Resource Magazine Winter 09 by Resource Magazine

$6.99 US/CAN

For the Professional Photo Productionist

www.resourcemagonline.com

Winter 2009

Table of Contents Winter 2009 2 4 6 8

Table of Contents: Find out what’s going on. Masthead: Who did what, you say? Letter from the Editors: Quiet, it’s cold outside. Letters to the Editors: Speak up, we are wearing earmuffs.

RE-turns: 10 12 14 18 22 24 26 32 36 38

Tricks of the Trade: Digital Tech. These guys are multiplying like jack rabbits. Resource Guide to: Look your best and save the world. What good are you if you’re falling apart on set? Interview: Cat Jimenez from the Lucie Awards. Who doesn’t dream of a little golden statuette? Photo Deco-Page: Alone in New York City. Eight millions people and you can still feel like the only one on Earth. How to: Work the Wardrobe. Taste + uber-organizational skills = a great stylist and a bag of chips. Etiquette: Equipment Rental. Be nice to the equipment….or else. Locations: Guitar Shops. Rock on! History: The Doors’ Morrisson Hotel. The Lizard King is bemused. BEMUSED!

As Seen in Resource Magazine: Rogue’s Magic and Fun Shop. It’s kind of magical and fun and everything. Fashion: The Photo Assistant and the New Bohemian Golden Age. Beefeater, sex and a shitty camera. What else could you want on a lazy Sunday morning?

44 46 92 94 96 98 100 110 112

Industry Tales: The Rock Star and the Greasy Gash. Kids, drugs are bad for you. Stay away! International: A global interpretation of the photo production industry. This issue: The Classy Nude. Sex sells! Where to Take your Client: Lure, seafood for the big fish. Death & Co., cocktails to die for. Movie Review: Fur and The Eyes of Laura Mars. Two woman photographers. One is a love story, the other a slasher flick. Book Review: Aragon’s Paris Peasant and Andre Leon Talley’s A.L.T. 365+. A poet and a fashionista: both bring beauty in the world. Go-See: Compact. Size does matter. Directory: People we’ve used and re-used and used again. Gypsy Horoscope: Bring out your inner artiste! End Page.

Non-RE-fundables: 52 61 64 74 82

Studio Guide: Resource Magazine Studios 54. Our favorite homes away from home. Copywrite Catalyst. The magic (and hard work) behind catchy slogans. Production of the World: Sardinia. Beautiful locations, friendly locals, great food: let’s shoot there! Dawn Animal Agency. Animals working on photo shoots finance a shelter for rescued animals: how nice of them! Photo Essay: Ellen Warfield’s Working Life. We all have to work, but some of us are lucky enough to be working in the photo production industry (no, we are not being ironic here).

Cover and End Images by Cyrus Marshall

Winter 2009 issue

EDITORS IN CHIEF Alexandra Niki, Aurelie Jezequel CREATIVE DIRECTORS Alexandra Niki, Aurelie Jezequel ART DIRECTOR Sharon Gamss PHOTO EDITOR Ben Kaufman COPY EDITOR Edine N. James DESIGN Chris Brody Sharon Gamss Matt Klein Lara Peso Emil Rivera CONTRIBUTING PHOTOGRAPHERS Adam Cantor Henry Diltz Axel Dupeux Nick Ferrari Cyrus Marshall Tom Medvedich Roman Meisenberg Keith Telfeyan Marc van der Aa Ellen Warfield Jeremy Williams Shane Wilson CONTRIBUTING WRITERS Marc Cadiente Missye Clarke Taylor Dietrich Charlie Fish Sylvia Gyrion Alec Kerr Marla Lacherza Jonathan Melamed Justin Muschong

Chris ‘News” Stephanie Nikolopoulos Sara Roth Jeff Siti Benjamin Wright Sachi Yoshii CONTRIBUTING ILLUSTRATORS Tomas Pichardo Emil Rivera

Special thanks to: Eduardo Citrinblum, Mark Chin, Anne Attal, Frank Defalco, Jeff and Sonia Niki, Renate Lindlar, John Engstrom, Tom Clancy, Anthony Rivera and Adam Davids. We welcome letters and comments. Please send any correspondence to info@ resourcemagonline.com

INTERNS Marla Lacherza Emil Rivera Sara Roth Elis Y Estrada-Simpson

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.

PUBLISHERS REMAG Inc.

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

DISTRIBUTION Brian Byrne brian@resourcemagonline.com

Corrections: in the Fall 2008 Miami Scene article, MAPS (Mobile Art Production) offers Locations, Studios and Motor-homes but should also have been listed under Production Services. Our apologies for the oversight.

ADVERTISING Marketing Director/ Advertising Manager: Sara Roth sara@resourcemagonline.com Alexandra Niki alex@resourcemagonline.com Aurelie Jezequel aurelie@resourcemagonline.com Resource Magazine is a quarterly publication from REMAG Inc. 139 Norfolk Street #A New York, NY 10002 info@resourcemagonline.com Subscriptions: $28 in the US, US$50 in Canada, and US$60 globally. For subscription inquiries, please email info@resourcemagonline.com

Find us in Barnes & Nobles and Borders across the country!

6 Letter from the editors

verybody has that moment at the beginning of winter when, at the break of a frigid breeze, there comes a silence, followed by the first, freshest, cleanest snow of the season. No matter how unsentimental of a person you are, that moment seizes all frustrations, worries, and frostbite, and sweeps real peace of mind into your world even if for just a brief moment. Enjoy that moment because whether you hate the winter and cold weather or not, this is what the season is all about. All the suffering, colds and flues, short days and dark evenings become just a little more bearable when you know that they also come with a supreme peaceful silence. Now, no need to be any less social than you already are in this weather, but you do have some excuse to spend a little more time on your couch than you normally would. Photographers, you can snap and click your cameras aimlessly while watching TV. Producers, plan a little nap instead of a shoot. Stylists, curl up in some of those blankets you couldn’t return. Studios, take a snow day. There’s no shame in being slightly introverted during the cold season. But don’t lose yourself while you’re at it, otherwise the dawn of spring may hit you like a ton of bricks as you scurry yourself off to the gym like a maniac.

Enjoy the magazine! Alex and Aurélie

shoot on location? we do.

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

8 Letter to the editors

LETTERS TO THE EDITORS:

Speak up, we are wearing earmuffs. Dear Resource,

Dear Resource,

I recently was at one of my favorite bars in the L.E.S when I overheard a young girl talking about an up and coming magazine she works for. I immediately tuned in when she said it was a magazine to and for the photography industry. I am currently studying at the School of Visual Arts as I want to become a photographer. I’m always looking for new material to get my hands on for new ideas. I found you at Barnes & Noble and wanted to compliment you on your amazing ability to keep the magazine both informative and entertaining. It is easy to read and extremely useful. The piece on Warehouses particularly stuck out to me in the fall issue. The photos were beautiful and the whole idea was very interesting. Kudos on a wonderful magazine. I really can’t wait to see what else you have in store for us!

I’ve been reading your magazine for a while now and I just wanted say that I really enjoyed this past fall issue. The cover was phenomenal! You really nailed it. I also enjoyed reading the article about the child model. Not only was the article well written, but the photographs were exceptional. Using kids as models raises a lot of issues and you did a great job depicting both the good and bad sides. I can’t wait for the winter issue! Peace and Love always, Aimee Krayer

Best wishes, Gracey

the clothes e v a h e w – le ty s u o However y you! r fo s ie r o s s e c c a d n a rrrentals www.rrrentalsny.com tel 212 – 242 6120 or flo th 11 eet str 245 west 29 th

info@rrrentalsny.com

THINK RENTAL. THINK CALUMET. 22 W 22ND ST, NYC 212.989.8500

title 11

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

CALL 1.800.CALUMET (225.8638) • CPC certified technical-support staff • Knowledgeable technical support • All your video questions answered • 97% of orders shipped the same day • Customer satisfaction guaranteed • Monday to Friday: 8 a.m. to 6 p.m. CST • Saturday: 9 a.m. to 5:30 p.m. CST

VISIT 10 U.S. Retail Centers • Hands-on product demonstrations • Side-by-side comparisons made easy • Knowledgeable and friendly staff • All your video questions answered • Equipment rental at competitive rates NEW YORK, NY 212.989.8500 CAMBRIDGE, MA 617.576.2600 PHILADELPHIA, PA 215.399.2155 CHICAGO, IL 312.440.4920 OAK BROOK, IL 630.860.7458 SAN FRANCISCO, CA 415.643.9275 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.

CALUMET: IT’S WHERE THE PROS GO • Spacious showroom stocked with the latest and finest cameras and accessories, lighting equipment, inkjet printers, darkroom equipment and supplies • Expanded rental department offers an extensive selection of equipment and competitive rates from such well-respected names as broncolor, Canon, Hasselblad, Leaf, Mamiya, Nikon, Phase One, Profoto, Speedotron and more • 29 retail and rental locations around the world • Our digital imaging center features the latest in high-tech capture and computer devices from Apple, Canon, Epson, Leaf, Nikon, Phase One, Sinar and more • Choose from our tremendous selection of memory cards, film, inkjet media and other supplies from such companies as Brilliant, Canon, Epson, Fujifilm, Hahnemühle, Ilford, Kodak, Lexar, Moab, ProSpec, SanDisk, and more • Affordable leasing options are available • No gray market products sold — all items feature U.S. warranties

TRICKS OF THE TRADE:

Digital Tech By Sylvia Gyrion | Photo by Adam Cantor

or some of us, the mere thought of dealing with computers is utterly daunting. Others possess inherent savvyness and are able to navigate their way around any operating system with great ease. It’s no secret the advent of digital photography changed the industry, and technically proficient people became a high commodity. Thus, the Digital Tech was born. His function is to oversee the capture process during a shoot to ensure incoming images are optimized for the desired look and necessary output, to troubleshoot technical issues on set, and to properly manage files. Travis Drennen is on top of his game; so far his work has taken him to New Orleans, Paris, San Francisco, and Los Angeles. He lets us in on his secrets: Learn Your Trade “I have computer science and photography degrees so it was pretty easy for me to merge the two and work as a digital capture tech. In photo school, we had access to early Leaf backs that helped me learn the basics. After that, it was very easy to learn my way around the other capture programs such as Capture One Pro, Digital Photo Pro, Flexcolor and Phocus. I also take classes and attend seminars on the newest equipment and programs whenever possible. I offer to help friends or photographers who are testing. You can also get trial versions of most programs and read the help section to learn your way around a particular program.” What You Need To Know “For me, it goes beyond just knowing the capture programs. I’ve seen Art Directors and make-up artist navigate their way around Capture One. You should be able to troubleshoot computer problems on a Macintosh, have an advanced understanding of the technical side of analogue photography (f stops, shutter speeds, iso, etc), an in-depth knowledge of digital color correction from capture to output, basic Photoshop/retouching skills, and a working knowledge of capture programs, digital backs, and cameras. I think a tech should also be able to fill the role of a photo assistant. I take photo assisting gigs from time to time to keep my memory fresh. Little things like knowing how to work a Profoto 7B or how to split channels on a Profoto 7A can make a big difference. It’s good to be versatile; it makes you more of an asset.”

