions leading to the events and the values that create the events that are of importance to me.” Although the people in Goldblatt’s photos are generally stationary or at rest, even his more traditional-style portraits convey a complex energy that lies in the interactions between the people and their surroundings. Goldblatt spoke of a recurring theme of waiting in his photos–people waiting for buses, people waiting endlessly on buses to get to work, people traveling slowly by foot through the countryside. It is in these quiet moments that the viewer is privy to the mundane yet meaningful details of the subjects’ lives, and is subsequently able to reflect on the larger political situations that create these specific circumstances. Goldblatt sees his

photographic depiction of people’s bodies–their physicality and their tactile relationship to their surroundings–as a political act. These specific scenarios speak to larger themes of the life of the average South African–working for and waiting for a change, for an improvement in circumstances, in work, in race relations, in acceptance, in safety. The distinct humanity he conveys in his images give a strikingly intimate look into the daily lives of the people and a piercing commentary about the state of the nation. Most news media today peeks viewers’ interest by sensationalizing an event–leaving out the more subtle, more human details. Goldblatt’s work, in contrast, provides a deep yet unobtrusive look into the life of the subject, and peeks the viewers’ interest in the history and background of a situation through a human connection to the person in the photograph. The power and weight of his images are felt regardless of the viewer’s knowledge of the historical context. Goldblatt’s photographic series and book, The Transported of Kwandebele, Kwandebele shows workers traveling hours by bus to work after being forced to move far away from industrial centers. Upon its release, the series had a powerful impact on viewers who had previously known little about the situation. What Flood says about The Transported can be said of much of Goldblatt’s work: “It became a metaphor for those who were looking at them, but [the workers] were totally real.” For many, these photos became a metaphor for suffering across South Africa because they brought a personal connection to a political situation. However, although representative of a particular piece of South Africa’s past, The Transported,as Transported well as the rest of Goldblatt’s work, avoids metaphoric visual representations, which could trivialize or over-simplify a serious or inhumane situation. He does, in contrast, skillfully use the visual realities of the South African landscape to represent the sometimes confounding, and often tragic, circumstances therein. Similarly, Goldblatt’s photos of the lethal blue asbestos that plagues miles of South African land, as it was once mined there, are

both beautiful and disturbing. The gorgeous countryside seems to go on forever in the background, yet the land in the foreground is laced with the deadly substance. The unnatural blue intertwined with grass and dirt gives a distinct sense of the corrupt and the inhumane, while the grandeur of the whole frame shows the expansiveness of the country’s natural beauty, as well as the scope of the asbestos problem. The lack of any human subject in the photo hints at death, and the image’s overall stillness points to the government’s incredibly slow process of removing the asbestos from the land. The last photo Goldblatt showed during his talk with Flood was a breathtaking shot of an enormous canyon with an equally large bridge spanning the distance across it. Near the middle of the frame is a comparatively miniscule bungee jumper in free fall, the cord holding him just about to stretch and lift him back up toward the bridge. Goldblatt said that, to him, the bungee jumper represents South Africa–the collective risks it has to take as a nation, the fear of falling, and the hope of bouncing back. Goldblatt does not approach photography as the execution of a predetermined concept. Instead, he describes the stories he wishes to tell through his camera as itches to be scratched. It is in this way that he expertly bears witness to the experiences of his fellow South Africans and the history behind each personal circumstance. His images do not tell; they evoke–one story at a time, one moment at a time–the distinct experience of the individual and the collective historical imagination. Goldblatt is telling stories of his country, and contributing to its history at the same time. For him, the personal is political. To tell the story of one moment of one life is to point toward the experience of a nation, and to help move it, in some small way, toward hope.

David Goldblatt: davidgoldblatt.com

PHOTO DECO-PAGE:

On Black By Molly Marie Griffin I Photos by Simon Biswas

or Simon Biswas, the seed for his current project was planted on the last day of a lighting workshop in 2008. “What if I just took one softbox and photographed someone on black?” he remembers thinking. Biswas credits a perfect storm of influences behind his “On Black” series: the workshop led by Gregory Heisler where Biswas orchestrated elaborately lit portraits; a series of deliberate, methodical portraits by his mentor Mark McCarty; the highmaintenance, high-stakes New York photography scene. From all of these carefully calculated demands came the reactionary desire to make the most of just one light and ten minutes. Simplicity and spontaneity are crucial in capturing these raw, honest portraits. Biswas usually shoots each session in less than half an hour, before either party gets too comfortable. The end result is intimacy extracted from awkwardness, veracity that is impossible to script. “I’ve tried to plan them, I’ve tried to cast them. It just doesn’t have the same ferocity,” he says. Biswas shot the first image in the series, a portrait of his godmother, on his way home from Heisler’s workshop. Since then, the series has shifted away from his personal sphere to include mostly peripheral acquaintances and strangers. “I’ve had a lot of weird experiences on the subway,” he laughs of his continuous search for subjects. The hope of a possible ”Yes” among the usual odd looks is enough to fuel him onwards-so much so that he spent the summer driving cross-country in search of fresh, weathered faces. “I love crossing the generational divide. It’s such an interesting conversation to have,” he says of his mature subjects. “You’re part of history. You’re part of the communal narrative.”

Simon Biswas: simonbiswas.com Molly Marie Griffin: MollyGriffin.freei.me

TECHNIQUE:

How to capture the perfect splash As told to Elizabeth Leitzell by Wayne Wilson I Artwork courtesy of Shinichi Maruyama

as the liquid used actually Smirnoff vodka? No, we made a duplicate product and matched the color using food coloring as the actual drink didn’t exist yet. The ad is for a pre-made cocktail mix. This shot reflects the elegant simplicity of pouring pre-made Cosmos right out of a bottle. Can you describe the lighting setup? Was the light different for each element of the image? The bottle, splash, and glass were all shot separately. We used museum wax to keep the glass in place, and kept pouring into it to get the desired “splash.” We had to manipulate lighting and the set to get the “right” reflection in the stem of the glass. The pour was shot on a very simple lighting setup with maybe just three lights. The bottle was shot in a controlled standard product still life setup. We used white cards to get the right highlights on the bottle and to make the embossing appear more visible, etc. How long did shooting take and how many people were involved? From around 2pm until about 2am that day. We had three assistants and one really good retoucher. What is the atmosphere like when Shinichi shoots? Shinichi never has music on set. It is always extremely quiet around him. Each photographer is different and there are photographers who are very boisterous and who thrive on chaos, and their work might show that. With Shin, it’s more of a minimalist studio and soft voice. It’s just who he is. How long did the post-production take? At least a week, with minor tweaks after that, ending up with two solid weeks of work. Who does the pouring/splashing? Usually Shinichi will start out, and he’ll do ten or twenty trials. Once he’s got

everything arranged, he’ll sit at the digital station and watch the RAW files pop up in Capture One, and then take a piece, try it out, throw it out if it doesn’t work. At that point it’s just assistants pouring, pretty much. We also sometimes have a rig set up that pours the liquid mechanically. I think Shin’s strength is his eye. When you’ve got a bunch of RAW data, he can see something that you wouldn’t necessarily see. That seems to be the most important skill-seeing what you have and finding where it fits. How do you protect the studio and yourselves from the dangers of splashing water around electronics? We don’t protect ourselves enough. We should suspend our packs from a ceiling grid and use a remote to control them from a computer. As for now we just try to put plugs and packs high up so they’re off the floor. We have had some tanks collapse, so we try to make sure that getting water all over the floor is never going to cause any harm. We just assume that we’re going to get water everywhere. The most dangerous thing is probably glycerin as it is really slippery. What specific equipment do you use to protect the equipment? We have plastic risers made by Swell so that packs will be off the ground: they have a hole to help release heat. We also put a protective circle (also made by Swell) onto the top of the Broncolor heads. We can still put diffusion but it has a gap so that you can let the heat of the lightbulb out. You don’t want to totally suffocate the bulb in there.

On how to enhance splashes: It all depends on the client. Sometimes they want it to be cleaner and not too turbulent-looking. We often use glycerin to make the splashes

Shinichi Maruyama: biwainc.com Elizabeth Leitzell: edlphotography.co

H;L;7B OEKHI;B<$ REVEAL YOURSELF. thicker, less frothy. It’s no major secret. The way to go is to buy 500 gallons, because then it’s $500-$1 a gallon. If you try to buy glycerin at a cosmetic store, it’s $16 for 16 oz., so it’s a dollar an ounce versus a dollar a gallon. When you have gallons of glycerin it’s pretty fun—you can throw it on models...as long as it’s food grade, kosher, or pharmaceutical grade. Is there any advice you’d give to a young photographer trying to effectively create beautiful liquid shots? Get a different job (laughs). Five years ago, there were not that many people who shot this stuff, but with the advent of digital shooting and progress in retouching, everyone can do it more easily now. So it’s not such a sought-after niche as it used to be. Nowadays there’s even CGI and clients asking if we can create a woman out of water. The way we work, we still haven’t gone to CGI. Shinichi’s one of these last great analog photographers. We are digital in the sense that it’s all shot digitally and retouched extensively, but Shin shot film for ten or fifteen years, when you had to get everything right in one shot, using fiber-optic lights to light up the highlights, etc... Now he uses digital to his advantage—he doesn’t get everything in one shot anymore—but he has the discipline of film so he’s less careless than the average new kid out of Parsons. But he slightly envies the younger photographers because they don’t have to learn all these anal-retentive things he had to learn and they can focus more on being creative. That’s the good side of digital.

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INTERVIEW:

Walter Chin By Charlie Fish I Photo by Adam Sherwin

amaican-born Walter Chin is a product of a bygone era. Handpicked and mentored by an influential editor from French Elle, Chin’s fashion photography career took off in Paris during the 1980s at the height of the fashion industry, when every player involved reaped huge benefits. This was, after all, the era when supermodels could demand $10,000 to get out of bed, when fashion houses reigned supreme and fashion magazines thought nothing of flying an entire crew around the world for two weeks just to get a cover shot. It was a time of excess (in many respects) for everyone involved.

Fast forward to today, when digital immediacy and an ever-changing economy have forever transformed every industry, the fashion playground not excluded. Christian Lacroix and Escada, two mega houses that both got their start during the 1980s, have recently filed for bankruptcy. Celebrities have replaced supermodels as the muses du jour, and fashion magazines have been on a steady decline, giving rise to rumors that leading editrix Anna Wintour could be dethroned. But while the days of plenty (and those that benefited from them) may be long gone, Walter Chin sure isn’t. Still considered a go-to photographer, Chin’s days are busy ones, with editorial clients such as Vogue, GQ, and Vanity Fair. Like the fashion industry, Chin himself is different now. Recognizing the amazing opportunities his career has awarded him, but still wanting to retain a sense of self, Chin has broken the mold of how a superstar photographer should behave. He may drive the fancy sports car, but he’s driving it home everyday at quitting time, making sure he draws a firm line between work and personal life. Straight from a gig, he sat down to talk about how the industry differs today and why he still gets nervous before a shoot.

How did you end up going from Jamaica to Toronto to Paris? I was born in Montego Bay, on the north coast of Jamaica. I lived there until I was seventeen and then went to college in Toronto. I was in Canada for fourteen years and worked a bit doing photography. I had to do a dry run before going to Paris.

How do you see the future? I don’t think there are going to be one-dimensional photos anymore. It’s going to be three-dimensional. When you’d open up your computer, it would actually project [the image] and it’d be like having a fashion show in front of you. Wouldn’t that be great?

What was it like when you moved there? I spent my first twelve months in Paris doing nothing. This was in 1985. It was quite hard to show a book that didn’t include well-known models, so I had to work myself up.

Do you still get nervous or second-guess yourself? I’m always nervous, even today. I work so much that I don’t have time to plan how I’m going to shoot the next day a lot of the time. So I arrive and just shoot. And that’s what causes that little tension within me. It kind of stresses you out. I feel awkward until I start shooting. Then everything fades away as I become very focused on what I’m doing. I don’t even notice the clients anymore. Maybe the day when I stop stressing, or stop caring, is the day I should retire.

Adam Sherwin: adamsherwin.com

Charlie Fish: charliefish.info

What was your first big break? I’d been hanging out with Fouli Elia, a photographer who was about to retire. He was quite a character. He was an Egyptian Jew, and as my family is Jewish too, we had stuff to talk about, whether it was religion or art. He was like my mentor. He was around seventy but full of vigor and stamina—he had all the young girls! One day I got a message from him saying that I had to show up at a studio on Monday. “Don’t bring anything, just yourself. I’ll have it all set up. You can take my assistant and all you have to do is shoot.” The shoot was for French Elle with Carine Roitfeld, who was then one of their editors. Elia called in sick and I ended up filling in for him. From that shoot on it just escalated. Working in Paris: It then took me only two months to get two hundred pages worth of tear sheets. Bill King had recently died so editors asked me to take over that whole action-against-white-background setup. It turned out that shooting against a white background is quite difficult because it’s then all about the clothing. If it’s not interesting, the picture won’t be. Nowadays, I get bored if I just do one type of photography. I prefer to come in and whatever I think is right, or whatever I’m feeling, I’ll shoot that. How has the fashion photography changed in the past twenty years? The business is not as well funded as it used to be. First of all, the economy after 9/11 changed quite a bit. People held back and were afraid. Back in the 80s, you had so much flexibility and artistic freedom (still within limits). It was all about aesthetics. Today you have to sell the clothes. You’re told what you have to show; you can’t obscure certain things. That’s very unfortunate for the young people who are working now. Any thoughts on the prevalence of retouching? I’m pretty old school, and I like everything done to perfection. Makeup artists would say, “It’s OK. We’ll fix it later [in post-production].” They’re not as precise as Way Bandy or Kevyn Aucoin was. I never retouched anything and I still don’t. I do everything with lights and make sure that I don’t have to go into that whole lifeless, generic, digital age that I see today. Digital has no feeling when film has texture. In some ways, you now don’t even have to have an artistic ability. Everything is more dependent on digital technology. How do you think the photo industry at large has changed? I just shot today and the client wanted the pictures emailed to their office the same day. I used to have two to three weeks before sending out the images to clients. I now feel like a one-hour photo service in a supermarket. There’s less care that goes into the work, I believe. I don’t want to say there’s less talent. I think photographers like Helmut Newton and Richard Avedon had a very different thought process. They actually created something out of nothing. Now photographers don’t create anything while they’re shooting; they do it after. It’s not done on the spot but in post.

When clients book Walter Chin, they expect: A picture that has a natural feel and a lot of movement in it. And the fact that I do the whole job by lunchtime! That’s part of my reputation. It’s a selling point. Who were your inspirations when you started? I was inspired by more social documentary type of pictures. Eugene Smith, Henri Cartier-Bresson, Kartesz; all these photographers shot life and reality. And when I first saw Avedon and Helmut Newton, I thought, “Yeah, this is what I want to do.” They were one of the reasons that I went into fashion. For your new book, After Shoot, you photographed nude models after their original gigs. How much of shooting nudes relies on exhibitionism versus direction? I think that the first minutes are very uncomfortable for people. I have to empathize, give directions, and make them really relaxed. I constantly talk to them. Direct eye contact—it never wanders. With nudes, I see the shapes but never really the details. The theme—nudes—has been around forever. I find it harder to shoot than fashion, because there are no frills or anything else to distract the eye. It’s also challenging because you can either go the shock value way or the classical way. There’s a smaller audience if you choose to shock. Nevertheless, images of a nude girl defecating on the floor (or whatever it is) have their place, because that’s something that you would never normally see or photograph. You can easily go there, but having daughters prevents me. Any thoughts on your career? I always feel guilty in a way that we all make such good money doing this and people who really deserve it, like teachers and such, don’t. Wrong priorities. I always think about how fortunate I am. I’m always questioning how I ended up doing this. I consider myself one of the lucky ones. What’s been a favorite career moment? I was in Africa on a shoot. The savannah was incredibly flat and the clouds and colors were ethereal. I felt like, “This is where it all began.” I’m not religious but I was overwhelmed. That moment was like an epiphany, an enlightenment. What’s next for you? I still would like to be better and continue to be considered a good photographer. I would like to be referred, or be used, as a reference in the field. I’m still striving for that.