Getting Work “This is the hardest part because so many people have recently started to market themselves as digital technicians. If you’re a photo assistant, let the photographers you work with know that you can also do digital and they might give you a shot. Another way to get in the business is to work full-time as an in-house tech for a studio or capture company. When you’re starting out, you have to remember that this is a business and like any business, it takes time to build relationships with clients.” Be Different “For me, my job is more than knowing the capture programs. Always keep up with the latest technology to stay ahead of the game. I check blogs and forums regularly to learn about common software issues. This really pays off when problems come up. You might be able to get by until you have a real problem, and that’s when a good tech will shine. You should be self-sufficient with anything that could go wrong with any part of the system. It’s also helpful to have a network of techs you can call to troubleshoot with when things get above your head. Tell the crew to take five if you have to. You should be able to communicate well with the photographer and the rest of the people on set while keeping calm under pressure. In the world of technology, things go wrong; it’s not a matter of if it will happen, but when it will happen.” Leave Your Ego At Home “Sometimes you will work for a photographer who is not digital savvy at all. I always relate everything back to film; it seems to be the best way to drive the concept home. Be respectful, and use common sense in regards to timing. If the photographer is out of focus, let them know, but be discreet. You certainly don’t want to make him look inept in front of a client. Also, keep in mind, you’re not running the show: at the end of the day you are there to help the photographer. And don’t promote your work while you are on a job–that’s totally unprofessional.” Easy Money “Five or six years ago, being a digital tech was very lucrative. I think it still can be if you decide you’d like to make it your career. Digital is expensive and is changing all of the time so it requires a large investment before it becomes lucrative. There are many people and companies to compete with so it’s not as easy as it once was. I think there will always be a need to have someone watching the files come into the computer, but I’m not sure if people will be able to command the same day rates.”

Tricks of the Trade 11

12 Resource Guide To

Popular thought claims that “the body is a temple.” However, people are becoming increasingly poisoned and malnourished as the result of many factors: the environmental degradation that has been allowed to proceed globally, never-before-seen combinations of chemicals from shampoos to oil spills, electro-magnetic frequencies—“electrosmog”—from cell phones and wifi, and of course, Franken-foods and the depleted soils they spawn…just to name a few. Oh, boo-hoo! What are we gonna do? Start with our own bodies, that’s what. Work from the inside out. Raise your vibration in the process and manifest a better future. Scientists now know that we are a collective—a fractal hologram in which every part contains the whole and any change in the smallest sliver will affect everything. This—combined with the fact that we know that we alter reality simply by observing it—means that we literally do create our reality.

FOOD: Let’s start with the basics. We need food to give us nutrients, but here’s a smart strategy that will also keep us looking and feeling good. As any Rockette would advise, eat six small meals a day instead of three big ones. This will keep your metabolism running smoothly, your weight under control, and you won’t feel as heavy or sluggish throughout your day. So don’t put all your eggs into one meal. Also, make an effort to pick the healthier foods on set, such as lean meats instead of red meats and fruits and veggies. Small changes go a long way. When in doubt, it also helps to think about the “Biblical Diet,” as in: what would Abraham eat?

By Chris News and Marla Lacherza | Illustrations by Patrick J. Lynch

Look Your Best and Save the World

resource guide to:

So, in the spirit of easy solutions and doing our part, let’s proceed with finding profound ways to improve our lives, gain peak health and well-being, and look good, all the while taking small steps to make the world a better place. In the photo production industry, with its stress, long hours, and limited time to take care of our own needs, the following changes can be one of the simplest and most valuable things you will do in a day.

THE BEST VITAMINS AND SUPPLEMENTS: Vitamins: When it comes to vitamins, there is a big difference between “Flintstones Chewables” and the best minerals available. Most vitamins have been proven to be less bio-available, containing cheap ingredients and padded with fillers. One of the best ways to maximize your health and performance in this crazed and demanding industry of ours is to find the highest quality, most bio-available vitamins and take them daily. With better quality vitamins the absorption and benefits to the body improve and the extra cost will average out as you need to take less. A multivitamin is an absolute necessity. One of the best vitamin companies is called “Beyond Health,” founded by an MIT chemist who became terminally ill and healed himself simply by applying what he knew about vitamins to understand health and healing. Another great vitamin company is called “Drink Your Vitamins.” Both can be found online. Generally going to any health food store and asking for a multivitamin that can be used as a food source and does not need to be taken with a meal guarantees that you will be getting a better product.

Lugol’s Iodine: Using iodized salt has, no doubt, been effective: it contains about 76 mcg. of iodine per gram. The average person consumes at least 3 grams of iodized salt daily, exceeding the RDA for iodine by 150 mcg. However, iodized salt has many drawbacks: it contains aluminum and processed chemical residues, and its overuse creates the well-documented conditions associates with high sodium intake and sodium-potassium imbalance. Table salt, by definition, is mostly “sodium chloride.” The use of table salt as a delivery vehicle for iodine ironically presents a situation where you ingest far more chlorine, which displaces so much iodine that it offsets the amount you ingest through iodized salt. Add a drop of Lugol’s to your health/detox regimen to counter-act this little-known foible. Chlorella, Spirulina and E3LIVE: These nutrients are known as “super foods” for a reason. Packed with over twenty vitamins such as A, C, B1, B2, B5, B12, biotin and folic acid, they almost replace any multivitamin and work well to prevent and/or eliminate colds and other illnesses that slow us down. Some of the best sources have also beneficial bacteria to aid in digesting and processing foods. In addition to an incredible density of nutrition, these “super foods” act as superb detoxifiers of heavy metals, like mercury. Some holistic health practitioners report that heavy metals like mercury are “gateway toxins,” meaning that your body has difficulty removing other toxins once it has mercury. Your body will store the toxins in fat and joints. Say “Hello” to issues like depression, lower-back, knee and other joint pains, along with weight-gain. So, if you want to lose weight, eliminate joint pain and enjoy peak performance in our high-stress industry, look for these “super foods” at any health store or online. .

Resource Guide To 13

DETOX: Detoxing is good for many different reasons, the main one being that it cleans the accumulated toxins out of your body, allowing you to look and feel great. Other benefits may include losing weight, jump-starting a new diet, cleaning your intestinal tract, and helping with regularity. We encourage everyone to find out for themselves what works, but these are some methods we recommend: Clay: Normally when the word “clay” comes to mind the last thing that we think of is eating. However, we are not discussing any ordinary art class clay here. Living Clay is one of the most profoundly effective and undervalued health treatments. Its main function is to attract and neutralize poisons in the intestinal tract. Just by eating clay you can eliminate food allergies, food poisoning, viral infections, and different sorts of parasites. Living Clay can be ingested in a powder or tablet form. We recommend LivingClayCo.com MMS: Here is a new one just off the presses from American scientist Jim Humble. Known as “Miracle Mineral Supplement,” it may be one of the most profoundly simple detoxifiers and energy enhancers you will find. When following the protocols, it serves to destroy all known pathogens in the body. There have been many success stories and word definitely needs to be out: if you want a peak life experience, this is one tool you want to have around. Cancers cannot survive in a highly oxygenated and alkaline environment. MMS reacts on a molecular level with anything in the body below a 7.0 pH and dissolves it, leaving your body free of the things that might slow it down. Many athletes are starting to use it for this very reason. The Raw Food Detox: Like its name suggests, this diet consists of eating raw fruits, vegetables, grains, sprouts, nuts, seeds, herbs and spices. The ideal would be to maintain this diet, but most people keep it going for a while and then let it go. Be sure to include protein and carb replacements if you pursue this program. This diet is meant for weight loss and supreme wellness, and also goes under the term “Biblical Diet.” In other words: if they didn’t have it two thousand years ago, don’t eat it. Detox Kit: Most health food stores have detox kits that will provide you with a variety of herbal supplements and instructions that you can follow to cleanse your system in five, ten, or fifteen days.

STRESS RELIEVERS: Stress and anxiety are endemic in this volatile world. Too often, people try to appease these monsters with food, alcohol or drugs, but this only creates added pressure on the body. Yoga: The word Yoga is Sanskrit for Yoke: it means to unite the mind, body, and spirit. The practice teaches you to train your mind, body, and breathing patterns, all while connecting with your spirituality. There are over

seven different forms of yoga and they all benefit you in different ways. Yoga is known to improve flexibility, strength, balance, and stamina. It is also used to lower anxiety and stress, promote better sleep, and allow you to achieve clarity. Flotation Therapy: In life’s hustling and bustling grind, there are moments when we wish we could float away from it all. Now it is possible; thanks to Flotation Therapy, there is a simple and effective way to reach instant Zen. The flotation tank is intimate, warm, dark, and full of salt water that makes you feel weightless. A normal session lasts for approximately one hour and is equivalent to four hours of restorative sleep. At the end of the treatment, your skin is smooth and you feel utterly revived. Flotation Therapy has been known to help lower blood pressure, reduce stress, and ease neck and back pain. Exercise: Think of exercise as food for your mind and body. With its visible and beneficial effects on your body, exercise plays a huge part in controlling your stress levels, emotions, and maintaining your mental health. The first step is to find a cardio workout that you really enjoy doing. Find what you love and do it full force. Also try to squeeze in some time for abs exercises such as crunches, add leg lifts, and maybe throw in some weight training if you can. If you’re looking to get, say, a six-pack, there is no such thing as spot training: you’ll still need a good cardio routine to burn the fat and show the muscles. Meditation: Meditation helps to improve our emotional, mental, and spiritual states. It also has been known to relieve chronic syndromes and diseases such as allergies, arthritis, cancer, blood pressure, and asthma. Even just ten minutes in the morning and evening can help. Various methods include: Breathing–The most basic and easiest way to clear your mind. Focus all your attention on your breathing. Breathe deeply, slowly, and concentrate on feeling and listening as you inhale and exhale. Walking–While walking, slow down the pace and concentrate on your body. Pay attention to the motion of your legs and feet. Walking for the simple sake of walking does wonders for one’s appreciation of his or her mobility. Sound/Visual–You can create your own mantra by repeating the name of a spiritual figure or evoke images to guide you through your meditative journey. Repeating the word “Om” has also shown to be beneficial. Consciously forgive and smile more: How many times have things gone just a little differently than planned on a shoot because, for example, clients changed their mind at the last minute, or a talent is a no-show? Just keep focused on the (positive) outcome of the shoot. Smile even if you don’t feel like it. Studies have shown that smiling releases endorphins and serotonin, essential “feel-good” chemicals.

INTERVIEW:

Cat Jimenez from the Lucie Awards By Stephanie Nikolopoulos | Additional reporting by Sara Roth | Images courtesy of The Lucie Awards

Susan Meiselas

The film industry has had the Oscars since 1929, and television has had the Emmys since 1949. Photography, though in existence long before moving pictures, has not had its own prestigious awards show until just six years ago. In 2002, Hossein Farmani started the Lucie Awards to honor achievements in photography. Industry insiders from around the world came out for The Sixth Annual Lucie Awards. The event took place on October 20, 2008, at Lincoln Center’s Avery Fisher Hall in New York City.

Gianni Berengo

Cat Jimenez, Executive Director of the Lucie Foundation, explained to Resource Magazine that there are three ways to win a Lucie: “One: the Advisory Board nominates master photographers each year to recognize as Honorees during the ceremony and throughout the year. Two: photographers submit their work through the International Photography Awards competition. Or three: your work is either nominated or submitted for consideration in the six Support Category Awards. I think it’s hard for one photo to stand alone and win a Lucie: it’s most often a series of images that show a consistency in vision and expression.” The winners get cash prizes, are featured in the IPA Annual book, and of course go home with the coveted Lucie statuette. Equally important, though, is the support of the community. “There is so clearly a community behind everyone who stood up here tonight,” said Sara Terry during her acceptance speech. “I don’t think that photography exists without that kind of support.” Jimenez acknowledges, “As with any endeavor, the more support you have behind your ideas, vision, commitment, the more you can push on. Community is also important for networking and to help manifest, facilitate, and translate ideas into something tangible. Sara understands that each of the photographers who were celebrated that night looked back on a long

Interview 15

“It was a picture-perfect evening.” –Mario Cantone

Erwin Olaf

career where individuals helped them achieve what they’ve done in photography. That’s really valuable. Within the infrastructure of a photography shoot alone, there can be a dozen people, in addition to the photographer, who exists to make a picture happen. That’s a community, albeit a small one, existing to support the actions of a photographer.” Beyond the importance of the awards to individual recipients within the photography community, the Lucies record the progress of the industry as a whole and how it shapes our culture. Jimenez explains, “The Lucies recognize and acknowledge photographers who have given their lives to the craft of image-making. These masters have paved the way for younger photographers. It’s important to celebrate them for their contributions, especially as an entire generation of photographers are aging and passing. We just lost Bill Claxton, who received an inaugural Lucie in 2003, Cornell Capa, and Philip Jones Griffiths. These men documented history and affected change through their photography. We should not only celebrate them but understand how their lives have affected ours. And the Lucies strive to share a snapshot of their lives through the ceremony. Herman Leonard said at the most recent Lucies that this award was the most

Patrick Demarchelier

Richard Misrach

important he had ever received. This man has been shooting for over sixty years and has created some of the most compelling portraits, not just in the jazz circles, for which he is most famous, but in other photographic genres too. That’s a living legend amongst us. It’s important to know how they’ve participated in the history of photography.” The history of photography, after all, is long and involved, and it would be interesting to follow the development of photography through the lens of the Lucie Awards. Photography arguably began with the invention of the pinhole camera in the tenth century AD by Ibn al-Haytham, the Arab scientist who is known in the West as Alhazen. Today, digital photography is impacting the industry to the point that even Richard Misrach, known for his film photography, announced at the awards show that he is now shooting digitally. Throughout centuries, photographers have adapted to and excelled at using whatever technology was available. Thanks to the Lucie Awards we now have a way to document and celebrate achievements in the photography industry.

John Iacono

Josef Koudelka

The 2008 Lucie Awards Winners

The 2008 Lucie Awards Honorees

LIFETIME ACHIEVEMENT Gianni Berengo Gardin

INTERNATIONAL PHOTOGRAPHER OF THE YEAR AWARD Brent Stirton

BOOK PUBLISHER OF THE YEAR 21st Editions | Jamie Baldridge The Everywhere Chronicles

DISCOVERY OF THE YEAR AWARD John Delaney

FASHION LAYOUT OF THE YEAR Harper’s Bazaar - Fairy Tales by Jean-Paul Goude

ACHIEVEMENT IN DOCUMENTARY Josef Koudelka ACHIEVEMENT IN PORTRAITURE Herman Leonard ACHIEVEMENT IN FASHION Patrick Demarchelier ACHIEVEMENT IN FINE ART Richard Misrach ACHIEVEMENT IN PHOTOJOURNALISM Susan Meiselas ACHIEVEMENT IN SPORTS John Iacono ACHIEVEMENT IN ADVERTISING Erwin Olaf

DEEPER PERSPECTIVE PHOTOGRAPHER OF THE YEAR AWARD Justin Maxon PICTURE EDITOR OF THE YEAR Michele McNally for The New York Times PRINT ADVERTISING CAMPAIGN OF THE YEAR Photographer Marc Zibert - Agency 180 Amsterdam/TBWA Chiat Day/China Client Adidas - Campaign Impossible is Nothing -

PHOTOGRAPHY CURATOR/EXHIBITION OF THE YEAR Terence Pepper + Vanity Fair Editor David Friend for Vanity Fair Portraits 1913-2008 - National Portrait Gallery, London PHOTOGRAPHY MAGAZINE OF THE YEAR Eyemazing

SPOTLIGHT AWARD Visa Pour L’image HUMANITARIAN AWARD Sara Terry / The Aftermath Project Sara Terry

Herman Leonard

splashlight ad

NOW OFFERING CGI.

4UVEJPT Â&#x2026; &RVJQNFOU 3FOUBM Â&#x2026; $(* Â&#x2026; 3FUPVDIJOH Â&#x2026; %JHJUBM $BQUVSF Â&#x2026; 3FUBJM & $PNNFSDF 1IPUPHSBQIZ Â&#x2026; 1SPEVDUJPO TQMBTIMJHIU DPN

Resource_NOV_FINAL.indd 1

11/20/08 9:48:29 AM

18 Photo Deco-Page

PHOTO DECO-PAGE:

ALONE IN NEW YORK CITY By Sara Roth | Photos by Mark van der Aa

Photo Deco-Page 19

From the Netherlands by way of Buenos Aires, a stranger shoots New Yorkâ&#x20AC;&#x2122;s everyday street scenes from a startlingly peaceful point of view. In a city of eight million, it can take an outsider to find room for solitude. To shoot this everyday chaos as if he were Ansel Adams at the foot of the Tetons. Sometimes the city, with its concrete, age, shadow, and grime, creates a study in balance. Tramping around town, you may never see the harmony in graffiti-strewn storefronts or weathered bricks offset by abandoned construction material. Then there are times when you walk by and it is you that becomes the final touch, the pinnacle of the art piece. The amalgamation of you, space, and the impenetrable walls that surround all of us is art at its best. Movement, halted. Here, itâ&#x20AC;&#x2122;s prettier, and grittier, than any still life.

20 Photo Deco-Page

Photo Deco-Page 21

HOW TO:

Work the Wardrobe By Jeff Siti | Photos by Nick Ferrari Shoes from RRRentals

t’s cold out there and we are hairless little freaks, not prepared in any way to head face-first into the icy, icy winter like our ancestors, the apes. They were equipped with fur and mittens and a complete lack of logic, which–as any male archaeologist with a ponytail will tell you–combined nicely with their ravenous promiscuity, enabling them to survive the Ice Age and meteor blasts without much effort. Fast forward to 2009 and here we are, all brains and no fur, which brings us to wardrobe. Let’s get this over with. As always, the first thing you want to do is consider your station in life. Cover the basics. Along the lines of Abe Lincoln’s “house divided” concept, one must be in full accord with one’s mind, body, and soul before organizing wardrobe. Start the cleansing process by denying everything, and repeat aloud…”people respect me, I respect me, I’m happy, I’m a good person, my parents love me, I have goals and I achieve them, strangers don’t laugh at me, I voted, I care about the well-being of others, America is the last hope of the free world”… Okay. Now you’re fully cured and you didn’t even have to cut a check to L. Ron Hubbard for nine hundred thousand dollars. Imagine the savings. Admittedly, reading further won’t deliver you to a higher plane of spacemonster consciousness or enlighten you in any significant way, but you will pick up some useful wardrobe tips, which is really the point of this whole deal. Here’s how we do what we do. It’s all come down to this: your job is to cover human bodies that most people want to see uncovered. No small task. In the fifties you could have just slapped some overalls and Chucks on a kid with a crew cut and hit lunch, but these are not simple times. Let’s give it everything we’ve got.

First order of business: Preparation. A client who tells you what they want is a good client, because clients who tell you what they want make your job easier. Simple. They are easy to work with, and maybe even likable. They have a vision, an idea. Based on their specifications, make a legible and detailed list of everything you may possibly need including items, colors, styles, sizes, this, that, and everything else. Prepare for all contingencies. Now get your act together and look where you can get this stuff. Showrooms. They represent specific designers and get pretty fancy pants deals. Sometimes you can borrow stuff for free, and sometimes you can’t. But it’s not your money so you don’t care. Rental joints. They work specifically with stylists for photo shoots and films. Department stores’ Studio Services. They rent clothes directly from the stores for a fee. Stores. Stores are places with goods and services where you go and, with legal U.S. tender, either buy or rent these goods. In this case you’re looking in the clothing genre. Your best bet here is a rental company or studio service because of the bulk factor. You can knock a lot of work out in a single stop and the costs are much lower than retail. An added bonus is that, if you ever have to return anything, you don’t have to go to any stores, which are filled with people, and people, as you know, should be avoided at all costs.

How To 23

Super Wardrobe Tips the U.S. Treasury Department Doesn’t Want You to Know About: These are trying financial times. Tip One: Always leave room in the budget. If the client hits you

Keep a no-traffic zone sectioned off for items that need to be shot. Keep them separate from un-shot items to allay confusion. Shoes. Get ready: line them up on the floor facing outward. Amazing.

with some last-minute requests, it doesn’t instill confidence if you have to ask them up for extra cash, like some freeloading deadbeat twenty-seven-year-old who lives with his parents in a small town outside of Philadelphia. They will consider you one of life’s losers, and they will be right.

Have some respect for yourself: Keep everything neat, organized, functional, and professional. Keep it clean. We’re not launching telescopes, but this is a fast moving business. You need to know where everything is when you need it, when someone else needs it, and when no one needs it at all.

Tip Two: Keep all receipts. If you really want to be an all-star, make copies you can take notes on.

Find a starving subordinate who can’t afford another mistake and pawn this awful task off on them. Tell them they’re the only person you trust. Once you tally up your budget (including non-returnable items), write that number down and circle it. It means something. Then go through the least expensive items and see, according to your handy arithmetic, how many you can afford to keep.

Tip Three: Do not invest your income tax return in precious metals.

Some Thoughts on Shoot Day Display: For the sake of convenience, arrange five to eight full outfits for each model. From there, select two “first choices” for each talent. Easy. Toss the rest on a back-up rack and shove it in the corner like a misbehaving kid. Every once in a while, glare at it to let it know what a disappointment it is. Always keep a “working rack” for client-approved items that are likely to be shot. You don’t need to be told that you want to use clear plastic hangers, but please always use clear plastic hangers. If you see someone using wire hangers, kill them.

Returns and Budget: Last Order of Business.

Make certain you’ve got items corresponding with receipts and bags corresponding with the finely folded items inside. Returning items doesn’t have to be an unfriendly experience as long as you don’t abuse the stores’ return policies. Always attempt to keep some of the items as a sign of good faith. If the studio service has a return policy–they may require a certain percentage of the items be kept, for example–notify the clients: all worn, kept and purchased items should be sent to them. They love that stuff. It’s like bagels in the break room. You may not know it yet, but you’ve done it again: you saved the day and everyone loves you. Let them.

Thank you to Christina Kretschmer, Renate Lindlar, and Wendy McNett for their help and advice.

ETIQUETTE:

Equipment Rental By Jonathan Melamed | Photos by Shane Wilson

llow me to pose a question, faithful readers: what is a photographer without his camera? He is still somebody with, as they say, an excellent “eye.” But eyes don’t capture photos: no matter how deft one is with the art of composition, without that magical little box, a striking pose or subtle yet telling expression on the model’s face will never be captured for others to enjoy. Which leads to lights and other tools used to create emotion, feeling, and life in an image: are they not equally indispensable to the art of photography? If all of this is true, then isn’t the photo equipment the most important part of a shoot? Of course nothing is that simple. We all know that many elements are necessary to create a pleasing image, which is why all the separate departments, with their

compartmentalized skills and duties, are so essential. Everybody has a specific job that they are expected to execute with utmost professionalism and proficiency. It is the rental company’s duty to stock, maintain, and deliver all the needed equipment for a photo shoot. They may not be more important than everybody else, but you cannot have a shoot without a camera and some lights, so in a way, everything starts with them. They are almost like gods and should be respected as such. Photo crews should not dare forsake these gods, because like it says in some really old book that I read in a motel once, “the Lord giveth and Lord taketh away.”

Always: Be specific when ordering. “Lemme get two of those big lighty thingies that go on those big wheelie stands, and throw in a couple of them tortellini clamps while you’re at it.” This is not the professional way to order equipment. Most rental houses have websites or catalogues complete with photos and descriptions of their stock, which, after only a few minutes of researching, should give you more than enough info to order briskly and appropriately. Label equipment. As you’re tearing off slivers of gaffer’s tape to spike the tripod and mark the positions of your subject, why not break out the sharpie and label what pieces of equipment came from what rental houses? It will make wrap go faster and ensure a smoother return day. Report broken or missing equipment immediately. Photo assistants all agree that the most commonly broken pieces of equipment are usually flash tubes or modeling lamps. Bulbs are as fragile as uncooked eggs. Maybe the new guy forgot to throw a sandbag on a stand, or a rambunctious makeup artist overturned a light en route to a model’s face on set: these things happen on a fast-paced shoot. Judging by the frequency at which these lights break, the rental house won’t be too surprised when you report the problem. Just make sure you alert the producer and call ahead before returning the damaged goods, saving everyone tons of time figuring out the spike in the equipment rental budget. Get insurance. I hate to sound like an electronics salesman, but shit does happen. When you damage a piece of equipment worth thousands, you’ll be glad you had the hindsight to part with a minute percentage of the item’s cost in order to cover your ass.