Text and photo By Stephen Kosloff

The Craigslist Critique Part 1 of 2

I’ve become obsessed with taking pictures in recent years. Maybe you are too or know a friend or family member who’s on the same boat; there’s never any telling who’s next. In June I put an ad on Craig’s List seeking professional help selecting images for the re-launch of my current website, which suffers from amateurism, irritable bowel syndrome, and other maladies. This is a chronicle of my Craig’s List odyssey, or, at least a down-payment. My interest in photography is strange to me because I’ve always identified as a writer. I majored in English at U.C. Santa Cruz and worked for newspapers for three years in Japan and Cambodia. It was probably in Cambodia, working as a reporter for The Cambodia Daily, where the mania for photography first set in. One afternoon I saw an Olympus Mju camera at the Central Market and bought it on a whim. A few weeks later I was assigned to cover a speech by one of the two prime ministers. The press was flown to the outlying province in a helicopter. It was my Apocalypse Now moment in the jungle, minus the Viet Cong and the Wagner. I brought my camera and wound up taking a shot of two women crouching in the dusty school yard where the speech took place. They were holding a framed portrait of King Sihanouk, maybe from the 1940s. It’s the first photo I’ve ever published, and it’s still one of my favorites. Behind the two women, who seem pleased to be photographed, a number of other peasants are squatting. Only after I got the film back did I notice that several of them were scowling at me. To me, it’s ironic that their scowls made it a better picture. I moved to New York in 1997 still very much a writer, but in 2004 had a co-worker show me how to use a Pentax Spotmatic my grandfather had given me. In 2005 I pitched an article about a sixty foot whale that died and washed up on the beach in Southampton and took the accompanying photo, my first photo credit in a US publication. At that stage, however, I was still less invested in the photo than in the article. That balance shifted dramatically in 2007, however, on a trip to Utah. In Salt Lake City I bought a cheap wide-angle lens. Shooting the hallucinatory landscapes at 19mm was like a revelation, and since then, in terms of my neuro-wiring with photography, it’s been non-stop Wagner, wall-to-wall Viet Cong. I recently landed gigs shooting events for Gawker. com and Time Out, but I knew I needed a profes-

Since then, in terms of my neuro-wiring with photography, it’s been non-stop Wagner, wall-to-wall Viet Cong.

sional website. Hence, my ad on Craig’s List. My headline said something like “Be my photography mentor for $50 an hour.” My throat seized up a little as I typed “$50”, but I wanted to recruit serious people quickly. I wanted to plunge into a cascade of lucrative photo assignments, and quench my thirst for designer clothing, yachts, and beach-front properties. My goal was to meet photo editors of major magazines, agents, or gallerists. I got around thirty-five responses, including one from a man who wrote that he goes to the gym frequently. I’m sure his deltoids are large and rugged, like a Western landscape. I wound up meeting with five people: Alexia Politis, a commercial photo-shoot producer; Roark Dunn, who heads his own creative services company; “Jane,” a senior photo editor at a major national magazine who asked to remain anonymous; Lizzie Fischbein, an agent at a photo agency; and Jordan Schaps, a former photo editor at New York Magazine who teaches at SVA. I also had two friends who offered to look through my work when I mentioned the Craig’s List post. Ise White is a stylist for fashion shoots, and Stephanie

Markham has worked as a photo editor at major magazines and is the director of the Fovea Gallery in Beacon, NY. I saw phase one of the process as the heavy lifting, churning quickly through a lot of work, trying to whittle my “maybe” pool of photos into a solid selection. At $50 an hour, I couldn’t afford leisurely philosophical chats about specific pictures; I needed a simple “yes” or “no” on as many pictures from as many consultants as possible. I met first with Alexia at the New York Public Library. We looked through my shots on Flickr, a pool that ranged over the weeks from 275 to 390 pictures. I put Alexia’s initials below the photos she liked—my landscapes, mostly. In the end, she wound up initialing a total of forty shots. My second meeting was with Roark Dunn at his apartment in TriBeCa. We did a quick runthrough of my work, but the most interesting development came at the end, when he casually suggested I pitch an article about my Craig’s List project to Resource. Good idea! The third meeting was with “Jane,” the magazine editor. We met at an obscure café in mid-

town called Starbucks. I loved that place and intend to go back. Jane was the first current photo editor at a major news publication I met with. I was nervous and half expected her to walk in carrying a sword. To my surprise, she was the most enthusiastic of the people I’d met with until that point. It was nice to hear a pro say good things about my work, but it also brought to mind Woody Allen’s saying of not wanting to belong to any club that would admit him as a member. I considered asking Jane if she could make some disparaging comments about my work or my personality to make me feel better, but decided against it. Jane deemed ninety-one of my images to be web-worthy. The fourth meeting was with my friend Ise at her apartment in the far reaches of the East Village. Ise selected forty shots she liked. As she looked over my work, Ise was the first person to hint at technical advice. She said I needed to focus more on the key elements within the photograph. I filed this advice in a reptilian corner of my mind, to ruminate on later. Next up was Lizzie Fischbein, the agent. We met at a café in SoHo before work, and she picked fifty-four shots. Lizzie took up Ise’s

“Be my photography mentor for $50 an hour”

train of thought on my technique but was more specific: stop shooting so much wide-angle. I have a 14-24 mm lens, and for the most part it’s all I shoot with. It sounded like a good tip, but I was resistant. I like wide-angle photography because if you want a tighter focus on a subject, you can just move closer, or crop. I find that, especially in a city where quarters can be cramped, 50 to 70 mm lenses often let you tell only part of a story. Ise and Lizzie must have been on to something though, because Jane subsequently made the same comment after looking at more of my work. I guess it’s time to dust off the 50 mm lens. The next meeting was with Jordan Schaps. “I’ll be the guy with the neckbrace,” he said over the phone. We met in a café in the West Village. Jordan was the most hesitant to judge single shots individually. He humored me though, and we got through a portion of the pool and agreed to meet again. He asked me to group the photos so the sequencing made some sense aesthetically. His reservations about the single-shot evalua-

tion made me question my methodology. If I were to do these meetings over, I would group my work prior to showing it, perhaps alternating a dozen color shots with a dozen black and whites. I think it would help keep the viewers engaged and more closely mirror the way they look at work every day. Jordan and I met again a week later, and in the end he was the most enthusiastic about my pictures. He selected roughly ninety shots, about the same number as Jane, but after seeing only two-thirds of the pool. The last judge was my friend Stephanie Markham. We didn’t have time to meet, but she went through my pool online and chose sixteen shots. After everyone’s vote, I broke the pictures into sets for each reviewer (i.e. the Ise set and the Jordan set) and by the number of votes they received. There were six photos that five people liked, twenty-eight photos that four people liked, forty-seven photos that three people liked, and ninety-three photos that two reviewers liked. Based

on everyone’s feedback and a few executive calls, I’ve narrowed the pool down to a hundred images, forty-five to sixty of which will appear on my site. One of the benefits of this exercise is that I’m more confident in judging my work, because I’ve seen how disparate peoples’ tastes are. The chances are that if I love a shot, at least a few potential clients will like it too. I do wonder what kind of impact these meetings will have on my growth as a photographer. There is no guarantee that any of this will lead, directly or indirectly, to a break. My gut tells me that these meetings may lead to more work, but will not directly result in a big break. Which is fine, because my goal was to get a website up, and I’m confident that it will happen. Stay tuned.

Part one of a two-part series article.

HOW TO:

Sketch a Set By Jeff Siti I Illustrations and consultation by Tribeca Set

othing just happens, kids. Only meteors appear out of thin air. And people who serve you with restraining orders. But that’s it. Those-dog headed people didn’t just come scampering into Egypt one day wagging their tails, whacked out on opium and yapping, “You gotta see these big triangles in the desert, man.”

Set design has come a long way since the Valley of the Kings was last inhabited, but the basics remain. Pencil must meet paper before hammer can meet stone. You must visualize and create. You need general plans and formations and angles and degrees and measurements. And interns. Lots of interns. Do not forget interns. Things still weigh the same as they did 4,000 years ago.

Step One: Introduce yourself. Become intimate with the space. Know the space. Walk around with your shoes off. Go through the medicine cabinet. Talk openly. Use vulgar language and gauge the space’s reaction. Feel things. Step Two: Survey the site. Get out your trusty pencil and measuring tape and write down some numbers in your Trapper Keeper. You’ll need to get the square footage (width x depth) of the space to determine the scope of your set. Also, be sure to measure the height of the ceilings and any obstructions that may exist. Impress everyone with your attention to detail by noting minor dips and imperfections in the flooring. Now that you’ve embarrassed yourself by using the calculator on your cell phone to do fourth grade level multiplication, wheel yourself up to a nice, flat work surface. Check that you have the following: sharp pencil, eraser, triangles, standard 12 inch wooden ruler for chewing, graph paper, and thermos of highly caffeinated beverage. Sketching a set involves two basic views. The first is an eye-level perspective of the space from varying angles. Which brings us to… Step Three: Referencing your notes, sketch the dimensions of the set. Take into account the ceiling’s height, insert windows, doors, molding, and trim. Then add flooring. The second view of the set will be a bird’s eye view from above. Which now brings us to… Step Four: Floor plan. Draw an aerial view of the space. Insert all furniture and props. After settling on a basic layout, insert floor lines, rugs, and anything else that may be involved. After both views are completed, finished, finalized, blessed, and agreed upon, your vision of the set should be quite clear to anyone involved with the project who has eyeballs. And remember, dimensional accuracy makes for an agreeable production process and should always be checked and checked again. You don’t want to be pointing fingers at people with power tools.

tribecaset.com

Those were the pyramids, and they’d been there forever. But long before thousands of emaciated slaves met their horrible deaths under heavy stone so one selfish freak could cross over in a jewelencrusted tomb seen from Mars, unimaginably intricate design plans were drawn up by brilliant, albeit cruel and apparently bloodthirsty, engineers and architects.

EVENT:

Slideluck Potshow XIII By Stephanie Nikolopoulos I Photos by Elizabeth Leitzell

AAs the elevator ascends fourteen flights up Chelsea’s Starrett-Lehigh building to Canoe Studios in New

York City, a young man in thick-rimmed glasses carries a carefully insulated package of food. He casually remarks that this is his second time to Slideluck Potshow. Indeed, he’s not the only Slideluck devotee: the doors open to a flurry of excitement. It’s been a whole year since the last show, and the anticipation for Slideluck Potshow XIII is palpable. Volunteers, including one from People Magazine, usher guests in, directing the eclectic mix of artists and art lovers into rooms lined with long tables on which to drop off the food they’ve brought. Yes, this is a potluck. But it’s not just food for the stomach; by adding a side of slideshow, it’s also a visual feast for the eyes and a great place to commune with like-minded people. Slideluck Potshow is, in the words of its website, “a NYCbased arts non-profit, operating in many cities globally, that aims to bring people together around food and art, and to give people an interesting, engaging, and fun platform for sharing art with their community.” The idea of bringing art and food together is so simple, yet so genius. In fact, All Day Buffet recently ranked Slideluck Potshow as one of “the most innovative, rule-breaking, model-changing ideas to come out of the Big Apple” in its New York 100. Sitting on the back porch of his East Village home-office, founder Casey Kelbaugh reminisces, “I started Slideluck Potshow nine years ago in my backyard in Seattle.” The fulltime photographer explains that he “had a lot of

different friends working in the visual arts,” and he decided to bring everyone together. The idea came out of the Salon tradition, and at first, “everyone brought framed art.” As more people started attending, the presentation turned into a slideshow. Because paintings tend not to translate as well in the slideshow format, “It’s become more photographic.” Kelbaugh did twenty shows around Seattle before he decided to move East, where he enlisted the aid of Alys Kenny. The co-director and producer of Slideluck Potshow remembers their first event: “After a lovely potluck dinner, we packed about a hundred people into Casey’s living room, loaded up old-school slide carousels, and pushed ‘Play’ on the CD player. There was something charming and magical about it.” “People were so excited,” Kelbaugh enthuses, his eyes growing as large as a kid’s on Christmas, as he emphasizes the word “so.” “The thirst was palpable. It just sort of caught

on really quickly.” “We’re now in forty-one cities,” he says. Not only does Slideluck Potshow happens across the United States, from DC to Santa Fe, but it takes place all over the world, everywhere from Stockholm to Bogotá. This isn’t manifest destiny we’re talking about; it’s artists and art lovers from other communities hearing about the show from their associates and various news outlets, being intrigued and inspired, and inviting Slideluck to put on a show in their city. “Every city’s different,” Kelbaugh says. For example, while Chicago prefers the slideshow to only represent local artists, New York City has the least local show. Back at SLPS XIII, long lines form for the pesto noodles, hummus, and watermelon, not to mention the Brooklyn Brewery beer and Perrier, two of the event’s sponsors, while the dessert table remains mostly untouched by the young, waif-like crowd. Those who

Elizabeth Leitzell: edlphotography.com -- Stephanie Nikolopoulos: asphalteden.blogspot.com

like to actually be in photographs, and not just behind the lens, swarm the Hollywood Golden Age-style portrait studio that the MAC Group, another SLPS’s sponsors, has created. After the sun sets pink over sailboats on the Hudson River, the slideshow begins. People scramble for popcorn and chairs, and many end up sprawling out on the floor to get a good view. More than two hundred submissions were narrowed down to forty artists, each getting a maximum of five minutes’ time on the slideshow, no matter whether they’re famous, such as Gregory Crewdson, or a novice. “Our whole thing is about being inclusive,” says Kelbaugh. That leveling of the playing field in the oft-times rigid hierarchy of the gallery world is what makes Slideluck Potshow as welcome as a big, juicy hamburger amidst a menu of unpronounceable entrées. “It affords people opportunities,” Kelbaugh acknowledges, and explains that it’s mutually beneficial. “Galleries find artists” through Slideluck Potshow, he says, particularly because unheard-of photographers are given a shot at showing their work. “I love Jessica Dimmock’s story,” relates Kenny. “She had gotten some recognition from her Ninth Floor series, but Michael Foley, of the Foley Gallery, saw her work at our show and gave her a solo show at

his gallery. I believe a lot of opportunities open up from initial exposure at Slideluck.” For each show, SLPS holds an open call for submissions. “You don’t have to be a professional. You do have to be creative and stand out.” Kelbaugh says the staff receives a lot of imagery of India, transvestites and transsexuals, mannequins, and store windows. Kenny offers these insider tips for getting selected: “It’s always helpful when artists remember that we are curating for a slideshow. We love multimedia submissions and think it’s important for our contributors to pay special attention to the audio component, play with the scale and sequence, and consider other elements inherent to the slideshow medium. The audience consists of visually sophisticated people who like to be challenged, inspired, and who are there to see good work and have a good time, so contributors should keep that in mind!” A people person, Kelbaugh is a fan of telling stories, and that comes through in the slideshow. He says, “You can create sort of a narrative with the sequence.” Setting the slideshow to a theme—this time, “Now”—and to music, he tells how you can “watch the crowd rise and fall” with the sequence of the slideshow. A recent viewer felt that the

accompanying music made the slideshow “come alive” by “accentuating the captured emotions.” “As a photographer there’s no better feeling than showing your work,” Kelbaugh says of sharing one’s art with peers at Slideluck Potshow. As the multitude lingers before heading to the after-party at The Frying Pan, it’s evident that the communal experience of Slideluck Potshow has inspired a new sense of unity within the art world.