Never: Forget to wrap cables. Returning a hamper full of stingers, all haphazardly thrown together in a knotted, serpentine heap will not make for a happy rental house. That extra few minutes you spend during wrap to make sure the cords are properly wrangled and bound will save the crew at the rental house much time and ensure their faithful service in the future. Hire a clumsy assistant. A photo set should not mimic the set of a slapstick comedy. When the cyc is a mess of cords, lunch boxes and stands, you want to ensure that you hire crew members that are cautious and quick on their feet. Leave large lights on stands at the end of the shoot. Always lower stands and remove all lights. This will save the equipment room employees from being brained by a rapidly falling HMI. Forget the law of photo production karma: do not only what is expected of you (that goes without saying) but do a little extra to make someone else’s day go smoother and to ensure lasting and fruitful professional relationships.

26 Locations

First Flight Music . 174 First Ave - New York, NY 10009 - 212.539.1383 - www.firstflightmusic.com

Locations 27

Locations:

Guitar Shops By Sara Roth | Photos by Axel Dupeux

Welcome, music aficionados. Welcome, guitar lords and sound engineers, fathers recreating hazy Woodstock memories, and kids continuing the tradition of blowing out amps in smoky basements. A warm welcome to you all, because once you enter, you will never want to leave. The smell of incense lingers in the air and swirls around thousands upon thousands of dollars worth of Fenders, Gibsons, B.C. Riches guitars, amps, drum kits, keys, and classic album covers strewn along the walls. In your dreams you live here, with a rotating crop of musicians filtering in and doing their thing on a ’71 Les Paul Gold Top, where no one thinks they’re too cool, but everyone really is. It doesn’t matter if you can barely tune a guitar or you wail like Hendrix at the Monterey Pop Festival. There is a love for all things rock that permeates these walls, seeps into your skin, and lights the room on fire. This ain’t no Guitar Center. These are institutions. Take a picture.

30th Street Guitars. 236 W 30th St. - New York, NY 10001 - 212.868.2660 - www.30thstreetguitars.com

Danâ&#x20AC;&#x2122;s Chelsea Guitars. 220 W 23rd St. - New York, NY 10011 - 212.675.4993 - www.chelseaguitars.com

Locations 29

Mazzotti Music. 284 3rd Ave. - Brooklyn, NY 11215 - 718.715.1420 - www.mazzottimusic.com

Ludlow Guitars. 164 Ludlow St. - New York, NY 10002 - 212.353.1775 - www.ludlowguitars.com

Rivington Street Guitars. 125 Rivington St. - New York, NY 10002 - 212.505.5313 - www.rivingtonguitars.com

Guitar Man. 147 Orchard St. - New York, NY 10002 - 212.475.5150 - www.guitarmannyc.com

a j p r o d u c t i o n s | n y, i n c duc s c outin apro jp rtioo nds -uc ca stt i in go-nl osc a|t i onn y, i ngc a j p r o d u c t i o n s | n y, i n c pro duc ti o n s - c a s t i n g - l o c a t i o n s c outin g pro duc ti o n s - c a s t i n g - l o c a t i o n s c outin g

917.209.0823 212.979.7585 ww w.ajproduc tionsny.c om ajprodnyc @mac .com

917.209.0823 212.979.7585 9 1w.ajproduc 7 . 2 0 9 .tionsny.c 0 8 2 3 om2 1ajprodnyc 2 . 9 7 9@mac . 7 5 8.com 5 ww ww w.ajproduc tionsny.c om ajprodnyc @mac .com

The Doors

HISTORY:

Morrison Hotel/ Hard Rock CafĂŠ by Henry Diltz - D owntown Los Angeles, California 1969. By Charlie Fish | Photo by Henry Diltz

History 33

To say Jim Morrison and The Doors had already tasted success and fame by the time they released Morrison Hotel is an understatement. They’d already been banned from the Ed Sullivan Show after Morrison refused to change drug-referencing lyrics from “Light My Fire.” Alcoholism was already a known source of trouble for the poet-songwriter, and by many accounts he was heard hiccuping on a track from Waiting for the Sun. Then came the alleged indecent exposure incident in Miami wherein, after trying to incite a riot amongst the concert-goers, Morrison is said to have shown his penis to the crowd. Yes, The Doors had achieved fame (as well as billboard-topping singles and albums) before releasing Morrison Hotel/ Hard Rock Café in 1970. Having been around for five years, they were as famous for their psychedelic/acid/blues-rock sound as Jim Morrison was for his reputation of being unpredictable and unruly on stage. Leather-clad and seductive, the “Lizard King” was proclaimed to be the prototypical rock star. It would be two more years before his body was found in a bathtub in Paris. As no autopsy was performed, speculations still remain as to what killed the poet with the baritone voice— the most common guess being a heroin overdose. In 1969, the four band members were gearing up to release their follow-up to The Soft Parade, the band’s most commercial album to date. Their fifth studio album was meant to be a return to form, with a raw, stripped-down blues sound. Meanwhile, Henry Diltz was known in the music industry both as a musician and as a photographer. His long list of friends and photography subjects included Crosby, Stills and Nash, Mama Cass, and Neil Young. Diltz was approached to photograph The Doors and ended up spending a good amount of time with them. Armed with a Nikon and a gifted eye, the resulting photographs became one of the most highly recognizable album covers in rock ‘n’ roll history. Not to mention that they also helped spawn a giant restaurant chain.

Resource caught up with the prominent photographer-turned-art gallery founder to hear his side of the story, including what Jim Morrison was really like. His impression of the wild child: “He was bemused.” On knowing Jim Morrison: It was such a small enough group of people in the industry in Los Angeles that we all sort of knew each other. I knew him as a musician, and I would see him around town. His girlfriend had a clothing store and I would also see him there sometimes. We were aware of each other. This shoot was the first time we really spent time together. On the Idea: Bill Siddons [The Doors’ manager] called and wanted Gary [Burden, art director] and I to come to his office in Hollywood. Jim [Morrison] and Ray [Manzarek, of The Doors] were there. They said, “Hey, we want you to do our album cover.” We asked, “OK, do you have a title?” “No, we don’t.” “Do you have any ideas for the shoot?” Ray told us, “My wife and I were driv-

34 History

ing in downtown LA and we saw this old hotel that said ‘Morrison Hotel’ on the window.” That very day we went down there to check the place out. We just went with Jim and Ray at first. Then we went back another day with the whole group to shoot. On the Morrison Hotel shot: We went inside and told the guy behind the desk, “We’re just gonna be in front of the hotel shooting pictures.” And he said, “No. You can’t do that; you gotta get the owner’s permission.” But the owner wasn’t around anywhere. We went back outside and I thought, ‘Well, I’ll have them stand in front of the window. They can’t stop us; we’re on the sidewalk.’ We shot a few pictures and, as I was looking in the window, I noticed that the guy had left the desk and the lobby was empty. So I said to the band, “Quick! Run in there!” They ran in and they all got in their places. They just fell into those positions. I took one roll of film—just thirty-six exposures. I started up close at first to get an angle, and then I shot from the side so I could get the hotel’s name and [the band]. Gary then said, “Back up, back up! Get the whole window.” He had a really good knack for looking at all these [shots] and picking out the one that was the image. In one shot, a pizza guy walked by in front of the window. I love that outtake. On the Hard Rock Café: After the shoot, it was maybe three o’clock and Jim said, “Let’s go get a drink.” We went a few blocks away to what they called Skid Row, where it was all bars and pawnshops. We drove down the street looking for a bar and someone said, “Hey look, Hard Rock Café.” Some guy told me later that he walked by this place in the 30s as a little boy and it was already there. It didn’t mean rock ‘n’ roll, it meant mining or something else. The image we took at the bar was used on the back of the Morrison Hotel cover. The Doors got a call soon after from England, asking, “Would you mind if we use that name? We’re starting a café here in London.” And they said, “Yeah, sure. Go ahead.” And that was the start of the Hard Rock Café empire. On Jim Morrison’s bar behavior: We had a beer and started talking to the local guys. Jim really liked to hear them talk about their life story: as a writer and poet, he was very interested in hearing people. I always use the word “bemused” to describe him. Jim was bemused. He was quiet, an observer, and he would drink it all in. He didn’t come off as aggressive; he was quiet and observant and thoughtful. He was on a quest to learn about life, the deeper inside and the underside of things. He was always listening rather than taking the lead. The first time they played in public, he even turned his back to the audience. I think he was a searcher. He was concerned with those questions of life. He was sullen sometimes and very internal. On the Music: They were a very arty group. I was a bigger fan of The Byrds and Buffalo Springfield. I was more folk driven; The Doors were more jazz classical. And when they played that electric keyboard, to me it sounded like circus music. Jim played at the same places that I did: the Whisky a Go-Go and the Hollywood Bowl. He didn’t have screaming girls around. It wasn’t like that; it wasn’t like the movie.

On being a musician and a photographer: Being a musician first made me know how to hang out because musicians hang out all the time. There’s a lot of downtime: traveling, backstage, rehearsing or whatever. And then they work for an hour or two in the evening. People didn’t see me as a photographer because I wasn’t there to do a photo shoot. I was just hanging out with my friends, shooting everybody. Eventually people started paying me for it, which was great because I was using all my musician money on film and processing. On recognition: Younger people always ask me who I’ve photographed. I say, “Crosby, Stills and Nash, The Eagles, Jackson Browne, Joni Mitchell”, and they respond with, “Yeah, yeah.” Then I say, “And The Doors’ Morrison Hotel,” and they go, “Duuuuude! Duuuude! You shot the Morrison Hotel?” Though it wasn’t my favorite album, it’s become their best-known album cover. On the remains of the Morrison Hotel, 1246 South Hope Street This hotel was a derelict hotel for transients. Rooms were $2.50, and even in those days that said a lot. A couple of years after this picture was taken the sign was gone and the place was a Laundromat. Ten years later, the Laundromat was gone and it became a sort of quickie mart, a little corner stand. A slumlord owned the place in the end. Renters complained and there was a big thing with the city council because there were rats, roaches, running sewage, and all kinds of horrible [conditions]. It finally got closed down. It’s all boarded up now. A few people have thought about buying it and starting a Morrison Hotel chain. You could: that area is becoming refurbished. I think they want fourteen million for it. On the original Hard Rock Café, Corner of East 6th and Wall Streets One time we went down there to try to find it and we couldn’t exactly remember which block it was on. I finally decided it was on a now vacant lot. “That’s where it was,” I said. Then some time later a guy told me, “My parents owned that place; it’s still there.” It’s empty and boarded up now, but it’s in a horrible area.

The Morrison Hotel Gallery is home to some 50 photographers’ various rock ‘n’ roll imagery. California Dreaming, Diltz’ new book, is out now.