List of artists in Slideluck Potshow XIII: Myriam Abdelaziz * Kyohei Abe * Christopher Anderson/Magnum * Rob Ball * Yasmina Belkacem * Eric Cheng * Carlos Ciccelli * Gregory Crewdson/Luhring Augustine * Alinka Echeverria * Shepard Fairey * Tim Hetherington * Edith Maybin * Peter Mullaney * Christoph Niemann * Claudio Papapietro * Paolo Pellegrin/Magnum * Platon * Alex Prager/ Yancey Richardson * Jing Quek/Josette Lata * Kim Reierson * Benjamin Rusnak * Jonah Samson * Emily Schiffer * Kelly Shimoda * Pete Souza * Parsley Steinweiss * Phillip Toledano * Brian Ulrich * D.A. Wagner * Erin Wigger * Robin F. Williams * Kristiina Wilson * Lisa Wiseman * Michael Wolf/Aperture * James Worrell * Robert Wright

INTERVIEW:

Catherine Meyler By Matthieu Duquette I Photo by Koury Angelo MID-CENTURY MODERN: A DEFINITION

Meyler is the founder and president of Meyler & Company, a location management firm that works like a talent agent for the most desirable set destinations in the print, commercial, and motion picture industries. Catherine’s love of architecture is apparent from the moment you meet her; yet, aside from her devotion to the properties she oversees, she is a wonder in her own right.

Conservancy (a historic preservation organization), Catherine was able to wow a prospective client with her knowledge of midcentury modernist homes, landing her first account as a location agent. She went on to become “the one to know” in LA for all things modernist, with connections to houses by Pierre Koenig, Rudolf Schindler, and Richard Neutra.

Her life story is a true inspiration and a tale of the American dream come true. Catherine emigrated from England to the United States in the late eighties. Waitress, secretary, and nanny were some of the odd jobs she rolled up her sleeves for in the years before her big break. As with so many other stories like hers, the amazing happened when she least expected it. She approached a friend who owned a production company and took a temporary position in the Locations Department, with an original plan of earning enough to afford a one-way ticket back home. Thanks to her love of architecture and involvement in the Los Angeles

Meyler & Company was founded in 1999. The fashion world was soon knocking down her door, eager to make use of her oneof-a-kind knowledge and familiarity with the most sought-after homes in Southern California. Now, ten years later, the labor of love continues. Although Meyler & Company has flourished into a multi-million dollar business, Catherine continues to look back and learn from her past. The challenges of her new life may be different now, but the same gracious attitude still remains. Her life story is a true inspiration and a tale of the American dream come true.

Well-known Mid-Century Modern’s designers: Alvar Aalto Harry Bertoia Marcle Breuer Charles and Ray Eames Eileen Gray Arne Jacobsen Pierre Koenig Ludwig Mies van der Rohe George Nelson Richard Neutra Isamu Noguchi Eero Saarinen Rudolf Schindler

*Thanks, Wikipedia!

Koury Angelo: kouryangelo.com

ou may have never heard the name Catherine Meyler, but in the entertainment Mecca that is Los Angeles, she is in high demand by the likes of Steven Meisel, Tom Ford, and countless others, thanks to her connections with the greatest private residences in the area.

Catherine Meyler: meylerandco.com

Y Y

Mid-Century Modern is a style that generally describes mid-20th century developments in design, architecture, and urban development from roughly 1933 to 1965. Mid-Century architecture was a development of Frank Lloyd Wright’s principles of organic architecture, combined with many elements reflected in the International and Bauhaus movements. Mid-century modernism, however, was much more organic in form and less rectilinear. Like many of Wright’s designs, Mid-Century architecture was frequently employed in residential structures with the goal of bringing modernism into America’s post-war suburbs. This style emphasized creating structures with ample windows and open floor-plans with the intention of opening up interior spaces and bringing the outdoors in. Many Mid-century houses utilized then-groundbreaking post and beam architectural design that eliminated bulky support walls in favor of walls seemingly made of glass. Function was as important as form in Mid-Century designs, with an emphasis placed specifically on targeting the needs of the average American family. Examples of residential Mid-Century modern architecture are frequently referred to as the California Modern style. Despite the relatively small amount of true Mid-Century Modern ever built, it’s still arguably considered one of the most influential architectural and design styles.

STOPassisting the rise of new photography

Stop Assisting provides photo assistants and emerging photographers with an open forum to help you get to the next stage of your career. Led by Adorama, Profoto, Resource Magazine and Tribeca Skyline Studios, Stop Assisting is your way into the industry and out of assisting. We are here to connect, facilitate and provide for the rise of new photography. Join the community. Go to www.stopassisting.com to get updates on our events and register for our Winter session, starting in February 2010.

MISSION:

T-Home By Elizabeth Leitzell I Artwork courtesy of Gregor Collienne

M ission: To create an image of a bathroom seamlessly leading to an opera stage. here is the expense of creating such large and detailed sets.

You went on locations and installed 1:1 sets instead of shooting two sets in studio and compositing in post. Why did you choose this method? We chose this option because it’s much easier to match the two different universes this way. It also helps in keeping the real light transitions and shadows. The perspectives and angles are immediately correct and the image end up looking more real. You don’t have to put together two different universes in Photoshop—that often makes the image look fake. While shooting, you can better imagine how the final picture will look. It makes things much easier in post-production. The disadvantage

What kind of post-production was involved? Even thought we brought the bathroom set to the theater, we shot each scene separately. It made directing the talents easier. We then put the different scenes together, as well as cleaned up the pictures, adapted contrast and color, and added some effects to give more impact to the final image.

Why did you shoot in Argentina? The client is German, you are based in Belgium, so why go to Buenos Aires? We were at first supposed to follow a film production there. When it became apparent that the TV sets were not appropriate for our shoot, we were already so far into preparation that we decided to still shoot in Argentina.

What camera/lens/digital back was used? Camera: Mamiya 645 AF Lens: 50 mm Digital Back: Phase One P45 Can you describe your lighting setup? The base light is a mix between artificial and

flash. The artificial light was used on the warmer parts of the image, while the flash was used to give more impact on certain details. We used about twenty-five flashes. What was the shoot day like? The day before shooting, we did a pre-light to prepare ourselves as much as possible. At the beginning of the shoot day, we made adjustments on the sets, the lighting, hair and make-up, styling, etc. We then shot scene-by-scene as well as separate backgrounds. While shooting, we already tried to assemble the different scenes on Photoshop, in order to see whether the colors, the lighting, and the action matched.

Photographer: Gregor Collienne gregorcollienne.com / velvetartists.com Client: T-Home, Deutsche Telekom Ad Agency: Tribal DDB Hamburg Art Directors: Jana Krupinski, Christine Gilges Art Buyer: Kimberly Bianchi Producer: Arne Weingart – Lunik Art Departement: Sven Gessner Retoucher: Imagerefinery Hamburg

Elizabther Leizell: edlphotography.com

What was the biggest challenge of this shoot? We had to create eight different sets for the whole campaign in a short amount of time. The size of the sets and the number of people I had to handle in the picture as well as on set were quite new for me. We had around thirty people on set, plus eighty extras for this one visual. Another challenge was to make the different scenes as real and credible as possible in a semi “built” environment.

a j p r o d u c t i o n s | n y, i n c pro duc t io n s - c a s t in g - lo ca t io n s c o u t i ng

917. 2 0 9 . 0 8 2 3 212 . 97 9 . 7 5 85

www.a jproductionsny.com a jprodnyc@mac . co m

LOCATIONS:

Underground By Sara Ciaverelli I Photos by Steve Duncan

Everyone loves shooting a roll while out and about in New York City. The night sky shimmers with sparkling lights, and by day the city is bright and vibrant with life. But what about the underlying structure of it all? How can you capture the essence of the underbelly? By going down, of course: just take advantage of manholes and (carefully) take a ladder into the unknown. Climbing beneath the surface to check out abandoned subway stations and explore forgotten paths is a task unto itself, but add to it the element of fullfledged professional photography and you’ve got something Resource is interested in. This isn’t just “Lights, camera, action;” this is super-strong bulbs, very protective hiking gear, and lots of willpower-not to mention sturdy shoes. A piece of advice: don’t bring the fair maidens of modeling, but do convince a friend to share in the fun. If you take on the challenge and venture to the underworld, let us know how Raphael and Donatello are these days.

**Steve Duncan is the perfect guide for your underground projects, having worked with photo and film crews alike. You can see his photos and some of the locations he found at www.undercity.org.

Resource Magazine doesn’t guarantee the legality of these sites as proper photo shoot locations and takes no responsibility if you decide to explore them.

Atlantic Avenue Tunnel - Downtown Brooklyn, NY (only access is via manhole) Contact: The Brooklyn Historic Railway Association 718.941.3160 www.brooklynrail.net/proj_aatunnel.html

Fairview Tunnel - Fairview, NJ Contact: none

Hartford Park River - Hartford, CT Contact: City of Hartford 860.522.4888 www.hartford.gov Huck Finn Adventures, private canoe operator: 860.693.0385 www.huckfinnadventures.com

Fort Totten - Queens, NY Contact: NYC Parks Department 212.360.1311 www.nycgovparks.org

Rosendale Cement Mines / Widow Jane Mine - Rosendale, NY Contact: The Century House Historical Society 845.658.9900 www.centuryhouse.org

Sawmill River - Yonkers, NY Contact: none

City Hall Subway Station Contact: NYC Transit Film Division 646.252.5853 www.mta.info/nyct/sub_filming/underground.htm

18th Street Subway Station Contact: NYC Transit Film Division 646.252.5853 www.mta.info/nyct/sub_filming/underground.htm

CAREER

TRANSo FORMERS MORE THAN MEETS THE EYE

One of the worst feelings of the human experience is waking up and realizing that itâ&#x20AC;&#x2122;s time to go to a job you hate. Even while still in bed, the bile starts to build, slowly accumulating through the morning hygiene process, reaching a fever pitch on the inevitably long and arduous commute full of other miserable souls who are constantly, constantly, in the goddamn way, and threatening to spill over once you reach the office or studio, the morning coffee in your hand providing the only sign of life in an otherwise bleak existence. That bile rarely blows up into a full fledged freak-out, the satisfying kind where the boss is told off, the resignation is handed in, and the celebratory dance is performed on the way out; rather, it is swallowed back and stored somewhere inside, probably the stomach, where it does its part to contribute to a rapidly developing ulcer.

By Justin Muschong

. 3

Just about everybody has been in this position, and many still are. It’s tough to leave the security of a steady job behind, no matter how rapidly it’s driving you to an early grave—especially in the current economic climate. Thankfully, the photo production and advertising industries offer more options for people who want to escape their work drudgery than, say, the legal field or hardcore pornography. Someone working as an art director can easily make the leap to agent, producer, or computer graphics technician. Models become photographers, photographers become editors, editors become models...well, maybe not, but you get the point. By utilizing your experience, existing connections, and sheer force of will, you, too, can finally live out your dream of becoming what you’ve always wanted to be. Unless that’s “astronaut.” In which case, never mind.

Everyone seems to have their own reasons for changing positions. Josette Lata was an Art Buyer for a number of major advertising agencies, but found that the cutthroat corporate culture and 24/7 work demands didn’t suit her particularly well. “Working in advertising, you’re attacked all the time,” she says. “They’re working so hard they don’t have time to cultivate what they want to do.” When out and about performing research during the day, she would see people at Starbucks and at bookstores, sitting around with their laptops and drinking coffee, and would think, “I want to be that person.” After fifteen years in the industry, she eventually grew so fed up with what she saw as the waste of working overnight on campaigns and projects that had already been axed that she quit. The following day, she went to a Starbucks with her laptop and sat there, “just because.” She now considers herself to be a jack-of-all-trades, open to serving in any position, whether it be agent, producer, photographer, or even dog walker. Ian Cuttler, on the other hand, didn’t particularly hate his job as an Art Director for Sony Music, but reviewing hundreds of photographers’ portfolios made him want to pursue full time the hobby he’d taken up as a child. “I really appreciated the lifestyle many photographers had, their freedom and ability to travel to extraordinary places to perform their work,” he wrote via e-mail.

“It sounded like a much more glamorous lifestyle than being most of the time enclosed inside an office.” Just as he was taking test shoots and planning on quitting, his boss at Sony gave him the “great news” that he was being laid off. With the money he received, he was able to buy his first digital SLR camera and support himself for a few months until his photography career was established. However, not everybody realizes what he is meant to do early on in life. Most jump around for a while, dabbling here and there until settling into something comfortable (this period is usually referred to as “your twenties”). The best way to discover your real passion is to try and experience as much as you can within the industry, keeping your eyes open for new opportunities. Agatha Maciejewski, for example, started out as an Account Manager at Lowe Worldwide, and while she thrived in the agency environment, she soon found another path to follow. “I remember working with Art Buyers and thinking, ‘Wow, how do I get into that?’” She had always dabbled in photography, and found herself becoming increasingly drawn to art production. “Production is hands on and tangible to me, while account management is a lot of talk.” Deciding she would find more satisfaction in a different department, she spoke with the Art Buyers at Lowe and ended up in a new career. She’s now a Senior Art Producer for McCann Erickson. Similarly, Colleen Vreeland (Hedleston) spent ten years as an Account Manager for several agencies before trying out the role of a photographer’s agent. Her agency work provided her with a window into a representative’s job, and her time working with clients to set strategy and conceive of campaigns gave her insight into a creative’s role. In the end, she found that she was able to leverage her experience and the contacts she had made into a more personally fulfilling position. “It’s a good thing,” she says of the change. “I don’t have to get on a train every morning.” Most people who make a job transition, in fact, end up relying on skills they learned in their past work. “Because of my art direction experience, I have the advantage of understanding the whole creative process, from the corporate beginning to the production aspects,” Ian writes. “It’s easy for me to understand my clients’ needs and communicate with them in their own terms and follow all aspects of the project.” Agatha, meanwhile, finds herself utilizing the time management, organizational skills, and client relations experience she picked up as an Account Manager; and Josette still takes on art buying gigs every so often. Those who perform a complete 180˚ in terms of their career change probably tap into their insider knowledge more often. For example, an Art Buyer is at a distinct advantage if she moves through the looking glass and becomes a representative. Any tricks someone may try to pull on her photographers will surely be found and appropriately countered. Check, and mate. Boo and yay. “But the economy,” you may be whining by now, “it won’t let me chase my dreams!” Shut up. In Colleen’s words, “People who put in the work will always have opportunities.” She foresees an industry future where more people and companies will have to go beyond what they would normally offer. And if you branch out on your own, she also advises you to keep in mind that you will be “psychologically employed every day.” If you’re comfortable with that mindset and horrible, horrible freedom, you just may be able to quit your hellish job today! Just make sure they’re not planning on firing you first. As in Ian’s case, the unemployment money can go toward getting your new business off the ground. Of course, you don’t have to completely upend your life to regain some amount of sanity. “A lot of people think they have to change their life completely. But look a little closer to where you are,” Agatha says. Asked how she felt about her career change now, she responded, “I have never

regretted it once.” Rest assured, that feeling was common among the people we spoke with. Josette’s only regret, in fact, was that she had not pursued other options years ago. “Even if you’re trying to get by financially, it’s a lot better than being a slave.” To her, the important thing is having her independence. “You become more resourceful, but it’s okay because you’re doing it for yourself.” We all know that staying in an awful job is the wrong way to go about life, and yet many of us continue to do so. It becomes a comfortable routine that provides us with the smothering warmth of a security blanket. But it doesn’t have to be that way. If you are feeling inspired right now, take hold of that sensation. Use it to propel you in the direction you want to go and achieve your happiness while you still have a chance. Now is the time for action. The only one controlling your destiny is you...

o ...Unless things don’t work out and you end up even worse off than before. In that case, uh...sorry. We didn’t mean to ruin your life. It sounded like a good idea at the time.