AD: SWELL

AS SEEN IN RESOURCE MAGAZINE:

??? AsSeen Seen In 36 As

Rogue’s Magic and Fun Shop By Jonathan Melamed | Photo by Keith Telfeyan

W W

hen I first walk into Rogue Magic and Fun Shop in Elmhurst, Queens, I imagine the owner to be a small man clad in a cape, donning a top hat with some intricately sculpted facial hair, emerging from a cloud of smoke. In this fantasy there is also a cheesy eighties soundtrack playing and a top-heavy female assistant standing by. Instead, I am introduced to a young, skinny Asian man in urban chic Nikes, who identifies himself as “Rogue the Magician.” Hip-hop blares from the speakers and there is no beautiful assistant in red pumps waiting eagerly to be sawed in half. That’s okay; this is Queens, not Las Vegas, after all. A long-haired employee soon regales me with card and coin tricks on a suede pad atop a glass case. Every trick he shows me is displayed below and is available for purchase. Frankly, they all stump me, and I am immediately tempted to purchase at least one of these fantastic illusions before being gripped with cynical thoughts. Am I being hustled here? Am I being treated like all the other customers? Wow me with a bunch of tricks that, when performed with the dexterous fingers of a pro seem easy, but take days or weeks to master? These qualms are quickly repudiated as I glance back at Rogue who tends to a group of slick-haired preteens with diamond studs in their ears and pimples on their cheeks. They inundate him with questions, which he valiantly attempts to respond to before they interrupt his answer with another question. This is a form of interaction indicative of outer borough youths; it is a harmless form of rudeness that springs from an upbringing in overpopulated public schools and loud, crowded streets. Rogue, a native of Queens himself, returns the attitude but is nonetheless attentive to the kids, showing them a number of new tricks. After discussing the price, it seems they cannot afford any of them. He does not ask them to leave, instead allowing them to wander further into the store, where they line up next to a case displaying incendiary fire illusions and continue practicing the tricks they already own. Rogue is a business-owner and needs to sell products in order to stay afloat, but I can see how these elements seem to be less important to him than his love for magic and his crew of budding illusionists. “I’m the first magic shop that has a

built-in family; basically everybody who joins my membership is family. I treat them like family and they know it. I bring them out, and if they don’t have enough money, I spot them for dinner. People say that’s not how you run a business, but to me, that’s how I want to run my business.” Rogue has been enamored with magic since the day he saw pretty-boy magician David Copperfield make the Statue of Liberty disappear back in 1983. He continued on as an amateur magician, performing for his family and friends, all the while working odd jobs at Dunkin Donuts or as an English teacher. Eventually, as his urge to perform magic became too strong, he was fired from a good job as a computer graphics artist and was forced to hustle his magic on the pavement, in the “rogue” fashion his moniker suggests. “My boss was getting upset and we agreed that the job wasn’t right for me. He laid me off, and thanks to him I pursued my dream. I went out to the streets and did magic—street magic, out of a backpack, selling magic tricks, teaching magic and performing for tips. That’s how I made my living.” On a good day he was pulling in about a hundred dollars. He then started selling magic and teaching classes out of his family’s apartment in Forest Hills, but according to him that didn’t last long. “It was ridiculous. There was a lot of stuff I put my parents through, but they were understanding because it was my livelihood, how I made money. It was really weird having people come to my apartment all hours of the day or late at night to take magic lessons. A couple of times I even felt like my life was in danger.” He moved his operation to the front window of a bookstore in Rego Park where he set up a more permanent display and sold his tricks on consignment. After only six months the bookstore went out of business, and once again the ambitious magician was forced to take his rogue operation elsewhere. “I had all these counters and crazy merchandise, like DVDs, video tapes, and Halloween costumes. I was frantic because if I didn’t find a spot, I would have had to throw all that stuff into storage. It would’ve been too much money. So luckily I found this spot at the last minute. It was affordable and that’s how it all began.” What Rogue found was a small shop among numerous other small businesses and corporate chain stores in the mercantile thoroughfare of

As Seen In 37

People say that’s not how you “run a business, but to me, that’s how I want to run my business.” –Rogue the Magician

Queens Boulevard, which stretches from Astoria to Elmhurst. Not exactly a prime location, but according to the enterprising illusionist, the magic shops in Manhattan have nothing on Rogue. “The thing that makes us unique is that we have the most complete inventory. In any other magic shop if you ask for certain things, they’ll be like, ‘Hmm no, we don’t have that. Nope, we can’t get that.’ But for me, nothing is a problem, nothing. I guess they don’t work as hard and they don’t take as many risks. They think ‘that product’s not going to do well. That product is too dangerous.’ I don’t care. If you want it, you get it.” Rogue has successfully drawn customers coming from all over the Tri-State area, requesting obscure tricks and combustible fire illusions. He has also created a community of local magicians who use his shop as their home base. His customers are of every race and age— people who live among each other in the melting pot that is New York, but whom you don’t often see mixing in social settings. In the few hours I spent at Rogue’s, the clientele ranged from a middle-aged Mexican horror mask enthusiast to an All-American working-class type in NASCAR gear. Rogue brings them all together as a supplier, teacher and community leader of magic.

Rogue Magic and Fun Shop 85-8 Queens Blvd - Elmhurst, NY 11373 718.505.0316 www.roguefunshop.com

Fashion 39

FASHION:

The Photo Assistant and The New Bohemian Golden Age By Elis Estrada | Photos by Jeremy Williams / www.photojw.com

Like many artists, the life of a photo assistant requires the utmost dedication, lots of hard hard work, and an ability to party after a long day’s work. After assisting on a twenty-hour shoot rigging lights, moving sets, checking light meters, and making sure the photographer’s latte—bought from the best hipster coffee house (never Starbucks)— is piping hot, the only thing left on his mind is unplugging from the ails of his day and succumbing to an intoxicating atmosphere full of friends, booze, and sex.

On him: Trash & Vaudeville biker vest | on her: Sock Man thigh highs, Elle MacPherson intimates

Stirring to the glimmers of late morning light seeping through the curtains in his cluttered lair, the photo assistant awakens next to his sleeping muse. He is dazed, hung over, and desperate for his designer shades to shield and perhaps delay the stresses of the day. Garnering his creative energy, he explores and shoots every crevice of inspiration on his scantily, but fashionably, clad girlfriend, happy to be living an artist’s life and dreaming of his photos on the cover of Vanity Fair.

on him: What Comes Around Goes Around denim shirt, YSL vintage hat, Martin Margiela scarf | on her: YSL dress

on him: YSL vest, Bliss Lau chain harness, Marc by Marc sunglasses | on her: Diane Von Furstenberg blouse, Sock Man lace thigh highs

on him: Manhut knickers | on her: Woolrich vintage knickers

Wardrobe Stylist: Jamie Rosenthal / www.jamesmr.net Wardrobe Assistant: Katherine Cooke Props Stylist: Andy Eklund / www.andreweklund.net Make-up Artist: Sam Trinh at Atelier Management / www.ateliermanagement.com Hair Stylist: Thomas Baber / Thomaswilsonbaber@gmail.com Photo Assistant: John Klukas / www.45houses.com Digital Tech: Shane Wilson / shanewphoto@gmail.com Models: Helena Babic at MC2 / www.mc2mm.com - Davide D. at Request / www. requestmodels.com Location: Blake Brinson / Apartment LES - Blake_Brinson@hotmail.com

44 Industry Tale

INDUSTRY TALE:

The Rock Star and the Greasy Gash By Benjamin Wright | Illustration by Tomás Pichardo

e’d been waiting for hours before we heard that our star had tried to kill herself. We were shooting in some bombed-out postindustrial nightmare in New Jersey, all rust and wire and shattered glass. A place so haunted and broken that even the animals had abandoned it, their shit and feathers and bones moldered down to dust, mixed in with the sediment of corroded metal and lead paint that lined the floors. Our feet kicked up thick, reeking clouds of dust that stung our eyes and scoured our throats as we hauled our equipment up seven flights of breakneck stairs, inching along rickety scaffolding stretched over three-story drops, the guard rails having long ago broken away or dissolved beneath the thick, carcinogenic miasma of rust and decay. This was at the peak of her fame, or infamy, though she was already known more for her bad behavior and dead rock star husband than her own music. Her manager told us she’d be there at eight in the morning. Twelve hours later she still hadn’t shown up, though every once in a while I would get an update over the phone and I’d hear her shrieking in the background, or laughing, or babbling about how she was going to kill herself. She had been coaxed out of her room, then down the stairs, then had vomited on her front lawn, then finally managed to get in the car and on the way out to New Jersey. It was almost nine at night when we heard the sound of car tires crunching over gravel, followed by a faraway shriek rising up above the noise of the generators, a piercing klaxon that grew closer and closer, ricocheting off the walls until we were surrounded by it, penned in on all sides. Then she was there in front of us, screaming and hollering, her clothes in tatters and her eyes rolling madly in their sockets, followed by her shell-shocked platoon of handlers. She stormed past us, disappearing in a blast of drugged profanity into the room we’d scoured out for hair and makeup.

She reappeared an hour later, calmer, or at least more sedated, and I walked her up the scaffolding to the trapeze we’d rigged to hang down in the middle of the huge circular chasm that ran through the center of the warehouse. She looked down at the two-story drop and, in a moment of clarity that was as unexpected as it was poorly timed, refused to get on. Rather than convince her to sit on the trapeze, we switched to plan B and told one of our interns, a girl named Kimiko, to set up the wind machine. By then, our star had burned through the false cheer from the pills and her mood had again turned sour. She hurled insults at us as we wrestled our equipment into place. Finally we were ready to go. Kimiko hit the switch and the wind machine whirled instantly to life, sending everyone ducking for cover as the place filled with a tornado of rust and shit. The subject doubled over, wincing in pain as she pawed at her face, screaming “My cornea! I’ll have you deported, you bitch!” She tried to scrape the paint and rust and shit that had been blown into her eyes, nose and the gaping hole of her angry mouth. Someone unplugged the wind machine and the cloud of poisonous dust settled like snow, but she kicked up more as she wheeled around at its center. Her arms flailed madly about as she groped for Kimiko, grasping blindly for the pale wisp of her throat. In her fumbling, she stepped on a jagged piece of metal and cut a long gash into her foot. In a flash, she was in a heap on the ground, blood throbbing over her fingers and disappearing into the filth of the floor. Her handlers swooped in and carried her away, and her screams echoed into the inky black, then slowly whittled down to nothing, smoothed away beneath the warm blanket of some narcotic. After a few minutes she came limping back onto set, hair and makeup magically done, foot wrapped in a bandage and wearing one of the fifteen thousand dollar dresses the stylist brought along—a white wedding gown somehow already caked with soot and grime.

She announced with drugged indifference that she was ready to shoot. As we started setting up the lights, the drugs took a funny bounce and she started to tear the dress from her body in long strips while the stylist looked on in stunned horror. When nothing was left, she just rolled around on the floor, naked except for the soiled, bloody bandage around her foot, the grime blackening her face and eyes like makeup. Suddenly, she was on her feet again and sprinting toward me, eyes raging with the wildfire of her next terrible idea, and in seconds, she was wrapped around me, hands pulling my hair and feet kicking at my stomach as she hoisted herself up onto the exposed pipes running overhead, ten feet above the hard concrete slab of floor below. It was up to me to get her down while the rest of the crew stood with hands held futilely up toward her like onlookers watching a jumper on a twelfth-story ledge. Eventually she grew tired of monkeying around on the pipes, aiming kicks at any head that came within reach of her legs. She shimmied over above where I was standing, and she dropped down onto my shoulders with the greasy gash of her crotch clamping down onto my ear like the mouth of a lamprey. I heard a sound like the water being wrung out of a washcloth. Then I was on the ground with her on top of me, smothered by the waxy stalks of her legs, as she cursed and laughed and ground her diseased genitals into the side of my head. Someone pulled her off of me—the great blond cackling wreck of her—and she scurried off into the darkness beyond the lights thrown by the generators. No one looked for her. We just sat with our heads in our hands like survivors in the eerily calm aftermath of a bomb blast. Someone finally came over and told us he’d found her curled up next to the giant foam rubber penis we’d brought, still naked, still covered in shit, and curled up in the curve of the ten-foot cock like a baby nestled against its mother’s breast. A sound came to us, a deep rumble. It came again and again, a melodic clattering like the sound of glass breaking in slow motion, alien and strange in the wake of that long night, but growing less strange with each toll, like a familiar face being pulled slowly into focus. Church bells. Someone said, “It’s Sunday.” The bells stopped, and for a long time no one said anything.

cclaimed nineteenth century French realist painter Gustave Courbet generated scandal in the art community when he planned an exhibition featuring realistic nudes. Defying the timeless, idealized representation of the female body, Courbetâ&#x20AC;&#x2122;s nudes were seen as vulgar and far from tasteful. We have come a long way from the conservative ideals of Courbetâ&#x20AC;&#x2122;s time; but when it comes to nudity and a state of undress, a fine line is still drawn between what society sees as pornographic and what it considers art.