OTHER SUCCESSFUL TRANSFORMATIONS THEN

Robert Ascroft www.robertascroft.com Art Director

NOW Photographer

Matthew Bogosian www.vanderbiltrepublic.com Studio Manager Photographers’ Agent

Teddy Buchner www.bowercorwin.com Photo Assistant Photographers’ Agent

Thayer Allyson Gowdy www.Thayerphoto.com Producer

Photographer

Kari Nouhan www.karinouhan.com Art Buyer Digital Artists’ Agent

Gray Scott www.grayscottstudio.com Make-up Artist Photographer

Kristina Snyder www.snyderandcompany.com Photo Editor Photographers’ Agent

Heath Robbins www.heathrobbins.com Account Executive

Photographer

Phillip Toledano www.Mrtoledano.com Art Director Photographer

DAWN OF THE INDUSTRY:

Sun of Wetuk By Dan Wetuk I Photo courtesy of Dan Wetuk

that I was about to launch, I mentioned that it would be much more practical to fly the photographer to New York, and I got my first client. I quickly outgrew the space, and after a few years moved to another building where I was able to build two studios. Five years later, when the building got sold, I decided to expand even more, and after much searching I found what was to become SUN Studios: the top floor of a loft building on Broadway and Houston, with ceilings ranging between sixteen and twentyeight feet high, plus a 30x40 feet skylight. In addition, I got the right to build a 2,500 square feet deck on the roof for outdoor shootings. As white boxed studios started to spring up around Manhattan, I also created SUN, a shooting platform situated beneath the skylight—a rotating cyclorama that followed the sun so photographers

always had their light in a sweet spot. SUN Studios eclipsed all the other studios and word traveled fast. While still under construction, Polly Mellon from Vogue heard about my project and asked if she could bring in a photographer. I was stunned when she walked in with Steven Meisel. Soon to follow were Steven Klein, Karl Lagerfeld, Mario Sorrenti, and the list goes on with the hottest names in the business. As we all know, “imitation is the most sincere form of flattery,” and studios emulating SUN started popping up everywhere. Eighteen years later, we are on the threshold of achieving landmark status. Our success continues to grow, and with our recent remodeling and dedicated staff, we plan to continue to serve our clients diligently for years to come.

photographed by Vincent Dixon

There I trained to be a Technical Service Rep. It was technical and corporate, so you can imagine how quickly I got bored. Luckily, I got transferred to the Professional Photography Division, which was more to my liking. I ultimately left Kodak and took a job with Tekno/Balcar, where I started servicing top photographers. I constantly heard them complain about the cost of owning a studio. I looked around and found that there was no studio in Manhattan that catered to them. I decided I would be the first. I sold my car, gathered some savings, moved in with my girlfriend, and built Photo-Tekniques out of a raw space at 119 Fifth Avenue in the heart of the photo district. During the construction period, I met an editor from Italian Vogue who was planning to send a dozen models to Milan for a shoot. Knowing

Sun Studios: sunnyc.com

was right out of school when I was recruited by Eastman Kodak and went to their Marketing Center. I tEducation

NIKI

PRODUCTIONS.com

reality is how you style it

PROPS. SETS. WARDROBE for the rich and famous.

INTERVIEW:

Serge Nivelle By Keri Wirth I Photos by Carolyn Fong

erge Nivelle opened his first studio, Serge Nivelle Studios, in 1987. Tribeca Skyline is his latest endeavor: a brand-new, beautifully designed studio that opened a few months ago. The space is a 7,500 square foot panoramic palace for photo shootsand that doesn’t even include a 15,000 square foot roof deck for events. Views of the Hudson River and Lower Manhattan tantalize the eye with lighting only someone as detail-oriented as Nivelle could have dreamed of. The three studios with their quiet luxury and attentive staff create the ultimate shooting experience. Serge Nivelle, photographer, businessman, organizer, and risk-taker has thought about every little piece of this picture-perfect puzzle. TriBeCa Skyline Studios was designed to promote a safe, family-style environment, and offer a network for photographers.

Where did your career begin? I started working in England. I was twenty-three years old and I never was an assistant. In those days there wasn’t as many photographers around, therefore there wasn’t as much competition. I was very confident and would go into magazines to show them my work. London in the 70s was quite a scene. It was the center of the fashion world, right after David Hemming’s portrayal of a young photographer in Blow Up. It was where the new,

modern, interesting, alternative stuff originated. English magazines were always willing to take risks. I became very involved in all the exciting things happening on Kings Road and Carnaby Street. I felt very lucky to be paid for something I loved to do. What has differentiated you from your competition? I have always been very good at production. I am extremely organized and I have always had a staff. When clients come to me they not only get beautiful images, they also get incredible service. When we commit to a project, we commit to a relationship and we make that relationship work. The reputation that people tell me I have is one of dependability. I am a good advertising photographer who has good business sense. I have been able to add value to all my clients. I think that sets me apart from the rest.

Carolyn Fong: carolynfong.com

What was your inspiration to become a photographer? I always wanted to take pictures. Not so much in fashion originally. I just wanted to take pictures of people. I have always been interested in women and making them look beautiful. It was easy for me and it still is. I enjoy it just as much now as I did back then.

How has the industry evolved creatively and business-wise over the years? The business has changed enormously. When I first became a photographer, about 90% of the work was being done by 10% of the photographers. It was a very small group of people who were working. Now there are many more freelancers emerging all the time. The business has also shifted since Internet photography started about eight years ago. In the last four years, online stores became key for the retail fashion business. Their biggest moneymaker store is their Internet site. Internet photography has become a really great business, but it has also changed the industry as we knew it. Is there any way to help emerging artists in such a competitive market? I am involved in a new group called Stop Assisting. It’s very exciting. It’s a collaboration between TriBeCa Skyline Studios, Resource Magazine, the MACGroup, and Adorama. The four of us are using my studio to host a new organization for emerging photographers. It’s a very intentional term I use here— emerging. Hopefully this will be a safe place for emerging talents to come and talk about transitions, take the next steps, learn from other photographers, and get resources to do their work. I have been very lucky for many years and now I feel it is time to give back and help other people. If an emerging photographer has a great idea for a shoot, we give them the opportunity to shoot it pro-bono. This is one way to expand their knowledge and experience. Why did you name the organization Stop Assisting? There are people for whom assisting is a career and they are very important cogs in the machine. There is nothing pejorative about it. They are extremely necessary to the whole orga-

nization. Career assistants are good at what they do; they get paid well and are happy without having the creative stress, pressure, and financial uncertainty of going off on their own. Stop Assisting is for emerging photographers: for them, assisting is a steppingstone and something they are doing on their way to becoming full-fledged photographers. They often make not very good assistants, but more often then not they make great photographers. What made you open your own studio? I have always had my own photo studio. I am the kind of photographer that just needs a base, needs space, and needs an environment to work in. I am the kind of photographer that always bought his own equipment, never rented. I am not afraid of commitment. I am not afraid of overhead. I am willing to take on a machine of responsibility. A lot of photographers don’t want that because they solely want to take pictures and don’t want to be burdened with the business aspect of it. I came into TriBeCa Skyline Studios in 1987. I was probably one of the very first people to own a studio in TriBeCa. Describe your dream studio. What I want is a place where every detail, every corner of the space is intentional. Everything I put here I put into it for a reason. I think it is very important that, when you shoot here, you get to feel like it is your place for the day. I don’t want people to see it as Serge Nivelle’s studio. I want photographers to shoot their way and do things their way. They have privacy to be creative. They shouldn’t feel like a visitor. They should feel comfortable enough to use the space like it is their own home. The safer the environment, the better images you are going to get. You’re not going to get a lot of attitude here. My space has been open for a few months and the response has been extremely positive.

Tribeca Skyline Studios: tribecaskylinestudios.com

CYC-O-BUILDER: Qu ’e st c e que c ’e st ?

By Jenny Kate Sherman – Photos provided by Twad Schuetrum

The world of photography is a vast world of lenses, shutters, cameras, and lighting. These are the basic tools of your average photographer. There is also one tool that is ubiquitous and indispensable. It not only creates a completely blank slate for a subject, but enables endless creative possibilities for special effects. It’s the cyclorama. Many people assume that a cyc is simply a curved, sloping wall painted white. It is, in fact, a much more complicated creation; one that demands a science-like approach to its construction in order to create the perfect balance of angles. And nobody has perfected this science better than Twad Schuetrum. Schuetrum, who originally hails from Gwanda, NY, never imagined that he would one day become the go-to expert for cyclorama design and construction. Growing up in a small town some fifty miles from Buffalo, Twad attended Fredonia State College for theatre, thinking he would become a director. When everyone else in the drama department went out for the big leads in plays, Twad focused his creative energy on set design. This, as it turned out, was the first step in his career as a cyclorama specialist. Twad, who by now has created hundreds of cycs during his decades in the business, has perfected the art of cyc-building to such a degree that he is known throughout the industry as “the cyc guy.” Twad came to New York following a small theatre group, which became the now-defunct Seltzer Studios. He was asked to assist with set building, and after completing his first cyclorama he noticed problems with the traditional design and construction. After three years with Seltzer Studios, he had worked on a number of cycs, improving his technique with each project. Twad believes the ideal cyc presents a blank slate for a project and enables the photographer or filmmaker to focus their attention completely on the subject. The cyc, he says, “gives you a completely blank and virtually infinite surface to play with. By using different lighting and lenses, the possibilities are endless. It is extremely helpful when using special effects, green screen, or digital techniques.”

Many tend to assume that carpenters will know how to build a cyc. The problem is that carpenters believe that everything has to be level, with a perfect radius, precise dimensions, and defined technicalities. What actually needs to be taken into consideration is that cyc building is not about having the right mathematical dimensions, or adhering to established rules of carpentry. It is really about what is important for the picture. Twad’s team consists of “crazy guys” who are artists and carpenters, with the occasional skateboarders; all freelancers who converge like a well-trained SWAT team for the build. The most time-consuming element in creating a cyc is the process of making the walls and the floor flat. “We learned—through trial and error—that building a good cyc is all about setting levels,” Twad says. “The way that the light beams are going to hit it, you want them to bounce back with parallel lines. You want good fill, not a lot of ambient lighting. One of the big differences between what we do and what other people do is that they wait till the end of the shoot to break up the photo-bytes, and then they discover all these seams. It looks terrible, but it’s too late. When we build a cyc, we check that right away. We change the shape of the curves to be proportionate to the way the light hits it. We try to create cycs with no dead zones, no shadows.” Like most lines of work, the cyclorama business is a lot of trial and error. You don’t just shoot

71 one photograph and call it a wrap, and you don’t just construct the perfect cyc the first time around. There is a long list of technical subtleties that can only be learned through years of trying different adhesives, products, and techniques, and seeing what holds up and what doesn’t. In essence, experience is Twad’s biggest asset. “One big mistake I made early on,” Twad confides, “was using a highergrade plywood for the floor—not a good idea! It had a lot of voids and gaps and the equipment would trip into the holes. I got a lot of complaints about that.” Twad readily admits that there are always new products or technologies, and every cyc is similar, yet different. His job is about problem-solving and adapting to circumstances. Each location and each shoot are unique. One shoot is at a farm on a cornfield, the next on a beach, and another on a roof. Cyc builders need to adapt to their surroundings and be able to go and build anywhere, on anything. And this is what Twad does. He has worked all over the world, building cycs for television, magazines, Hollywood films, fashion models, movie stars, and big fat nobodies. The sad thing about the business is how much it has changed over the years. When many artists were living the bohemian lifestyle, it was much easier to go from being one of those big fat nobodies to becoming a somebody. It was easier to make connections and mingle with up-and-coming professionals in the industry. But it has now become more about who can finance themselves and who has the right connections. Talent has become less important than the quality and reach of your network. Twad recalls how everyone used to own their own studios. Now everyone seems to rent, so when you build a cyc somewhere, it could be gone two years later. “I have built the same cyc in three different locations due to disagreements within the management, sound issues, and other non-technical factors.” He feels there is a natural conflict that often occurs when working with studios: they are in a rush to build, while he likes to build quality cycs. People tend to book jobs before the cyc is even built. They forget about all the time, precise measurements, and elbow grease that go into the construction phase. Many people fail to realize the complexity of cyc design, but they can be compared to the interior of a boat hull, and they require the same attention to detail. Cycs can take anywhere between two weeks to two months to build, depending upon their size. Then there is digital photography. Why construct a huge cyc when one can use Photoshop to create the needed background? Surely one would assume the increase in innovative technology would be bad for the cyc business. Not so. “When digital first came out, I thought, ‘This is it, this is where I get off.’ I thought I would end up doing something else,” Twad says, “but it ended up being the opposite.” Hard cycs are still in high demand for many reasons. Mostly because there is no picture like the one produced on a cyc. “There is nothing as precise as a perfectly designed cyc,” Twad says. As experienced and well-known throughout the industry as he is, Twad Schuetrum comes across warm and humble. As I show him the latest issue of Resource, he casually points out several pictures that happen to have been shot on his cycs. “I never got to see an actual issue before. I didn’t realize it covered so many companies I have built for.” He considers himself a nomad, working wherever he is needed. When I examined his business card and noticed there was no website to check out his work, he replied: “Yeah, I should probably make one of those.” When I asked him how he found work, he chuckled and replied candidly, as if it were still common practice in our instant-access, twenty-first century Goggleized universe: “word of mouth.”

BIRTH OF A CAMPAIGN:

Taxi Toronto for MINI By Jenny Kate Sherman I Artwork courtesy of Taxi Toronto

hen people think of a MINI, words such as “cute” or “girly” pop into their minds. The old MINI was seen by many as a small, compact car that was not incredibly safe, fast, or masculine; it was a “chick” car. When Taxi Toronto got the assignment to create a campaign for the new MINI, they knew it would need to have ultra-hyper eye appeal, and to draw in both women and men. It would have to have a look that would make the old MINI owners climb walls in the desire to trash their beloved originals and invest in the next incarnation. The new campaign had to steer potential owners toward all the buzz-worthy technological advancements developed for the MINI. “When it came to drawing attention to MINI’s all-new Xenon headlights, we wanted to do it in a very MINI way... by attaching a car to the side of a building and shooting two 10,000 watt searchlights into the sky!” says Lance Martin, the Creative Director in charge the project. Taxi Toronto has created award-winning campaigns such as the popular print ad for the contraception Plan B: “Oops happens, and when it does, there is plan B.” Taxi Toronto was excited to get the freedom to create an advertisement for the new MINI. They decided to mount a fiberglass shell of a real car with working lights and axels on a Toronto building to highlight its much more powerful Xenon headlights. The resulting unique campaign ended up winning a Bronze Lion award at Cannes. To create the illusion of a MINI driving up a wall in the middle of Toronto, Taxi had to plan with architects and engineers for weeks. They had to build a steel mount for the car so it wouldn’t accidentally “drive off” the building. On the day of the installation, they closed off the street and had a massive crane hoist the car onto the side of the building. Shockingly the hardest task turned out to be finding the right lights for the headlights and making

them work. “We had to hire a team of electricians to rewire the building in order to accommodate the high voltage necessary for the searchlights,” tells Lance Martin. Taxi Toronto also had to get several generators mounted to the rough terrain of the wall in the event of a power failure. The billboard ended up being roughly 55’ by 30’ and covered the better part of a five-story building. Luckily, for the most part the citizens of Toronto enjoyed the campaign. The lights were not too distracting, as they were timed to turn on at sunset and off at sunrise. The Canadian introduction of MINI was seen as one of the best international launches by the BMW head office in Germany. It was so successful that all five hundred launch edition vehicles were pre-sold online. And over seventyfive percent of the sales were to men, which proved the success of the campaign in removing the MINI’s “cute” and “girly” label. The billboard was up for six weeks, during which the MINI Xenon became one of Toronto’s new favorite objects to see on the streets and in the sky.

Agency: Taxi 2 - www.taxi.ca Executive Creative Director: Lance Martin Associate Creative Director: Ryan Wagman Art Director: Troy McGuinness Writer: Ryan Wagman / Jordan Doucette Digital Imaging: Ashley Leonard Account Director: Daryn Sutherland Account Manager: Jared Stein Client: Marc Belcourt

33unique one roof uniquestudios studiosunder under one roof

AD ROCKS:

Green Works By Stephanie Nikolopoulos I Artwork courtesy of DDB Seattle

For those making the near-daily trek through San Francisco’s Broadway Tunnel, the choice of which cleaning product to use may have gotten a bit easier about a year ago. To promote Green Works’ line of natural cleaning products, DDB Worldwide launched the much-talked-about Reverse Graffiti Project. “Importantly, we don’t view this as an ad, rather an art installation,” explains Natalie Chambers, Art Director for this awardwinning campaign by DDB. The campaign features a beautiful mural of flowers and vines sprawling across the walls of the tunnel. Apart from the words “Green Works” hovering above the flowers, there is little to indicate that this is an ad; even then, the font size and name of the product line are subtle enough that the viewer has to piece together the puzzle of what they are truly seeing. “Our main goal was to attach Green Works to an environmentally friendly project in order to highlight the fact that it is 99% plant-based. The intent was to garner attention and create awareness for the brand, versus blatantly selling the product. And since we were talking to consumers who were skeptical of ‘green’ products, we wanted the piece to be inviting and not feel too corporate. Our desire was for people to see the mural and be interested and inspired to seek out more information about Green Works.” In fact, the method in which the mural itself was created is the root of the ad. After hearing Paul “Moose” Curtis describe his artistic technique on NPR, the DDB ad agency knew that he was the right artist for the campaign. A pioneer of reverse graffiti, the British artist washes dirt away from surfaces to make an image. “I make pictures by cleaning,” he states in a documentary about the campaign. “We were excited about having him do a project for Green Works because we felt his technique fit the brand perfectly,” says Chambers. “Our idea was to have him create a mural of plant life with the help of the product. What better way to demonstrate the inherent benefits of the product—powerful, plant-based, no chemicals— than to remove dirt and pollution from a wall only to leave towering trees, ferns and flowers in the wake?” That wall, of course, just so happened to be the Broadway Tunnel in downtown San Francisco. Every day more than twenty thousand vehicles drive through the tunnel, covering its walls with dirt, oil, and soot. “It’s like a massive canvas,” Moose says, who always seems to be on the lookout for dirt. Chambers proudly states, “At over 140 feet long, the mural ended up being his largest work to date!” The sheer size of the ad commands attention, and yet the creativity behind it and the beauty of its craftsmanship make it a welcome sight for passerby on their way to work. “All the images are of indigenous plants from California that you could have found in the area where the tunnel is now maybe five hundred

years ago,” Moose notes. As such, the flowering plant life in the mural simultaneously convey tranquility and a sense of regional pride. The team that worked on the campaign made a conscious effort to be as environmentally friendly as possible during the process of creating the ad. The stencils used to make the mural were made from reclaimed wood, and of course, the very art form of reverse graffiti is environmentally friendly. “In traditional forms of billboard, postering, and graffiti, something foreign (and oftentimes negative) is introduced to the environment. With reverse graffiti nothing is added; in fact, the bad stuff is taken away,” explains Chambers. Many people have the misconception that going green costs a lot of money. In fact, DDB says that they had a “very small budget” for the campaign. The biggest cost-cutting factor was the use of found media. By using the wall of the tunnel, Chambers discloses, “we did not purchase ad space.” Not only that, but while traditional billboard advertising shows obvious signs of wear and tear, the fact that the reverse graffiti is still visible after being created a year and a half ago is a testament to the power of the Green Works cleaning products. “The incredible amount of attention [the campaign] has received through social media and organizations has far exceeded our expectations,” Chambers says. The Reverse Graffiti Project won a Gold Media Lion, a Silver Outdoor Lion, and a Bronze Design Lion at Cannes International Advertising Festival. “While it is always nice to receive industry recognition,” she says, “the greatest reward is the recognition it has received for the brand. The Reverse Graffiti project has helped Green Works become #1 in the green category [of cleaning products], has helped double the category as a whole, and most importantly, is a wonderful example of what a strong agency/client partnership can produce.” Gone are the days of your favorite television wife taking a premeditated moment out of washing dishes to look straight into the camera and tell you, the home viewer, to purchase a specific brand of cleaner that will not only make your wine glasses sparkle but will make your husband find you, in your apron and bouffant hairdo, even more attractive. Advertisements have become so ubiquitous that, like those barely noticeable blips in a film that soap salesman Tyler Durden talks about in Fight Club, consumers have learned to turn a blind eye to them; unless, like the Reverse Graffiti Project, they are unique enough to stand out. These days, a successful ad campaign is one that is a work of art and appeals to consumer’s ideals.

Stephanie Nikolopoulos: asphalteden.blogspot.com

cross the country, commuters speed over bridges and tunnels to get from home to the office and off to countless social obligations. We want to do our part to make the world a better place, but we don’t always have the time to endlessly research environmentally friendly products. Even when we’re stuck in traffic, we have better things to do than sit through long-winded commercials full of empty promises and annoying jingles. We want results, and we want them now—but we also want to feel that we select products because of our own wisdom (and not some brash ad).

INTERVIEW:

Adhesive By Justin Muschong I Artwork courtesy of Adhesive

IIt all began with a blind date. Wini Alcorn, a Senior Art Producer at McCann Erickson, and Shabnam Azadeh, an Agent at Kate Ryan, wanted to set up a pair of friends. Both were shy, however, so they asked along several other friends in the advertising industry to introduce the two at a group get-together. They met at Tom and Jerryâ&#x20AC;&#x2122;s, a bar in Manhattanâ&#x20AC;&#x2122;s NoHo neighborhood, and drank and talked long into the night. It was casual, it was relaxed, it was a good time. Everyone agreed they should do it again.

“Let’s do this again sometime.” It’s a phrase people say quite frequently, but they rarely actually “do it again sometime.” Wini and Shabnam decided to buck the trend and make it happen. They teamed up with MoMA Assistant Creative Director Brian Bergeron and Lockbox Productions Producer Tim Willis to form Adhesive, a group dedicated to holding monthly events in bars and spaces all over New York where creatives can meet, share a few drinks, and get to know each other as real, living, breathing people.

Adam Sherwin: adamsherwin.com Charlie Fish: charliefish.info

The group’s motto is “Sticking Creatives Together” and its ambitions do not stretch far beyond that. “It’s getting people together who normally work via phone and over e-mail; getting these people face-to-face in a casual social setting and making better connections,” Brian says. While some come with the intent to network-and job connections often do occur at the events-the focus is on maintaining a no-pressure atmosphere where everyone can

finally have a chance to relax. In Shabnam’s words, “It’s like we go out and have a drink after work, and it happens to be with two hundred people.” Adhesive has tapped into a need the industry wasn’t aware it had, and in the two years since its founding the number of people who show up has exploded. At first, the meetings were announced through word-of-mouth, but after three or four sessions, Adhesive created a mailing list and a website where newcomers can sign up. Their mailing list started with eight people—today it surpasses 650.

People receive one email announcing the time, date, and location of the upcoming event, usually held on the third Tuesday or Wednesday of every month. A reminder email follows as the date approaches. “And those are the only two emails you get,” Brian emphasizes. “People are overwhelmed with junk mail and everything else already. We want to keep it simple, and I think that’s what people appreciate about us.” The simplicity extends to the name tags that have become the group’s foremost symbol. Upon entering, everyone gets one with his or her name on it—and just the name. No company information is allowed. The name tags serve not only to help first timers identify the Adhesive participants in a crowded bar, but also allow people who have never met face-toface the chance to recognize each other. Wini asserts that she’s heard statements like, “Oh my God, that’s so-and-so from so-and-so. I’ve talked to him for five years and never met him,” more than once. It’s that sort of connections that Adhesive is designed to foster.

All the events to date have been held in New York, but word is spreading fast. When Shabnam was in Chicago a few months ago, she met several art buyers there who had heard of a happy hour event in New York they were eager to attend. It took her a moment to realize that they were talking about Adhesive. Another creative in Los Angeles planned to schedule his next trip to New York so that he could show up at the next event. The increasing popularity of Adhesive has sparked interest from outside organizations looking to cash in on its surprise success.

“People are like, ‘Well come and do it at X studio and we can show off our studio and you can have your event,’” Wini says. But so far the group has resisted all overtures. “Part of what’s nice about it is that it’s not corporate, and it’s very kind of organic. Once it becomes more packaged and a commodity, it’s no longer as hip or kind of on the down low. It would lose the charm it has right now.” Adhesive has considered growing a bit, maybe by adding a blog or a job postings section on their website. They would also like to include the many images photographers take of their events. “We do need some help to grow a little bit, in terms of volunteering,” Wini says. “They could be writing name tags, figuring out how to do this blog thing. The key word is volunteer. We don’t have any money.” It’s a moment of transition for the group, where they could evolve into the next Media Bistro and conquer the industry. But for now, they seem pretty

content to let Adhesive remain a casual affair. That is, after all, why everyone digs it so much. Wini: “There’s not much labor involved. It’s very low key.” Brian: “That’s the way we like it.” Shabnam: “A lot of smiling, a lot of drinking, a lot of talking.” It’s a simple, honest pitch at a time when the industry desperately needs them.

To sign up for Adhesive’s mailing list and receive word of upcoming events, or to volunteer in the group’s expansion, go to: adhesivenyc.com.

ABSOLUTLY. By Marc Cadiente | Artwork courtesy of TBWA\Worldwide

How can a bottle be a muse? How can a bottle become so iconic? As the illustrious ads suggest, in an Absolut world, the answers are simple and witty. But to the collaborative minds behind the ad campaign, providing those answers takes a lot of work. It’s just a bottle, but it’s so much more. When the first print ad appeared in 1980, the idea was simple—an image of the product with a glowing halo hovering above, and below, the words: ABSOLUT PERFECTION. Nothing else. No group of friends sharing a laugh. No distinguished gentleman sipping his cocktail at a lavish bar with a beautiful woman. Just a bottle, one allusion, and two words. The message seemed to be: ”This is it—this is all you need.” Who knew this seemingly simple ad would cause a revolution within the advertising world? And yet it did. Behind the scenes, before all the success, art director Adman Geoff Hays of TBWA was asked to come up with a campaign for a new Swedish vodka that had just landed in the States. Considering the strict guidelines from the Absolut execs in Stockholm, Hays had only to work with the bottle. The ads had to reflect the modern day while being classic and couldn’t be associated with any specific lifestyle. It’s hard to believe that such creativity could be born from such mundane direction, but the result, as we know, was perfection. The brilliant idea was Hays’s alone, but he could not have done it without the distinctive bottle, which has its own unique story. In the late 1970s in Sweden, as the vodka brand was about to break stateside, Absolut needed to package its product in a way that reflected both the tradition of the hundred year old recipe and the modern world. The task was arduous and ended in many failed attempts. Then, one day, a marketing team member happened to see an old Swedish medicine bottle sitting in an antique shop window. The bottle was simple, uncomplicated, and very Swedish. For more than a century,

the design of an apothecary bottle remained unchanged. Staying true to its roots (in the 16th and 17th centuries, vodka was sold in pharmacies as medicine to cure numerous ailments), Absolut selected the bottle as its model. The final bottle design blended traditional Swedish glass-making with the best of contemporary design. The Absolut bottle had a unique shape that attracted people, and it became a modern icon in itself. It was only natural that ads focusing on the bottle followed suit. And follow they did. After the success of “Absolut Perfection,” the subsequent ads replicated the same formula. Richard W. Lewis, author of Absolut Book and Absolut Sequel writes, “While the Absolut advertising campaign has 2,000 faces, it’s still a singular idea. A big Absolut bottle. A two-word headline starring ABSOLUT and finishing with a word that denotes a state of excellence, a mood, a place, a person real or imagined, a powerful linkage to the arts…or anything else I might have forgotten.” In other words, there was no end to the possibilities—just more opportunities for the spirit and the ads to serve as a muse and inspire. From art directors to painters and fashion designers to authors, Absolut has inspired people to create ads that have become legendary. The brilliance of the campaign has never faltered since its earliest form when the craze began. In 1985, Andy Warhol was commissioned to do a painting of the Absolut bottle. When the ad was printed, it was an instant sensation, catapulting Absolut into the spotlight. Sales skyrocketed and interest in the brand grew. It was the first time that the line between advertising and art blurred—or