By Elis Estrada

Classy Nude

INTERNATIONAL:

46 International

What makes a nude classy? Is it the setting? Or the poses and erotic images they suggest? Cultures around the world regard nudity in distinct ways that reflect their values and traditions. However, just as photography visually evokes senses and emotions that transcend cultural boundaries and adversity, it can also bring us back to our most basic animal instincts. This International Page is devoted to the Classy Nude. Talented photographers from around the world expose contemporary images of nudes reminiscent of the stripped females that have been the source of swooning and artistic inspiration to men and women for centuries. We are not talking Playboy here boys and girls, we mean class. Pinkies up.

For updates on future contests please check our website at www.resourcemagonline.com

Georgia - Tbilisi Artist: Saba Shengelia Title: Magdalena Camera Used:Canon Eos 300 Contact: mail.saba@gmail.com

48 International

Canada - Toronto Artist: Olga Nurullina Tittle: Her Portrait Camera Used: Nikon D100 Contact: olka@fotki.com

USA - Hollywood, CA Artist: David Henri Tittle: Amanda Hips Flexed Camera Used: Nikon D50 Contact: dave@dhcx.com - www.dhcx.com

Thailand - Koh Phangan Artist: Diana Sabreen Tittle: Self Camera Used: Canon 20D Contact: dianasabreen@gmail.com

International 49

Mexico Artist: Diana Sabreen Tittle: ”In the Morning” Camera Used: Nikon FM. Contact: dianasabreen@gmail.com

Lithuania Artist: Arunas Staponas Tittle: Wake Up With Me Camera Used: Nikon D200 Contact: buggutis@yahoo.com

USA - Near Hibernia, New Jersey Artist: Ed Hafizov (Zorz Studios) Tittle: ”In the Morning” Camera Used: Canon 30D DSLR Contact: photo@zorzstudios.com www.ZorzStudios.com - 718-873-3100

50 International

USA - New York City Artist: Gaspar Marquez Tittle: Untitled Camera Used: Cannon AE1 Contact: polidimensional@yahoo.com

USA - New York City Artist: Gaspar Marquez Tittle: Woman resting Camera Used: Cannon AE1 Contact: polidimensional@yahoo.com

Fast Ashleys Studios

Industria Superstudio

STUDIOS

Splashlight

Sun Studios

What makes a studio a great studio? By Sara Roth

We at Resource scoured the country, and discovered the best of the best studios. Each has its own je ne sais quoi—that special something that makes it one of our 54 favorite studios. After talking with photo productionists across the country, we’ve compiled the ultimate list of the best, the brightest, and the sweetest studios in America. Wherever you’re shooting, we’ve got you covered.

The Studio

Noho Productions

A Guide to The Greatest Studios in America

Neostudios

Blue Sky Rental Studios

Shoot Digital Sun West Studios

Brooklyn Studios

Go Studios

Jack Studios

Bathhouse Studios

EAST COAST

BOSTON

01.Boston Studio 508.877.5383 www.bostonstudio.com

CHICAGO Studio Rental Chicago

Studio Rental Chicago

2255 S Michigan Ave. - #3E/W Chicago, IL 60616 312.326.1372 www.2255studio.com www.studiorentalchicago.com 03. Studio Vogue 773.592.4049 www.studio-vogue.com Blink Studios

04. Think Big Studios 312.432.0095 www.thinkbigchicago.com

MIAMI

Blink Studios

521 Michigan Avenue Miami Beach, FL 33139 305.532.7525 www.theblinkstudios.com Bathhouse Studios

06.Carousel Studios 305.576.3686 www.carouselstudios.com

07.MAPS Studio 305.532.7880 www.mapsproduction.com

Bathhouse Studios

08.One Source Studios 305.751.2556 www.onesourcestudios.com 09.Splashlight Miami 305.572.0095 www.splashlight.com 10.Studio 27 305.573.3311 www.studio27miami.com

Bathhouse Studios

11.Trendy Studio Miami 786-553-3733 www.trendystudio.net

NEW YORK

Bathhouse Studios

David Gipson - Studio Manager Sarah Garrity - Assistant Manager 540 East 11th Street New York, NY 10009 212.388.1111 manager@bathhousestudios.com www.bathhousestudios.com The premier photo rental house in NYC, Bathhouse Studios is the ideal space for any type of shoot: a car, small table-top or supermodel, we’ll fit you right in.

Brooklyn Studios

211 Meserole Avenue Brooklyn, NY 11222-2432 718.392.1007 brooklynstudios@verizon.net www.brooklynstudios.net Brooklyn Studios is a 10,000 sq foot daylight loft location with a cyc studio, 2 shoot-in bathrooms / 1 shoot-in kitchen, large rooftop deck and six large skylights. 14. Capsule Studio, Inc. 212.777.8027 www.capsulestudio.com 15. Daylight Studio 212.967.2000 www.daylightstudio.com

Divine Studio

21 East 4th Street - #605 New York, NY 10003 212.387.9655 www.divinestudio.com

Studio Guide 55

Fast Ashleys Studios

Brooklyn Studios

17 18

Drive In 24

443 West 18th Street New York, NY 10011 212.645.2244 www.driveinstudios.com

Fast Ashleys Studios

Brooklyn Studios

Shelly Dammeyer 95 North 10th Street Brooklyn, NY 11211 718.782.9300 shelly@fastashleysstudios.com www.fastashleysstudios.com Brooklyn’s Premier Full Service Studio. Huge Drive-in Studios & Cycs, Location Equipment, Digital Capture Services. Anything, Anytime, Anywhere.

Fast Ashleys Studios

Go Studios

Divine Studio

Drive In 24

245 West 29th Street - 7th Floor New York, NY 10001 212.564.4084 info@go-studios.com www.go-studios.com Renowned for its modern and welcoming environment, Go Studios boasts three stunning studios and a full line of rental equipment. Clients include Vogue, Elle Decor, Fitness, Brides, and Food & Wine.

Go Studios

Industria Superstudio

Milk Studio

23. Jewel Street Studios 212.967.1029 www.jewelstreetstudios.com

Milk Studios

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

450 West 15th Street New York, NY 10011 212.645.2797 info-ny@milkstudios.com www.milkstudios.com Milk Studios spreads over 60,000 sq. ft and features nine studios, including the Loft and Penthouse, a northern daylight cyc studio featuring a 30 ft. skylight and a 3,000 sq. ft. deck, superb for outdoor shooting.

Industria Superstudio

Neostudios

Home Studios

20 21

Industria Superstudio

Home Studios, Inc.

Kimberly Slayton 775 Washington Street New York, NY 10014 212.366.1114 kslayton@industrianyc.com www.industrianyc.com Industria Superstudio is conveniently located in the West Village. Eight column-free studios offer amenities including daylight, skylights, cycloramas, ground floor and six with drive-in access.

Jack Studios

Mike Grover 601 West 26th Street - 12th Floor New York, NY 10001 212.367.7590 mike@jackstudios.com www.jackstudios.com With 8 studios spread throughout 40,000 square feet, Jack Studios offers amazing daylight and blackout studios with stunning panoramic views, complete in-house equipment and full digital department. Our experienced and knowledgeable staff is here to ensure your production is a complete success!

628 Broadway - #302 New York, NY 10012 212.533.4195 bookings@neostudiosnyc.com www.neostudiosnyc.com Neostudios is NOHO’s newest rental studio, featuring good karma, stunning studios, and convenient location. Neo’s suites have pristine cycs, full kitchens, bright, sunny workspaces, conference areas/ lounges, with full grip, lighting & digital rentals in-house.

Noho Productions

Jack Studios

Milk Studios

Jack or Joshua 636 Broadway - 8th Floor New York, NY 10012 212.228.4068 info@nohoproductions.com www.nohoproductions.com Noho Productions, the rental studio of choice among the world’s leading still life photographers, has reinvented itself with 6 fully equipped digital still life studios and a simplified flat rate billing system.

Neostudios

Shoot Digital

27.Picture Ray 212.929.6370 www.pictureraystudio.com 28.Pier 59 Studios 212.691.5959 www.pier59studios.com

Neostudios

29.Pure Space 212.937.6041 www.purespacenyc.com

Shoot Digital

30.Sandbox Studio New York 212.924.4410 www.sandboxstudio.com

Shoot Digital

Neostudios

Sara Morrison 23 East 4th Street New York, NY 10003 212.353.3330 sara@shootdigital.com www.shootdigital.com Flexible studio options. Expert digital technicians. Cutting edge equipment rental. Flawless retouching and prepress. Café and internet access. Your work made simple. That’s Shoot Digital.

32 33

Some Studio

Some Studio Noho Productions

150 West 28th Street - #1602 New York, NY 10001 212.691.7663 www.somestudio.com

Splashlight

Noho Productions

One Hudson Square 75 Varick Street - 3rd Floor New York, NY 10013 212.268.7247 info@splashlight.com www.splashlight.com Splashlight has expanded its operation over the past year to include 60,000 square feet of studio space in the heart of SoHo. In addition, we are proud to announce the launch of our CGI division (computer-generated imaging) and full-service production services.

Splashlight

Sun Studios

Daniele Borgia 628 Broadway - 6th Floor New York, NY 10012 212.387.7777 sunproductions@sunnyc.com www.sunsutdios.com Location, Location, Location. SUN STUDIOS, in the heart of New York City: Best Location Best Shopping Best Daylight Best Sundeck And at the end of the day thereâ&#x20AC;&#x2122;s always a taxi to take you home.

35 37

Sun West Studios

Mezz Assefa 450 West 31st Street New York, NY 100001 212.330.9900 sunwestevents@sunnyc.com www.sunstudios.com

8443 Warner Sun West Studios

36. The Space 212.929.2442 www.thespaceinc.com

Tribeca Skyline Studios 205 Hudson Street - #1201 New York, NY 10013 212.226.6200 www.tribecaskylinestudios.com

Tribeca Skyline Studios

The Studio

Sun West Studios

38. Zoom Studios 212.243.9663 www.zoomstudios.net

The Studio

LOS ANGELES

SAN FRANCISCO WEST COAST

50 40

39. 5th & Sunset 310.979.0212 www.5thandsunsetla.com

8443 Warner

8443 Warner Drive Culver City, CA 90232 310.202.9044 www.8443warner.com

41.Belle Varado Studio 213.413.9611 www.bellevaradostudios.com 42.Lightbox Studio 323.933.2080 www.lightboxstudio.com 43.Miahaus 323.933.6180 www.miauhaus.com 44. Pier 59 Studios West 310.829.5959 www.pier59studioswest.com 45.Quixote - Griffith Park 323.957.9933 www.quixote.com

46. Siren Studios 323.467.3559 www.sirenstudios.com 47. Smashbox 323.851.5030 www.smashboxstudios.com

Blue Sky Rental Studios

Maile Thiesen 2325 3rd Street - #434 San Francisco, CA 94107 415.626.7232 info@blueskysf.com www.blueskysf.com Blue Sky Rental Studios has been working with the country’s top photographers and numerous Fortune 500 companies for the past 12 years. Based in San Francisco, Blue Sky is Northern California’s premier destination for commercial photography.

51.Dogpatch Studios 415.641.3017 www.dogpatchstudios.com

Blue Sky Rental Studios

52.Left Space 415.285.5338 www.leftspace.com 53.The Nine 415.255.7474 www.candlandstudio.com/thenine 54.Studio 308 SF 415.279.0161 www.studio308sf.com

Blue Sky Rental Studios

48.The L.A. Lofts 323.462.5880 www.thelalofts.com

The Studio

Jewely Bennett 6442 Santa Monica Blvd - #202 Los Angeles, CA 90038 323.791.7757 jewely@thestudiola.com www.thestudiola.com LA’s first full service one-stop shopping “boutique” production facility. Production services, merchandise management and storage, creative and concierge services. Full service equipment and trucks/vans on site or on location 24/7.