“The Absolut ad campaign is the longest running print campaign in history.” that the two merged. Artists wanted to be part of the campaign because Absolut offered something new and fresh— another outlet for their creativity and a way to reach a massive audience. The list of artists who have contributed to the campaign reads like the VIP guest list to the world’s most desirable party: Damien Hirst, Keith Haring, Jean-Paul Gaultier, Gianni Versace, Helmut Lang, Manolo Blahnik, Herb Ritts and Annie Liebowitz. While Absolut earned its place in pop culture, behind the scenes were people who worked tirelessly on the ads. One such person is Steve Bronstein, the photographer of the Absolut campaign since its inception. TBWA would create the concept and it was up to Steve to realize it. “Sometimes [the execution] would deviate significantly from the original preconception, sometimes not. There was often considerable flexibility in the interpretation of the original idea, though it did vary depending on the particular creative team working on the project. Sometimes the illustrated concept was done in a feasible matter, sometimes not. I always looked for a way, if I could, to make it better.” As time passed with one successful ad coming after the next, the TBWA creatives grew to look to Steve as a collaborator more than as a vendor. As magical as the ads appeared on print, a lot of work went into each one, especially when sets were needed to execute the idea. Enter Mark Borow of McConnell & Borow, inc./ PropArt, master set designer and model-maker. “Steve and I would usually have a meeting with the creatives at the agency and then I would develop the layout to ‘work’ for the camera,” recalls Mark. The creative process included sketches, plan drawings, and mock-ups, which were reviewed and revised until approved by the agency. “I’ve done hundreds of jobs with Prop Art,” says Steve. “I understand their process and I know what they do best. We brainstorm and plan throughout the project. It is always a question of highlighting the strengths of a prop, and disguising or de-emphasizing its weaknesses.” Together, Steve and Mark created some of the most memorable and realistic ads of the campaign—mainly those in the Absolut Cities series, including Absolut Miami, Absolut LA, and Absolut Hamptons, which is one of Steve’s favorite visuals. The boardwalk for Absolut Hamptons was a miniature set shot with a forced perspective. The set wasn’t so “miniature,” though—it occupied a space of about 20’ x 30’. The production didn’t come without challenges. For Mark, almost all of the ads he worked on were demanding in one way or another. “I was asked to do things I had never done before, so it was always new and different. Some of the incredibly detailed miniature sets really grabbed me. Absolut Louisville and Atlanta were two of the more intricately detailed sets we did.” These ads are regarded as two of the most realistic looking of the Cities series. Getting the details just right was a big

of other visuals. People became fascinated with the campaign. The ads were seen as a separate entity from the product—items to collect, to covet, and with which to plaster one’s dorm room walls. But consumers weren’t the only ones to take notice of the campaign. Absolut Vodka became newsworthy with each new ad, garnering media coverage, and it has been the subject of two highly successful books. Praise for the campaign also came flooding in from the advertising community. The campaign has won more than 400 awards, including the most coveted prizes in US advertising business—the Effie and the Kelly awards. Absolut is also one of only three brands inducted into the American Marketing Association’s Hall of Fame alongside brand giants CocaCola and Nike. And in 2002 Forbes magazine called it the world’s biggest luxury brand, ahead of BMW, Tiffany, and Gucci. challenge since they would consequently determine whether or not the image looked realistic. “We brought in the architect Gary Rosard to help design some of the buildings for Absolut Miami. We used new materials and techniques for many of the projects—resin for casting lemon peels, metal etching for the Absolut Intelligence computer circuits; we hand-carved 40 little snowflakes for the Absolut Warmth. But the biggest challenge was always timing. Schedules were short.” The challenges, and definitely the work, didn’t stop at the sets and props. Prior to the shoot, Steve would mockup the set to work out the lens perspective and scale. He would also oversee the design and construction of the set or prop which would take anywhere from one to five weeks. Once the set was complete, it was brought into his studio for a prelight day. Depending on the complexity of the set, one or two shoot day would then be needed. Steve was also involved in postproduction, doing a rough execution, and then supervising the final digital work. Ever wonder what happened to those amazing sets and props? They all went back to Mark. According to the law, all props and miniature sets belong to the artist unless paid for by a separate fee, but since most of them were made only for the camera, with the edges and back left unfinished, the client didn’t want them. “I always got the props and sets back. Some I saved and put on display or put into storage. Others I dismantled and reused what I could and got rid of anything that I couldn’t use.” Some of these iconic pieces of advertising history have also been sold at Christie’s Pop Culture Auction in June 2009. The Absolut ad campaign is the longest running print campaign in history. Together, the agency creatives, Steve and Mark, and the hundreds of other artists, musicians, fashion designers and more have created nothing short of magic. We’ve grown up seeing the profile of the bottle used to re-imagine the Boston Tea Party, Benjamin Franklin’s spectacles, a zebra’s stripes, and a Jersey diner, among thousands

Since the first Absolut ad debuted nearly thirty years ago, the brand has become synonymous with ingenuity and creativity. Absolut continues to produce innovative advertisements that make us chuckle, look twice, and think a little harder. Just launched, the new campaign is “Anthem”, a visionary TV commercial that captures the essence of the brand’s claim as a pioneering and culture-shaping brand. Still, it is the iconic ad of the Absolut bottle in a familiar setting that will forever burn brightly in our memories. “I’ll always be grateful for having had the chance and experience of working on one of the most iconic advertising campaigns of the last thirty years. It taught me a lot and opened many doors professionally and socially.” Mark Borow’s words resonate with the ethos of the Absolut brand in which everything is possible and new, where a glass bottle can be a muse and inspire us to create. And to that, we toast.

ADORAMA RENTAL CO

In Resourceâ&#x20AC;&#x2122;s Winter 2010 issue, we will feature our annual Studio Guide. We will bring forth our top studios, showcasing the best places to shoot across the country. Contact us to arrange for your listing. info@resourcemagonline.com

In our user-generated era, customization is the norm. Everything from the vain (fashion and genetics) to the mundane (ringtones and MySpace pages) can be precisely engineered to our specifications. Beyond the Franken-babies and gaudy avatars, modifications stretch even to the higher echelons of art. While shooting, many photographers face the limitations of their equipment. Now more than ever, some are taking the DIY approach to new levels. Always out to prove themselves, these part-time mad geniuses are creating specific models and constantly innovating, while the rest of the crowd settles for dull ready-mades.

By Kenny Ulloa I All photos by Claire Benoit, except for the Sinar visual by Tom Watson I Set stylist Megumi Emoto

Claire Benoist: clairealinabenoist.com Tom Watson: tomwatsonphotography.com

Being the distrusted step-children of institutional art makes photographers exceedingly neurotic, but, with enough concentration and dexterity, even the most uninspired can step out of the shallow sea of mediocrity and into the land of (dare I say it?) avant-garde. Like a Cageian-prepared piano, these erratic manufacturing revisions turn typical cameras into peculiar art-making machines.

Sinar Camera

Modified by Tom Watson & Adam Dau from SK Grimes

Goal: To quickly and efficiently shoot architectural photography.

Tom Watson: tomwatsonphotography.com -- Adam Dau: skgrimes.com

Instead of struggling to calculate the scheimpflug angle of a surface near the camera, the “Watson” is perfect for images that only need rise and fall. Like most of the featured cameras, this creation was made for the sake of speed and convenience. The camera can accommodate Better Light and Phase One Digital backs. Watson says, “We needed a camera that had a very low wind profile for long exposures and had a helical focus on the front, so that once an image was in focus, it wouldn’t change by touching the camera, as it often happens with view cameras.” After just a few conversations and some rough sketches, Tom Watson and Adam Dau created an innovative field camera that bridges the workflow between film and digital.

IBM Thinkpad

Matthew Huber: matthewhuber.com

Modified by Matthew Huber

Goal: To precisely control and exactly repeat photographs of moving objects and liquids to the millisecond. Of his camera modification, Huber says, “The computer and relay control box are for precise timing control of splash projects. The computer is an IBM Thinkpad with a parallel port. The relay box contains a relay driver that connects to a parallel port and two power supplies of differing voltages. The computer runs the second version of a custom-made program that controls the triggering of the relays in milliseconds. Relays are just non-mechanical electrical switches. The switches are used to fire the camera and to trigger the splashing machines or other devices on set. Most of the machines and devices are pneumatic, so they are powered by solenoid air valves. I shoot ‘hands off,’ from the computer—nobody touches the camera or anything on set. I just start the program sequence, step back, and watch.” To achieve these stunning splashing liquid photographs, Huber needed to modify his overall studio setup as well. Searching for lighting that would be on par with the complex camera, Huber ended up getting the best results using nine modified Speedtron quad heads and five custom-made strobes.

Custom-Made Lights

Modified by Matthew Huber

Matthew Huber: matthewhuber.com

In order to achieve that vintage quality you often need to go old school and use actual vintage equipment. Unfortunately—and though many won’t admit it— vintage sometimes comes short in terms of quality. The Graphlex is one of the earliest innovative cameras when it came to focusing. The Super D in particular was the first to have an automated diaphram. But times change, and along with them so do the concepts of speed and effectiveness. This modern modification goes beyong Graflex’s original design and creates a newer focusing screen to keep up with today’s standards. This one-of-a-kind camera exemplifies the inquisitiveness of photography.

Graflex RB Super D from 1949

Modified by SK Grimes for Jimmy Katz

Goal: To focus with the lens wide open, providing easier and more efficient focusing while field shooting.

skgrimes.com *The camera is for sale. If interested, contact Jimmy Katz: jimmykatz.com

Titan Fingerprint Adapter

Modified by Stan Golberg

Goal: To accurately document fingerprints on location for forensic purposes. Believe it or not, fingerprinting is still one of the most common way that criminals get identified. The days of dusting for prints and using magnifying glasses are long gone. Police forces across the country are using affordable digital picture-taking technology to simplify the forensic evidence process. Now, more than ever, the authorities are going high-tech and using inventive photographic solutions like this macro-lens adapter. These adapters work with many common high-end “prosumer” point-and-shoots and are used by over a thousand crime labs in America. This is a Field Analyst’s dream, allowing for well-defined and rapid digital images that can be sent to awaiting lab technicians within minutes. stan goldberg: latentlift.com

100 Goal: To create low-fidelity images that reproduce the Holga’s toy camera qualities. According to Adam Dau, “The adaptation was a little extravagant, but designing and fabricating the adapters gave us ample opportunity to examine the Holga equipment and get a good understanding of the operation and tolerances used in manufacturing the camera. It made sense for us to revise our original design and fashion a one-piece adapter completely out of acetal. Acetal is an excellent tough and lubricious plastic, making it a perfect choice for both the focusing threads and bayonet mount. The end result is as simple adapter which operates smoother than the original camera.” Best summed up by the camera mod expert at SK Grimes, “Photographers have a sense of curiosity and adventure that is invigorating. Outside of the conventional photographic boundaries is where something unique resides.”

(adapter for Nikon and Canon DSLR) Modified by Adam Dau at S.K Grimes

$65 at SK Grimes: HYPERLINK “http://skgrimes.com/thisweek/Holgaconversion/index.htm” http://skgrimes.com/thisweek/Holgaconversion/index.htm

Goal: To achieve hyper macro shots. This beefed-up camera is a photographer’s dreams, combining high quality and affordability thanks to the use of a DSLR body. Hubers says, “We added a giant old Kodak areo-ektar on a 4x5 camera. Any Canon camera could be used. The lens has a very large aperture with extremely shallow focus. It’s dramatically different from modern lenses. It was made for areal reconnaissance during the Cold War. The focus is so shallow that, when I use it for portraits, eyelashes are in focus, but the glasses in front of them are not. Addiitonally, the Canon mount was made to tile out large digital files with my DSLR. I can shift, rise, and fall on the rear standard to piece together a giant final image, while the 4x5 lens stays fixed to keep the same focus and perspective.”

Matthew Huber: matthewhuber.com

Kodak Areo-Ektar 4X5, Canon XTI

Modified by Matthew Huber

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EC and SWC Hasselblad

Modified by Hasselblad

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Goal: To help astronauts photograph their experience while in space. In 1962, a Hasselblad 500EL became the first camera in space. At first, NASA did the modifications themselves, but they quickly turned to Hasselblad engineers with specific requests. This publicity was a key factor in Hassy’s popularity spike in 1960s America. The Moon 3, created by Jim Rooney, has features made specifically for spacesuit handling, like an extra-large shutter release button for those cumbersome space gloves. Also, the lack of viewfinder (and inside mirror) is explained by the fact that astronauts cannot frame images because of their helmets—they essentially shoot from the hip. Additionally, per Hasselblad’s website detailing its NASA experience, “The outer surface of the camera was colored silver to help maintain more uniform internal temperatures in the violent extremes of heat and cold encountered on the lunar surface. Lubricants used in the camera mechanisms had to either be eliminated or replaced because conventional formulas would boil off and potentially condense on the optical surfaces of the lenses, Reseau plate, and film.” Hasselblad also modified the camera body and film magazine: Kodak created a special film, 15 foot long, with a very thin emulsion, in both B&W and color transparency format. This allowed an exorbitant amount of frames per roll, since moonwalkers can’t stop for a quick film swap.

Hasselblad: hasselbladusa.com

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The Photography of Billy Name By Jessica Witkin I Artwork courtesy of the artist and Kymara Artistic Management

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Billy Linich became Billy Name in January 1964 when he was informally appointed as Andy Warhol’s documentary photographer. His project was to record the daily events at the Factory—its art assembly lines and drug-addled celebrity guests. Name is the man behind the Factory’s silver interior design, and the familiar black and white Factory Fotos of Andy, Edie, and gang. During his stay at the Factory, Name built a darkroom in the bathroom and lived in it, developing and printing his black and white negatives. Legend has it that he didn’t come out of that darkroom for a year, and then left one day. He also shot rolls and rolls of color film using an Olympus Pen-F camera that captured half-frames, making a roll of thirty-six exposure film into seventy-two images arranged as diptychs. These color photographs, super-saturated, and brightly animated, were finally collected and published for the first time in 1997 in the beautiful book All Tomorrow’s Parties. Before the Factory, Name was the lighting and stage designer for the Living Theater and Judson Dance Company in the early 1960s, and was well known among a downtown community of artists for his haircutting salons—daytime parties at his East 5th Street apartment where he trimmed the locks of a few friends in front of a large audience. The collage artist and poet Ray Johnson brought his friend Andy Warhol to one of the haircutting salons, and Andy fell in love with Name’s hand-painted silver walls. Billy Name had covered his apartment in a monochrome of silver spray paint in the spirit of minimalist experimentation and color-field paintings, both avant-garde painterly strategies of the time. “It was long before graffiti,” Name told Interview Magazine last year. “I went into a corner hardware store that sold spray-paint cans and decided to try to use them experimentally to see what it looked like when I would spray things… I was so struck by the result of the silver aluminum color, I decided not to use any other colors.”

Andy asked Billy to silver the former hat-factory he had just bought and was using as his new painting studio. Name lined the Factory with commercial rolls of aluminum foil (more “expedient” than paint) that were stapled to the ceiling’s edge and dropped down the walls in neat, smooth rows. It was an installation—the first large-scale artwork produced in the Factory. What could not be foiled was painted, everything from the telephone to the toilet (even to, Name has said, the silverware). “When I silvered the Factory,” Name said, “it had to be the whole thing.” The installation set the whole space as a stage, a silver screen, a backdrop for art-making, drug-using, stripping, tripping, and dancing on film (the prototype to MTV’s Real World and all reality TV to follow). The original silver surface was clean, cool, spaceagey, and not for sale. It was only after crowds, parties, cigarettes, and graffiti that the foil became crinkled and grimy. That layer of dirtiness carried in the cultural re-imagining of the Factory today (think of how crinkly the walls were in the terrible re-creation in Factory Girl, with pouty Sienna Miller failing as the bright and glittery Edie Sedgwick). Cameras, lights, and flashes were as natural as mirrors in the space—and also all silver. The reflective space was an enormous camera itself, one of those early oversized camera obscuras. Name’s installation created a space as a camera, a site for display, exposure, and development. After Name set the space silver, Andy put his own camera into Billy’s hands and suggested that he should be the Factory photographer. I imagine it happening just like that, too: Andy just walking up one day, casually handing the camera over, and saying something soft-spoken like, “Billy, you should take the pictures.” This designation was how the Factory worked, where each person had a “job” in an appropriately corporate way, with duties, departments, and production teams. Most of the “employees” were actors, but as Name said in his 1997 interview with Collier Schorr, it was a requirement at the Factory that each person had a talent, a great beauty, or a special skill. In Callie Angell’s book Andy Warhol Screen Tests, Vol. 1, the author catalogues every person who sat for a screen test in the Factory. The screen tests were short, silent portrait films—a few minutes long, straight-on and close-up shots of friends, Factory-dwellers, artists, actors, poets, musicians, models, writers, dancers, druggies, and dropouts.