Blue Sky Rental Studios

SE OP PR T B ST FA O P U I Y L W S H FA L D I N G IC AR IO BR ING IC E A DR N S ICA SC E S ND OB TY TI FO EN CU W E S LIN ON S T O D I C L P AT T Y G RE S DE TU ER LIN ET TY SI RE EF G FE CA LIN GN CT ST G S IN G

Go W tS e ty 've le

tio

Copywrite Catalyst 61

COPYWRITE CATALYST By Marc Cadiente | Illustrated by Chris Brody

Fingers tap, tap, tap away in front of a computer. A copywriter looks off into the distance, squints, then returns his attention to the black tick mark that blinks on the stark white canvas of the screen. The cursor blinks and waits for a thought to disrupt its tempo and for an idea to make an impact. The copywriter continues to tap on the desk. For some, it’s a ritual that will conjure up a brilliant tagline for the product sitting across the room. The copywriter—and his client—can only hope. Creating catchy phrases on command can be taxing. When a thought is slow to come forth, the cursor seems to blink brighter and to say in sync with every flash, “What’s this bright idea of yours? Tell me…tell me… tell me….” It’s imperative to a copywriter’s career that he maintains his creativity and dispenses words like a gumball machine. Gary Peters, a freelance copywriter and film writer, attests to the difficulty of creating instantly and continuously arresting copy. “One thing that surprised me starting out, and for which I was totally unprepared, was how you have to be selling things all the time. The most demanding thing is productivity: having to come up with lots and lots of good, creative approaches to an

assignment.” Of all the existing gumball flavors in the world, a new one— or several of them—must be concocted. “Writing copy is simply a process of getting everything that needs to be said on the page and then just relentlessly cutting, consolidating, and otherwise editing until everything is there, in the right voice, and in absolutely the fewest words possible. That’s the craft of it.” The perfect gumball, if you will. For the most part, copywriters are given a product and are asked to write a description that will promote it and persuade readers, listeners, or viewers to buy it. Easier said than done. Creating the shortest, most perfect

tagline that can lure an audience to act is an incredibly long process. Still, something brilliant has to come out. Gary’s job required him to come up with “the smartest, freshest, most engaging way of meeting the requirements of the assignment. Then to do it again in as different a way as possible, and again and again and again, because you always have to present multiple options to the client.” This is where copywriters differ from, say, novelists: novelists give one point of view conveyed in one way, but most copywriters must frame one point of view in several ways.

people who would buy a three-page poem card), offer a bounty of pleasing play of alliteration, rhyming words, and puns. Don’t get me wrong; I’ve bought mass-produced greeting cards that uncannily seemed to capture the sentiment that I wanted to express without having to think too much about it. And that’s exactly what copywriting does. It makes the readers exclaim: “Yes, I can relate to this, and, yes, I need to get this!” And the sell is pretty much guaranteed. It’s in a copywriter’s blood to come up with clever copy, even at the expense of sometimes experiencing, what Raymond Nadeau calls, the “feeling of being a trained seal.”

WHAT’S THIS BRIGHT IDEA OF YOURS? TELL ME... “Being shown a photograph [of a product] and told that I have five minutes to wrap both a concept TELL ME... TELL ME. and headline around it can be frustrating,” says What happens, though, when there are no more gumballs to chew? What happens when the copywriter turns out the last juicy morsel of goodness? And still no one is satisfied? “You’re starting over,” Gary laments. When I wrote copy for a houseware store’s web weeklies, I was faced with having to write five-word headlines for several products that I seldom used. How could I relate to these products—first personally, second to my client, then to my audience—and make what I wrote believable and profitable? I turned to what I knew for inspiration, pop culture, but that didn’t always work out. I once wrote several headlines for an electric blanket (I know, I know), all of which referenced Beach Blanket Babylon (America’s longest running musical revue). Although I got through to my superior, the client didn’t know what the headlines meant. I had to go back to the drawing board.

Raymond, owner of virtual agency LBLM Communications, copywriter for Brune Advertising in Paris, and a freelance writer for several internal creative departments such as PVH and Coty Beauty. “I often feel that I am somehow employed as the creative equivalent of a drive-through window,” serving tasty compact packages to a million hungry people. Like fast food restaurants, the masses don’t want to think about the arduous process that actually takes place before they reach out the car window to grab their lunch. Along the way, things can come to a halt; when there are seemingly no more ingredients to make gumballs, and the cursor blinks mockingly at the copywriter. Writer’s block. Many writers have experienced it, and each has his own remedy. Raymond confronts this challenge every time he turns on the computer. The black tick mark taunts him; a dragon that waits in a

WHAT HAPPENS, THOUGH, WHEN THERE ARE NO MORE If this weren’t difficult enough, there are other obstacles that a copywriter faces in this GUMBALLS TO CHEW... AND demanding career. Besides short deadlines, dysfunctional corporate clients can swiftly burst a gumball bubble. In Gary’s experience, STILL NO ONE IS SATISFIED? most big companies tended toward safer, less “creYOU’RE STARTING OVER. ative” copy. “Sometimes you end up caught between your duty to the agency, to do the best work you can do, and the realities of what sells and what doesn’t.”

There had been times when I was asked to make the copy “less smart.” Maybe my clients recognized the fact that the average adult in the U.S. reads between the eighth and ninth grade levels, according to the National Center for Education Statistics. Then what? I did more research. When my pop culture knowledge failed, I researched greeting cards. These cards, simple, sweet, and concise (I don’t know very many

white empty cavern. And then, like King Arthur, Raymond almost always magically triumphs: “I close my eyes and place my fingers on the keyboard—and they just start to move. It’s freaky, but sometimes it almost seems like my fingers have a life of their own. It’s like a Ouija board or some weird sort of commercial automatic writing from somewhere outside of me that takes over.”

For many copywriters, inspiration comes from the art director, who is their visual equivalent. Raymond notes, “The relationship between a copywriter and an art director is like a marriage. Sometimes the steamiest relationships produce the most memorable results.” In certain cases, this means allowing the art director and copywriter to encroach on each other’s turf. Gary recognizes that “most creative work comes from the [art director and copywriter] working together as collaborators and critiquing one another’s ideas. Successful copywriters can and do think in terms of visuals, and art directors often write terrific headlines.” For Raymond, some of his art directors have helped him to shorten what otherwise would have been cumbersome copy. “My contribution has been to remind them that words are the yang to the visual yin—that the message must have balance; that some persons actually do read and that grammar was created for a reason.” Outside of the industry itself, inspiration comes from personal and societal sources. Raymond reveres both his grandmother and his mom for always being helpful to his writing. He also sees music as a source of motivation. “Nothing speaks of Zeitgeist more than the lyrics of contemporary music.” The power of songs can be attributed to many artists’ ability to create great lyrics. “So many of those lyricists could easily be copywriters. I know the reverse is not necessarily true,” Raymond recognizes. Perhaps it’s still the drive within oneself that motivates the copywriter the most. “I have never seen a subject that I have not found interesting. The fine arts and my creative colleagues always challenge me to want to create something more compelling, perhaps even more beautiful than I have ever done before.” Gary’s views are a bit more straightforward: when a copywriter has taken in all the information he needs to get started, he sits on it and

“THE RELATIONSHIP BETWEEN A COPYWRITER AND AN ART DIRECTOR IS LIKE A MARRIAGE. SOMETIMES THE STEAMIEST RELATIONSHIPS PRODUCE THE MOST MEMORABLE RESULTS.” waits for the ideas to hatch at any time. “The best ideas usually come when your attention isn’t focused on an assignment.” Life goes on outside of work—and the copywriter “gets drawn into other things or plays some Guitar Hero or whatever”—but work still happens. Inevitably, the things that copywriters like in their personal lives often come out in their work. And sometimes, it’s more random: “Things seem to arrive when my attention is elsewhere, or nowhere. I clearly remember having a mini-breakthrough for a campaign while attending a Rangers game at Madison Square Garden. The product: yogurt.” The copywriter stares at the computer screen, then at the product. The wheels turn in his head. And then with a whisk of the hands, words appear on screen like magic—an idea in as few words as possible. Really, though, there is no magic when it comes to writing. It is what it is—a standard way of communication. The only things that copywriting has in common with magic is its power—the power to captivate. And it’s a business. Campaigns get canceled, and Gary is aware that copywriters must “try to be content with having done good work even if it doesn’t see the light of day.” Raymond also recognizes the hardships of writing as a business, and his obligation to his clients and himself. For one campaign, he was asked if his writing would guarantee the success of a particular resort. “How could anyone honestly say yes to a question like that? It’s like asking someone if they will love you forever on the very first date. Any answer but ‘Who knows?’ is an absolute lie.

GREAT COPYWRITING ALWAYS TELLS THE TRUTH— IN ONE WAY OR ANOTHER.”

By Jonathan Melamed - Photos by Tom Medvedich

So youâ&#x20AC;&#x2122;ve been shipped off to a strange landâ&#x20AC;&#x201C;a foreign country where the natural scenery and the unique character of the towns make it a much sought-after location for photo shoots. Although you can be certain that you have been sent there because the area has specific things to offer such as sunsets and seascapes that cannot be reproduced on a backdrop, or the aged facades of buildings that no scenic artist can truly match, there are still numerous production services a photo crew needs in order to pull off a shoot.

Resource Magazine took the challenge by traveling to Sardinia, Italy. Although there was not a wealth of dedicated production services and facilities on the island, we did find helpful locals, delicious foods and breathtaking scenery. Even without the standard production necessities the island is full of businesses and locations that are eager to host and help you getting that perfect shot.

Productions of the world 65

Antonio has been a resident of Alghero for nearly a half-century, is the son of a coral and lobster fisherman, and is a master of the nearby Grottos. Although he was challenging to interview—he felt the camera was stealing his soul and that the translator was diluting his statements—he is probably the closest thing to a “location scout” that you will be able to find in the region. Beside his impressive boating skills and knowledge of the coastal weather, he also claims to be the only man who will not only show you the cliffs of Alghero with your eyes, but also with your soul. Locals who have lived in the area their whole lives and have floated past the same cliffs hundreds of times say they always discover new things about the coast when they are aboard Antonio’s boat. Antonio does not believe in fate; instead, he feels that people meet because the powers that be have brought them together to do something important, and anybody who has been on a boat ride with him truly feels that they are experiencing something exceptional. The Resource crew was able to go for an abbreviated tour that turned out to be the highlight of the trip. Antonio cruised alongside the famous grottos, donning a white turban and silently moving his lips to lyrics of the epic opera blasting from his radio. He pointed out numerous rock formations that resembled human faces and other animal forms, proving that he has spent many years staring at these cliffs, with which he seems to have a mystical connection to. To truly experience and shoot Sardinia’s natural treasures, call Antonio. Antonio Richard Monti Antoniorichard.monti@hotmail.it +33 088 824 171

Alghero

HOTEL EL FARO The El Faro Hotel is located on the southwest corner of Nymph Bay. It was early October when Resource visited and, as it was the end of the tourist season, the place was nearly vacant. Although we did not get to see this eighty-eight room, five star hotel in full action, we did get the undivided attention of Giovanni Greco, El Faro’s Manager. Giovanni, an affable man with designer wire-rimmed glasses, has been working at El Faro for the last seven years. Since leaving the big city of Bologna, he has served as El Faro’s liaison to photo production crews from Korea and Japan, as well as LA-based film crews. The staff is very professional, and even with gorgeous models from the Far East running around in skimpy bikinis, Giovanni takes pride in his star-struck immune staff . El Faro’s geographical position serves as a great asset to photo shoots as its southwest location provides powerful sunlight starting at 8:30 a.m. If you are shooting with natural light, chances are that you will be paying your crew overtime long before you lose the sun. While it is always recommended that you sandbag all your stands, El Faro’s central position on the bay provides a natural cover from the winds so you don’t need to worry about loosing your flags and lights to gale-force gusts. If you want to use El Faro and its surrounding area–a government-protected natural park and marine reserve–you should try to schedule your stay as close to the off-season as possible in order to ensure privacy and full run of the accommodations and natural sites. Giovanni is an excellent production source as he is incredibly knowledgeable of this area of Sardinia. He recommends Capo Caccia, an expansive limestone cliff across the bay from El Faro, as a potential shooting location. Underneath Capo Caccia’s hearty blanket of green vegetation lays a massive network of caves and grottos, made accessible by stairs. At the tip you will find a picturesque lighthouse followed by an almost immediate and severe vertical drop of the cliff, which when viewed from the ocean, serves as a magnificent backdrop of water-beaten limestone.