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The book lists every person who was filmed in the Factory between 1964 and 1966, a three-year period of 472 films, shaping a dictionary of sixties celebrities of pop culture and the avant-garde, collisions of art, music, fashion, film-making, poetry, and criticism. It includes Bob Dylan, Marcel Duchamp, Allen Ginsberg, Susan Sontag, Robert Pincus-Witten, Lou Reed, Paul Thek, Kenneth Jay Lane, James Rosenquist, Ted Berrigan, Marisa Berenson, Jack Smith, and Jane Holzer, among many others. Billy’s Factory Fotos, all shot with Andy’s Honeywell Pentax 35mm SLR, are the ones most famously associated with the Factory: grainy, black-and-whites of Andy and his beautiful artsy gang posing and partying (Andy with sunglasses and a movie camera, Edie in big earrings and black tights, Gerard wearing stripes, Viva

heaped in mascara). They are sleek, and again, silver! Part-documentary, part-production stills, part-advertisements, Billy’s Factory Fotos are posters—without text or credits—for all the underground movies Andy created. When Warhol and crew moved into the second Factory at 33 Union Square West in 1968, Warhol traded a painting for an Olympus Pen-F camera for Name to have. Name chose the model because it allowed for him to make thirty-six diptychs, rather than thirty-six individual images, all from a single roll of film. Name didn’t have a color processor during the Factory years, and the negatives sat in a box until 1995, when he had the film finally processed at a local lab with three simple instructions: “Do not color-correct, maintain intense saturation and high contrast.” The results

are so warm and material and alive the images feel like a diary, bright and deep with honeyed magentas and swimming pool cyans. In this lively and newer vision of the Factory, there is a sense of home, community, and play. There is Andy filming, Andy eating, Andy watching films with an audience, Andy doing not much of anything. A diptych portrait of Ultra Violet and Geri Miller shows rose-hued cleavage, swollen and soft, and an intimate close-up of a made-up face, with supple pink baby skin and an inch of dark lashes. There are also loving portraits of Viva and Susan Bottomly embracing each other, before Bottomly leaves sleepy-eyed holding a giant stuffed-camel like a carnival prize pillow, and Viva strips off her clothes down to her knee-high boots in the middle of the crowded Factory. Only Andy, of all the guests, seems to notice her.

important component to the work, the foil, and the photographs. He credits Warhol, whose mantra was “Machines do the art”, and John Cage, “Chance does the art,” as major influences. Warhol also played, and was known to ask friends and strangers the serious question, “What should I paint?” And Cage played too, presenting four minutes and thirty-three seconds of silence as the most poetic music. I

There are as many images of the place as there are of the people. A shot of the darkroom office floor shows tangled wires, a rotary telephone, color bar books, paper scraps, and an open pack of cigarettes. Photographs of Paul Morrissey’s scattered and piled-high Movie Star Collection are shot at an extreme angle with the central highlights of flash photography at night. Name’s Bathroom Series presents the perfect kind of Factory images of both people and place with a typology of people entering and exiting the Factory bathroom. The portraits, deeply cyan, range from a Prussian blue to an aquamarine. The angled view, mixed with the alien color, makes the bathroom seem like a portal to another world. Some people—Brigid Berlin, Viva, and actor Ronnie Cutrone—exit looking super stoned while others wipe their hands on a towel hanging beside a silkscreen portrait. Others appear in groups, and some leave dancing with arms up, or are caught mid-song, with their mouths open. Some of my favorite images are Name’s intimate bluehued self-portraits. Billy stares straight-on into the camera, a cigarette dangling from the side of his mouth, and the camera’s flash brightens Andy’s silver-painted large-scale portraits of the Thirteen Most Wanted Men in the background. (Here, standing between two canvases, Billy is the most wanted man.) A bright, nearly Yves Klein blue image shows a faceless, blurry body holding a camera at mid-chest. Outside the camera frame is a mirror, and somewhere in between or outside of the two, a window. Darker, steely close-ups show Billy’s out-of-focus face with deep-set charcoal eyes, severe cheekbones, and a thick center-part in his hair that follows a single stark line downward to the tip of his nose. Within the boisterous community of the Factory, and the many forms of artmaking and celebrity-making happening within the silver walls, with these self-portraits, Billy claims his independence as an artist. Experimentation and the camera make serious (and successful) bedfellows. In his interview with Schorr, Billy notes that his playing with machines and with chance is an

think Andy Warhol keeps painting and creating and never dying even now because there is still so much playfulness to enjoy in his work. Billy danced to the same belief, albeit perhaps a sweeter and more realistic one; the belief that color and play are the best ways to use space and your body. In photographs and in life, he painted the people and space of the Factory with dream colors.

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10 BEST 10 +

PHOTO

CONTESTFor The Love Of Photography By Charlie Fish

Who can say where the love of photography truly begins? For some, it may start during childhood, when a mysterious clunky black apparatus shields a parent’s face, seeming more like an extended body part than a contraption. Hours or even days later, the finished product—the photo—looms before the child; a concrete memento, a memory-preserver. Soon, he starts asking for a camera of his own; some plastic, brightly colored Fisher Price model. Time passes and the process becomes the focal point—the science, the exposure, the darkroom, the chemicals. Subjects, large and small,

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Charlie Fish: charliefish.info

alive and inanimate, begin to enthrall the observer more and more. Inspiration kicks in, looking up at past masters and current leaders and innovators. Regardless of how you may have come to love the camera and its product, photography is a field that constantly connects its enthusiasts and subjects alike. Recently, Resource teamed up with boutique stock agency, WIN-Initiative, to search the world over for the poignant, the unique, the timeless, and the exuberant. What we found is that the camera is universal and images are a language.

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WHERE TO TAKE YOUR CLIENTS OUT:

In Vino / Royale By Sachi Yoshii I Photos by Jacob Snavely t some point, you have to give up and swallow it,” my client said, speaking of the lightly fried, curly tendrils of crisped artichoke ($10) that I had spent a good minute grinding between my molars. The heart was tender, but the leaves poked the insides of my cheeks, and we both vowed never to order the antipasti dish again. Like the antipasti menu, In Vino is slightly overpriced for what you get, and while these days your expense account may be hurting more than last year, the wine eases the pain and your client will love the giant window seats, so you head over to Alphabet City. In Vino boasts an extensive wine list covering multiple Italian regions, and our waiter, Andreas, always knew exactly what we wanted, along with finding the perfect pairing for every customer around us. You could spend the entire night listening to jazz music bouncing off the cavernous walls, feeling a light wind breeze through the grand front windows, and smelling the aroma of garlic and butter wafting from the kitchen as you sip glasses

Price $$$

In Vino

Drinks **

215 E. 4th Street b/w Avenue A and B New York, NY 10009 212.539.1011 www.invino-ny.com

Food ** Ambiance ****

of fresh, savory, white Falanghina ($13/glass, $32/half liter). The wine alone would encourage a return visit, but the kitchen closes before midnight, and the doors about an hour later, so plan to stop by another venue if you’d like to linger after-hours. Entrees are well-portioned, and a notch above any of the appetizers. Be sure to try the succulent roasted duck with mushroom risotto ($21), where the juices from the meat meld well with the earthy, full flavor from the mushrooms. If you love heavy, hearty pasta, the Ravioli Tartufati ai Porcini ($17), a porcini ravioli dish in a truffle cream sauce, is heavenly, and by the time you pour the last two glasses of Cenereto ($30/bottle), the fruity aroma of black cherry, plum, and sage, lingering notes of truffle ravioli, and savory duck breast will echo the sentiments once said to simply give up and swallow it.

Jacob Snavely: jacobsnavely.net

“A A

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e’re in a recession. I’m sure you’ve acknowledged this sometime in the last year or so, and when you take out a client, price matters. Quality beer and burgers matter too. It’s easy enough to traipse into somewhere like DBGB’s and blow nearly twenty bucks on a burger alone, expecting it to be grilled to perfection and topped with a world-class, premium blend of the fanciest cheese you could never pronounce, and then sour in disappointment at the first bite. Simplicity makes the beer and burger combo work, and that is why you go to Royale. Royale is a clean, no-fuss bar on Avenue C with small tables and wood panels inside, and a fantastic ivy-lined deck to dine outside. The best part is that the deck is covered, so the fall’s evening chill can’t mess with

Price $ Drinks ** Ambiance ***

your desires to linger outdoors or smoke all night between beers, and the pebbled garden is perfect to sit in during this season’s starrylit nights. Forego the tasteless, dry Chicken Sandwich ($7) and oily onion rings ($3), and grab the most popular burger instead: a Royale with Cheese ($7) broiled medium-rare, exactly to order, topped with lettuce, tomato, onion, and served with a pickle from the Lower East Side Pickle Guys. Pair it with a can of Pork Slap ($3) and Blue Moon ($6) on tap, Ruby Tuesday and some Hendrix on the stereo, and it’s easy to see why everyone keeps coming back, recession or not.

Royale 157 Avenue C, b/w E. 9th and 10th Street New York, NY 10009 212.254.6600 Cash only

Restaurants-- Based on three course dinner, one alcoholic bev, and a 15% tip $ = $25 and under I $$ = $25-$50 I $$$ = $50-$75 I $$$$ = $75 and over

Bars/Lounges-- Based on one alcoholic beverage $ = $6 and under I $$ = $6-$12 I $$$ = $12- and over

Food/Drinks

Ambiance 0 I * I ** I *** I ****

0 I * I ** I *** I ****

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MOVIE REVIEW:

Peeping Tom By Alec Kerr I Illustration by Emil Rivera

“Instinct’s a wonderful thing, isn’t it, Mark? A pity it can’t be photographed.”Mrs. Stephens

he opening sequence of Peeping Tom gives the viewers an immediate glimpse into the world of the main character. The first image is that of an eye, belonging to our protagonist. We next see what he is seeing: a prostitute on a street corner. A close-up of a 16mm camera follows and then a repeat of the shot of the prostitute, thus establishing the connection between eyes and cameras as well as the film’s theme of voyeurism. The rest of the scene is shown through the 16mm camera and ends with a murder. Released in England in 1960, three months prior to Alfred Hitchcock’s Psycho, Peeping Tom has more depth than its seemingly salacious premise of a murderer who films his victims’ deaths. Even though no blood is shown anywhere, the film was declared deplorable and was pulled from theaters within a week. The critics at the time couldn’t get past the surface to see the subtext. This wasn’t a film of murder and mayhem, but rather an intelligent, tense look at a damaged man whose actions we hardly condone, yet understand and sympathize with. Looking back at it now it is a clear forerunner of the psychological thriller genre. It isn’t a leap to say that Peeping Tom helped set the template for such films as Seven and Silence of the Lambs. Part of what makes the film such an unsettling experience is that we quickly understand the murderer is the film’s protagonist, Mark Lewis (Carl Boehm). Director Michael Powell makes us a part of his world. It is as if we are his accomplices and, after that first scene establishes what Mark is capable of, there is an uneasy tension throughout the rest of the film. The script by Leo Marks doesn’t pile up deaths like the slasher films that followed in the footsteps of Peeping Tom. Rather, the murders are limited, and we discover we don’t so much want to see them as much as we need to see them, if only to break the building suspense. The film, much like Hitchcock’s Rear Window, uses voyeurism as a commentary on the film-going experience and forces the audience to realize that they too are “peeping toms” getting visceral pleasure from peering into another world.

Mark, who works as an assistant cameraman on a movie set—which allows the film some moments of satire on the film industry—never leaves home without his 16mm camera. His compulsion stems from experimentations in fear that his psychologist father performed on him when he was a kid. The young Mark was constantly being filmed and documented, as if he were a lab rat rather than a child. The adult Mark is continuing his father’s research, albeit to an extreme level. Mark’s actions are calculating and methodical, but oddly not malicious. It is simply something he is compelled to do. As viewers, we don’t hate Mark and Boehm’s performance is key in winning our sympathies. He makes Mark not a personification of evil, but rather a tragic figure: a nice, socially awkward, and deeply disturbed young man. When a relationship develops between Mark and one of his neighbors (Anna Massey), we at first fear for her life. It soon becomes clear though that she could be his way back to sanity. Boehm and Massey’s scenes begin with restless tension, but shift to approximating low-key romance. In a different context, Mark could be read as charmingly befuddled, but that is not meant to be. After all, Mark is a tragic figure. In the end, he’s able to capture true fear and to find what he is looking for, but at a terrible cost—and not necessarily the one you expect.

Release Date: May 15, 1962 (USA) Director: Michael Powell Writer: Leo Marks Main Cast: Karlheinz (Carl) Böhm, Moira Shearer, Anna Massey, Max ine Audley, Brenda Bruce Producer: Nat Cohen

Emil Rivera: lariverola.com

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BOOK REVIEW:

Fashion Books Photos by Nick Ferrari

Fashion

By Christopher Breward Review by Christine de Lassus

Fashion by Christopher Breward is an extremely well

Nick Ferrari: nickferrari.com Christine de Lassus: frankmanagement.net / christinedelassus.com Jessica Bosch: FORDARTISTS.com

documented and remarkably intelligent study of the history of fashion from a philosophical, sociological and cultural point of view. Breward, a professor at London College of Fashion, traces the development of modern fashion as a profession and industry since the 1800s, highlighting the ever-shifting social identities and relationships defined by fashion. He follows the evolution of style and modernity through the world’s fashion capitals and their respective designers, while subsequently analyzing style as a cultural expression of identity, concluding therefore on a more modern note. The book only falls short in the study of the radical fashion movement of the 80s and 90s by overlooking Antwerp, a city that incubated some of the most talented designers of today. Fashion is, however, overall very complete and clever, with relevant and original illustrations throughout, and it is a must for serious scholars and fashion lovers alike.

Art and Fashion By Alica Mackrell

Review by Jessica Bosch

IIn

Art and Fashion, Alice Mackrell shows how the two aforementioned fields influence each other and have helped carry forth the progression and transformation of overall aesthetics. She does so by drawing comparisons between the two and highlighting certain distinctions between “pure” and popular art and culture. From the Rococo period through Surrealism and the era of Pop, fashion has used high art as inspiration for dress print. Mackrell highlights the apparent disparity between aesthetics of the ideal-easel painting, sculpture and the like-and aesthetics of daily use-stockings, corsets, shoe buckles, neck ruffles, pearl glove buttons, and all that might be said to be necessary incidentals of dress. The book is informative and a great resource for someone who is beginning costume/ wardrobe studies. It marks beginning points and briefs the student on major topics such as socialism, politics, literature through art and fashion. I enjoyed it, although I did wish there was more in the “Surrealism” chapter.

GO-SEE:

Photo Toys By Alec Kerr I Photos by Kfir Ziv @ KZNY Studios

Learning Resources Pretend and Play Count and Click Camera

Get the next generation snapping photos early with this mock Polaroid that spits out fake photos that kids can color in or flip over to create their own drawings. $22.95 www.learningresources.com

Estes AstroCam 110 Camera Rocket

Watching a rocket blast off is exciting, but it would be more thrilling to soar through the air yourself. Short of getting a job at NASA, this is the next best thing: photos from a rocket as it zooms through the atmosphere. $24.00 www.amazon.com

Tony Hawk Helmet Camera

The first person perspective for the most totally awesome tricks and the gnarliest spills is now easily attainable with this helmet camera. $59.99 www.amazon.com

Pop Cam

It may look like a disposable camera but it’s more like a portable photo booth, offering four shots on a single print and coloring them Andy Warhol-style. Warhol once said he was “deeply superficial.” Now you can be too. $13.95 www.ArchieMcPhee.com

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305.532.7880 info@mapsproduction.com www.mapsproduction.com Once Source Studio* 6440 NE 4th Court Miami, FL 33138 305.751.2556 Andrew@onesourcestudios.com www.onesourcestudios.com Photopia Studios* 360 NE 62nd St. Miami FL 33138 305.534.0290 phototopia@bellsouth.net www.photopiamiami.com Picture Perfect* 8000 Biscayne Blvd - 2nd Fl Miami FL 33138 305.759.9954 www.pictureperfectmiami.com Splashlight Studios* 167 NE 26th St. Miami FL 33137 305.572.0094 infomiami@splashlight.com www.splashlight.com PHOTO EQUIPMENT Aperture* 1330 18th St. Miami, FL 33139 305.673.4327 info@aperturepro.com www.aperturepro.com

WorldWide Photo* 5040 Biscayne Blvd Miami FL 33137-3248 305.756.1744 wwfoto@yahoo.com www.worldwidefoto.com

NEW YORK, NY ARTIFICIAL FOLIAGE American Foliage & Design Group* 122 W 22nd St. New York, NY 10011 212.741.5555 afdesigngr@aol.com www.americanfoliagedesign.com BACKDROPS Broderson Backdrops* 873 Broadway - #603 New York, NY 10003 212.925.9392 info@brodersonbackdrops.com www.brodersonbackdrops.com DIRECTORY Dripbook PO Box 220-295 Greenpoint Station Brooklyn, NY 11222 contact@dripbook.com www.dripbook.com PhotoCrew.com 310.855.0345 www.photocrew.com The PhotoProductionist www.photoproductionist.com info@photoproductionist.com ICE SCULPTURES & WATER EFFECTS Set In Ice 718.783.7183 917.974.3259 brian@setinice.com www.setinice.com

PHOTO EQUIPMENT Profoto www.profoto.com PHOTO EQUIPMENT RENTAL Adorama* 42 W 18th St. - 6th Fl. New York, NY 10011 212.627.8487 info@adorama.com rental@adorama.com www.adorama.com Calumet* 22 W 22nd St. New York, NY 10010 212.989.8500 800.453.2550 website@calumetphoto.com www.calumetphoto.com CSI Rental 133 W 19th St. - Ground Fl. New York, NY 10011 212.243.7368 www.csirentals.com Foto Care* 41 W 22nd St. New York, NY 10010 212.741.2990 212.741.2991 info@fotocare.com www.fotocare.com RGH Lighting* 236 W 30th St. New York, NY 10001 212.647.1114 info@rghlighting.com www.rghlighting.com Scheimpflug* 236 W 30th St. New York, NY 10001 212.244.8300 www.scheimpflug.net

TREC RENTAL* 127 W 24th St. New York, NY 10011 212.727.1941 info@trecrental.com www.trecrental.com

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PHOTO LABS Duggal* 29 W 23rd St. New York, NY 10010 212.242.7000 info@duggal.com www.duggal.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 PHOTO-SHARING WEBSITE Fotki 866.268.3991 866.554.8544 support@fotki.com www.fotki.com PRINTER Rolling Press 15 Denton Place Brooklyn, NY 11215 718.625.6800 hello@rollingpress.com www.rollingpress.com PRODUCTION SERVICES ajproductionsny, inc. 212.979.7585 917.209.0823 ajprodnyc@mac.com www.ajproductionsny.com

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Blair-Schmidt + Turks & Caicos 212.987.4233 cindi@blair-schmidtproductions. com tobi@blair-schmidtproductions.com www.blair-schmidtproductions.com www.turksandcaicosproductions.co PROP RENTALS Arenson Prop Center* 396 10th Ave. New York, NY 10001 212.564.8383 www.aof.com/props/index.html Eclectic Encore* 620 W 26th St. - 4th Fl. New York, NY 10001 212.645.8880 props@eclecticprops.com www.eclecticprops.com Good Light Props* 450 W 31st St. - #9B New York, NY 10001 212.629.3326 info@goodlightprops.com www.goodlightprops.com Props For Today* 330 W 34th St. - 12th Fl. New York, NY 10001 212.244.9600 info@propsfortoday.com www.propsfortoday.com Props NYC* 509 W 34th St. - 2nd Fl. New York, NY 10001 212.352.0101 www.gotprops.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 718.715.4961 info@3rdward.com www.3rdward.com 723 Washington* 723 Washington St. New York, NY 10014 646.485.0920 booking@bennetmediastudio.com www.723washington.com Above Studio* 23 E 31st St. at Madison Ave. New York, NY 10016 212.545.0550 ext. 3 info@abovestudiorental.com www.abovestudiorental.com Atelier 34* 34 W 28th St. - 6th Fl. New York, NY 10001 212.532.7727 studio@atelier34studio.com www.atelier34studio.com Bathhouse Studios New York* 540 E 11th St. New York, NY 10009 212.388.1111 manager@bathhousestudios.com www.bathhousestudios.com

The Prop Company* 111 W 19th St. - 8th Fl. New York, NY 10011 212.691.7767 propcompany@aol.com

Brooklyn Studios* 211 Meserole Ave. Brooklyn, NY 11222 718.392.1007 brooklynstudios@verizon.net www.brooklynstudios.net

RENTAL STUDIOS 2 Stops Brighter* 231 W 29th St. - 10th Fl. New York, NY 10001 212.868.5555 info@2stopsbrighter.com www.2stopsbrighter.com

Camart Studios* 6 W 20th St. - 4th Fl. New York, NY 10011 212.691.8840 rentals@camart.com www.camart.com

20x24 Studio* 75 Murray St. - #3 New York, NY 10017 212.925.1403 info@20x24studio.com mail@jennifertrausch.com www.20x24studio.com

Capsule Studio* 873 Broadway - #204 New York, NY 10003 212.777.8027 info@capsulestudio.com www.capsulestudio.com

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Cinema World Studios* 220 Dupont St. Greenpoint, NY 11222 718.389.9800 cinemaworldfd@verizon.net www.cinemaworldstudios.com

Go Studios* 245 W 29th St. New York, NY 10001 212.564.4084 info@go-studios.com www.go-studios.com

Dakota Studios* 78 Fifth Ave. - 8th Fl. New York, NY 10011 212.691.2197 matt@dakotastudio.com dakotastudios@yahoo.com www.dakotastudio.com

Good Light Studio* 450 W 31st St. - #9C New York, NY 10001 212.629.3764 manager@goodlightstudio.com goodlightstudio@gmail.com www.goodlightstudio.com

Daylight Studio* 450 W 31st St. - 8th-9th Fl. New York, NY 10001 212.967.2000 info@daylightstudio.com www.daylightstudio.com

Greenpoint Studios* 190 West St. - Unit 11 Brooklyn, NY 11222 212.741.6864 info@greenpointstudios.com www.greenpointstudios.com

Divine Studio* 21 E 4th St. - #605 New York, NY 10003 212.387.9655 alex@divinestudio.com www.divinestudio.com

Home Studios* 873 Broadway - #301 New York, NY 10003 212.475.4663 info@homestudiosinc.com www.homestudiosinc.com

Drive-In 24* 443 West 18th Street New York, NY 10011 212.645.2244 info@diveinstudios.com www.driveinstudios.com

Industria Superstudio* 775 Washington St. New York, NY 10014 212.366.1114 info@industrianyc.com kslayton@industrianyc.com www.industrianyc.com

Eagles Nest Studio* 259 W 30th St., 13th Fl. New York, NY 10011 212-736-6221 eaglesnestnyc@yahoo.com www.eaglesnestnyc.com Fast Ashleys Studios* 95 N. 10th St. Brooklyn, NY 11211 718-782-9300 shelly@fastashleysstudios.com www.fastashleysstudios.com 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

Jack Studios* 601 W 26th St. - 12th Fl. New York, NY 10001 212.367.7590 info@jackstudios.com mike@jackstudios.com www.jackstudios.com Jewel Street Studio* 94 Jewel St. - Ground Floor Brooklyn, NY 11222 212.967.1029 booking@jewelstreetstudios.com www.jewelstreetstudios.com L Gallery Studio* 104 Reade St. - #2 New York, NY 10013 212.227.7883 info@lgallerystudio.net www.lgallerystudio.net Location 05* 200 Hudson St. - 9th Fl. New York, NY 10013 212.219.2144

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info@location05.com www.location05.com

Picture Ray Studio* 245 W 18th St. New York, NY 10011 212.929.6370 bookings@pictureraystudio.com www.pictureraystudio.com

Milk/Formula* 450 W. 15th St. New York NY 10011 212.645.2797 bevan@milkstudios.com www.milkstudios.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 Parlay Studios* 930 Newark Ave. - 6th Fl. Jersey City, NJ 07306 201.459.9044 studio@parlaystudios.com www.parlaystudios.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 rental@pochronstudios.com www.pochronstudios.com Primus Studio* 64 Wooster St. - #3E New York, NY 10012 212.966.3803 info@primusnyc.com www.primusnyc.com

Pure Space* 601 W 26th St. - #1225 New York, NY 10001 212.937.6041 rida@purespacenyc.com frank@purespacenyc.com www.purespacenyc.com Ramscale Productions* 55 Bethune St. - Penthouse New York, NY 10014 212.206.6580 info@ramscale.com www.ramscale.com Root Brooklyn* 131 N 14th St. Brooklyn, NY 11211 718.349.2740 folks@rootcapture.com www.rootcapture.com Shoot Digital* 23 E 4th St. New York, NY 10003 212.353.3330 info@shootdigital.com Sara@shootdigital.com www.shootdigital.com

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Scene Interactive* 601 W 26th St. - #M225 New York, NY 10001 212.243.1017 info@sceneinteractive.com www.sceneinteractive.com

Studio 225 Chelsea* 225 W 28th St. - #2 New York, NY 10001 917.882.3724 james@jamesweberstudio.com www.studio225chelsea.com

Tribeca Skyline Studios* 205 Hudson St. - #1201 New York, NY 10013 212.344.1999 bookings@tribecaskyline.com www.tribecaskylinestudios.com

Shop Studios* 442 W 49th St. New York, NY 10019 212.245.6154 Jacques@shopstudios.com www.shopstudios.com

Studio 450* 450 W 31st St. - 12th Fl. New York, NY 10001 212.871.0940 www.loft11.com

Zoom Studios* 20 Vandam St. - 4th Fl. New York, NY 10013 212.243.9663 zoomstudios@yahoo.com www.zoomstudios.net

Silver Cup Studios* 42-22 22nd St. Long Island City, NY 11101 718.906.3000 silvercup@silvercupstudios.com www.silvercupstudios.com SoHo Soleil* 136 Grand St. - #5-WF New York, NY 10013 212.431.8824 info@sohosoleil.com www.sohosoleil.com Some Studio* 150 W 28th St. - #1602 New York, NY 10001 212.691.7663 somebody@somestudio.com www.somestudio.com

SET BUILDING Tribeca Set 212.444.2230 tribecaset@gmail.com www.tribecaset.com

Sun Studios* 628 Broadway New York, NY 10012 212.387.7777 sunproductions@sunnyc.com www.sunstudios.com

STYLIST - PROPS, SET, WARDROBE Atelier Twelve 718.624.5744 sonia@ateliertwelve.com spazticdog@aol.com www.ateliertwelve.com

Sun West* 450 W 31st St. - 10th Fl. New York, NY 10001 212.330.9900 sunwestevents@sunnyc.com www.sunnyc.com

Niki Productions 917.974.3212 studio@nikiproductions.com www.nikiproductions.com

Taz Studios* 873 Broadway - #605 New York, NY 10003 212.533.4999 dwhite@tazstudios.com www.tazstudio.com

Southlight Studio* 214 W 29th St. - #1404 New York, NY 10001 212.465.9466 info@southlightstudio.com www.southlightstudio.com Splashlight Studios SoHo* 75 Varick St. - 3rd Fl. New York, NY 10013 212.268.7247 info@splashlightstudios.com www.splashlightstudios.com

Brochures Postcards Brochures Booklets Postcards Catalogues Booklets Marketing Collateral Catalogues Marketing Collateral

Suite 201* 526 W 26th St. - #201 New York, NY 10001 212.741.0155 info@suite201.com www.suite201.com

WARDROBE RENTALS RRRentals* 245 W 29th St. - #11 New York, NY 10001 212.242.6120 info@rrrentals.com www.rrrentalsny.com

The Space* 425 W 15th St. - 6th Fl. New York, NY 10011 212.929.2442 info@thespaceinc.com www.thespaceinc.com

100% Recycled Papers FSC Certified 100% Recycled Papers Low VOC Vegetable Inks FSC Certified Chemical-free CTP Low VOC Vegetable Inks Printing with Wind Power Chemical-free CTP Printing with Wind Power

SURFACES Surface Studio 242 W 30th St. - 12th Fl New York, NY 10001 212.244.6107 www.surfacestudio.com info1@surfacestudio.com

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– Paul Hawken

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WARDROBE SUPPLY Manhattan Wardrobe Supply* 245 W 29th St. - 8th Fl. New York, NY 10001 212.268.9993 info@wardrobesupplies.com www.wardrobesupplies.com

WEST COAST LOS ANGELES, CA DIRECTORY Workbook 6762 Lexington Ave. Los Angeles, CA 90038 323.856.0008 800.547.2688 www.workbook.com PROP RENTALS House of Props* 1117 N. Gower St.

Hollywood , CA 90038 323.463.3166 info@houseofpropsinc.com www.houseofpropsinc.com PHOTO LABS A&I Photographic Digital* 933 N Highland Ave Hollywood, CA 90038 323.856.5280 mail@ aandi.com www.aandi.com

Calumet* 1135 N. Highland Ave. Los Angeles, CA 90038 323.466.1238 website@calumetphoto.com www.calumetphoto.com Castex Rentals* 1044 Cole Ave. Hollywood, CA 90038 323.462.1468 www.castexrentals.com

The Icon* 5450 Wilshire Blvd Los Angeles, CA 90036 323.933.1666 icon@iconla.com www.iconla.com

STYLISTS AGENCY Cloutier Agency* 1026 Montana Ave. Santa Monica, CA 90403 310.394.8813 www.cloutieragency.com

PHOTO EQUIPMENT Pix* 217 South La Brea Los Angeles Ca. 90036 323.936.8488 rentals@pixcamera.com sales@pixcamera.com www.pixcamera.com

RENTAL STUDIOS Belle Varado Studio* 2107 Bellevue Ave. Los Angeles, CA 90026 213.413.9611 andrea@bellevaradostudios.com www.bellevaradostudios.com

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Smashbox Hollywood* 1011 N Fuller Ave. Hollywood, CA 90046 323.851.5030 sb@smashboxstudios.com www.smashboxstudios.com

5th & Sunset* 12322 Exposition Blvd West Los Angeles, CA 90064 310.979.0212 keith@5thandsunsetla.com www.5thandsunsetla.com

Pier 59 Studio West* 2415 Michigan Ave. Santa Monica, CA 90404 310.829.5959 erika@pier59studios.com www.pier59studios.com

Smashbox Culver City* 8549 Higuera St. Culver City, CA 90232 323.851.5030 sb@smashboxstudios.com www.smashboxstudios.com

8443 Studios* 8443 Warner Drive Culver City, CA 90232 310.202.9044 studio@8443warner.com www.8443warner.com

Siren Studios* 6063 W. Sunset Blvd Hollywood, CA 90028 323.467.3559 Monica@sirenstudios.com www.sirenstudios.com

The LA Lofts* 6442 Santa Monica Blvd. Los Angeles, CA 90038 323.462.5880 thelalofts@hotmail.com www.thelalofts.com

Lightbox Studio* 7122 Beverly Blvd. - #G Los Angeles, CA 90036 323.933.2080 Info@lightboxstudio.com www.lightboxstudio.com

The Studio* 6442 Santa Monica Blvd - #202 Los Angeles, CA 90038 323.791.7757 jewely@thestudiola.com www.thestudiola.com

Miauhaus* 1201 South La Brea Ave. Los Angeles, CA 90019 323.933.6180 mail@miauhaus.com www.miauhaus.com

*Distribution sites. FOR LISTING OR ADVERTISING INFORMATION PLEASE CONTACT: 718.801.8448 info@resourcemagonline.com

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