El Faro Hotel Giovanni Greco Porto Conte 52, Alghero Tel: +39 079 942 010 www.hotelelfaro.com

La Pergola La Samandra The place came highly recommended by Sardinia Productions. We were not quite prepared for what we were getting into as we were greeted by a full twelve course meal! Everything served had been made from scratch on the premises. Beginning with home-cured meats, we feasted on salty delicacies and other meaty appetizers. Several freshly made cheeses were served, our favorite being fresh ricotta drizzled in homemade honey. The meal went on for what seemed to bea full day. Courses included their famous suckling pig, their mama’s own ravioli, a dozen other meat and pasta platters, head cheese, fruits, meringues, cookies, and cakes. The meal was topped off with coffee and several liquor samples including limoncello and milta (Sardinia’s specialty, made from milta berries, similar to blueberries). Strada Aeroporto Civile Pod. 21 - Alghero (Sassari) +39 079 999 15 rita@aziendasamandra.it www.aziendasamandra.it

Resource’s first meal of the trip was at La Pergola, and it really set the culinary standard for the remainder of the stay. The mozzarella was so fluffy and fresh it had a similar texture of a marshmallows. There were steaks the size of hubcaps and three times as thick, with potato gnocchi and a creamy Gorgonzola sauce to top it off. As a testament to how tasty the food was, we were too busy eating and forgot to take any photos! Viale I Maggio, 3, Alghero Tel: 079 950 531 www.miras.it

Stintino

L’ormeggio: Snack Bar Spagheteria Be forewarned: during the off-season, you will be hard-pressed to find a restaurant, let alone a supermarket, open in Stintino during lunch hour. L’ormeggio was the city’s only available bastion of midday cuisine. Specializing in an Italian take on American fare, they have cornered the marked of off-season eateries, keeping locals and tourists fed for the past two years. They are open from lunchtime until 3 a.m., and though it has not yet been requested of them, they are open to cater photo shoots in and around Stintino. Via Asinara - Stintino +39 41 339 7627557 +39 338 2643776

Agenzia Immobiliare Le Vele

Sella and Mosca Vineyards

Le Vele is a registered real estate agency with thirty years experience operating in the famous tourist location of Stintino. They represent a vast range of properties for sale or rent, from luxury villas with swimming pools, one or two bedroom apartments, to acres of land. The fine people of Le Vele welcomed us with opened arms and explained how they have scanned the lands and homes of Stintino and they would be more than happy to connect a production crew to any number of locations. They are not official location scouts, but may be as good.

Located on the outskirts of Alghero, the vineyards of Sella & Mosca proved to be a beautiful location. The rows of sparse grape vines set against the hundred-year-old facilities provide a romantic Italian scene. Considering that Sardinia has been inhabited for thousands of years, and knowing the Italiansâ&#x20AC;&#x2122; love for fine wine, it is shocking to hear that it was only a century ago that the volcanic soil of the seemingly arid land of Northern Alghero was found to be the perfect environment to cultivate wine grapes. Since its inception, Sella & Mosca Vineyards have been at the forefront of viticulture.

ala Lupo - 07040 - Stintino (SS) +39 079 523169 info@levele-stintino.it www.levele-stintino.it

I Piani â&#x20AC;&#x201C; 07041 - Alghero +39 079 997700 www.sellaemosca.com

Hotel Cala Di Volpe After a harrowing journey through the mountains, where the roads are narrow and maneuvering the blind turns create multiple near death experiences you will find what is often called the “Caribbean of Europe” (thankfully sans hurricanes). The Hotel Cala Di Volpe (Bay of the Fox) was once a resort only accessible by boat. It has now grown to accommodate hundreds of high profile guests, all while maintaining its rustic Mediterranean architecture, furnishings, and indigenous artworks. The hotel keeps a staff of over a thousand people, all of whom don’t even flinch when serving celebrities ranging from Duran Duran to Cindy Crawford to George Clooney. Scenes from the 1977 James Bond movie The Spy Who Loved Me were shot here, and Cala Di Volpe is also a great location for photo shoots. Once again, producers should consider coming during the off-season. The hotel is open from April to October, and although the town almost completely shuts down during winter, the employees of Cala Di Volpe will provide for the crew as best as possible. The sun shines late into the winter, providing excellent natural light, and the rugged, mountainous terrain offers breathtaking backdrops for photos. Hotel Cala Di Volpe 07020 Porto Cervo Tel: +39 0789 976111 www.hotelcaladivolpe.it

Yacht Club Coast Smeralda Whether it is fisherman in rotted out dingys or international playboys jet-setting from Corsica in their gargantuan yachts, Sardinia maintains a strong boating culture. At the center of these traditions is the Yacht Club Costa Smeralda. Melding the necessity of boats in an island region, the extravagances of vessel ownership, and the sportsman spirit of sailing, this club offers more than a docking place for all types of sea-faring vessels. Among other high-class amenities it includes a bar, restaurant, swimming pool, and guest accommodations. This location provides an excellent backdrop for a photo spread highlighting the opulence of Mediterranean coastal living. Yacht Club Costa Smeralda 07020 Porto Cervo +39 36 0789 902200 pressoffice@yccs.it http://www.yccs.it/portal/index.php

Sassari With its corroded roll gates, chipped plaster, and cracked masonry; Sassari is a fantastic location for texture and patina studies. Since most of the city is rather run down, it would also serve well as the backdrop for some type of post-apocalyptic fashion story. But there is also a softer, more authentic feeling in Sassari with its quaint alleyways, uneven cobblestone streets, and strands of threadbare laundry hanging from the chipped facades of apartment buildings that makes the town very endearing.

Castlesardo Castelsardo is not what you would call a photo industry town, but it is by far one of the best shooting locations in Sardinia. Located on the central, northernmost coast of the island, the main attraction of this nine-century old city is, as its name suggests, a crumbling castle standing at the highest point of the mountainous region. Viewing the city from afar, as the eye moves further down the mountain, one canâ&#x20AC;&#x2122;t help noticing the stark contrast that the newer, modern, Mediterranean buildings create in relation to the archaic fortress. Known for its tradition of basket weaving, Castelsardo is the best place to find indigenous props for your Sardinian photo story. Among the numerous potential photo locations, you should consider the Cathedral of St. Anthony Abbot, where from the small churchyard you can get some great panoramic shots of the ocean.

Sardinia Productions Located on the Southern city of Cagliari, Sardinia Productions has a lock on all things production-related on the island. Rather than working from a set list of services, Sardinia Productions follows the specific necessities of your production. They offer location scouting upon request as well as every manner of vehicle, including helicopters and jet skis. They have a full service casting department with a pool of local models, actors, and actresses. If you are unfamiliar with the multiple dialects spoken throughout Sardinia, they will provide you with translators proficient in English, German, Italian, French, Dutch, and Danish. They even have a department that deals with set building, bookkeeping, roadblocks, and catering. If you are shooting in Sardinia these are the people to contact. Via Palestrina 60 - 09129 Cagliari +39 329 080 4306 info@sardiniaproductions.com Sardiniaproductions.com

Dawn Animal Agency 75

Dawn Animal Agency 79

the Lemur Larry started his life as a pet whose owner had him castrated. When an attempt was made to introduce him into a lemur colony, Larry was severely beaten by the other animals. Like some of the Sanctuary’s other refugees, he doesn’t seem to get along with his own kind. Whether they were abused, raised by humans, or even rejected by their mothers, these animals often have an history that can make it difficult to release them into the wild.

the Reindeer One of the animals to appear at the Blessing of the Animals at Manhattan’s St. John the Divine, Tundra was originally procured from a reindeer breeder in upstate New York. Despite the antlers, Tundra is a female: reindeer is the only deer species where both genders grow antlers. Naturally, reindeers are quite popular around Christmas, but recent regulations against transporting deers across state lines have made it more difficult for them to get around. the Elephant A refugee from the Vietnam conflict, Britha came to America as a baby in 1972 with napalm burns on her back and head. During the nearly forty years she’s been with the Sanctuary, Bambi’s mother, Bunny Brook, has been her primary caretaker, and remains so to this day. “I call her my younger sister,” Bambi says of Birtha.

the Zebra As the only zebra at the Sanctuary and a beautiful example of her species, Lily knows she’s special, and has become a bit of a prima donna. She refuses to go anywhere without her white horse companion, and when she’s at home, she keeps company with an equine entourage. Like most fiveyear-olds, it can be a challenge to coax her out of her shell, but once she emerges, the crowds are always entranced. the Monkey Macaque monkeys are often used for animal testing, and Sally herself was born in a Chicago laboratory. She was smuggled out by being registered as a stillborn birth, and today earns up to $2,000 for half a day’s work. Just don’t make any small, quick movements: when she thinks she sees bugs, Sally goes into a feeding frenzy Bambi calls “The Macaque Attack.”

84 title

Emily Beril /// Production Manager

Working Life 83

B Y

J U S T I N

K /

I /

N /

M U S C H O N G

G /

L /

/ / /

P H O T O G R A P H S

B Y

E L L E N

W A R F I E L D

84 Working Life

We We spend spend so so much much time time at at work work that that our our jobs jobs end end up up defining defining us, us, which which causes causes many many people people who who hate hate what what they they do do to to qualify qualify their their lives lives by by other other means. means.

// // // // // // // // // / // // // // // // //

“I work as a customer service representative,” they explain, “but really, I’m a...” Whether they’re a struggling actor, a budding romance novelist, or a long neglected mathematical genius who really is this close to solving the Hodge Conjecture, work is a place to bide time until The Powers That Be smile upon their dreary existence and grant them the means to toil in the positions they were Meant To Do, after which all will be sunshine and lollipops and unending sunflower fields.

Kit Leuzarder /// Equipment Man

nager

/ /

title 87

86 Working Life

If only that were so. No matter what you do, work remains work work: a chore, a work task, a tool that helps us survive in this world by producing something of value for which we get paid.

Jules Waldkoetter /// Makeup Artist

// // // // Working Life 87

Lolly Koon /// Photographer

Those in the photo industry are fortunate, as most of them want to be there doing what they’re doing, but as with every job, sometimes we don’t feel like doing it. We procrastinate, or wait to “get in the right mood,” and sometimes when the job is done, we don’t have that sense of accomplishment we’re supposed to feel. We’re just tired, and don’t want to talk about it when we get home.

Greg Marino /// Digital Tech

90 title

Emily Berl /// Production Manager

When we do get into that zone and actually work productively, we shut down the thinking part of our brains so we can focus. Perhaps that’s why we don’t normally ponder the actual act of working, and try like hell to avoid reflecting on it. Ellen Warfield’s series of photographs, Working Life, fills that gap and gives us a space to contemplate our work and what it means to the larger world and ourselves.

// // // //

title 91

Shelly Dammeyer /// Photo Studio Rep

Nikki Flaming /// Hair Stylist

92 title

Working Life 91

Who Who knows? knows? MayMaybe be theyâ&#x20AC;&#x2122;ll theyâ&#x20AC;&#x2122;ll make make you you realize realize that that dealing dealing with with aa constant constant stream stream of of conconfused fused and and fed fed up up customers customers really is really is is what what you you were were meant meant to to do. do. Gun Roze /// Master Printer

94 title

By Sachi Yoshii | Photos by Roman Meisenberg

WHERE TO TAKE YOUR CLIENT:

Death&Co / Lure

N N

o velvet ropes, no snotty behavior, and no entry past midnight. In the past two years, Death & Co. has jumped out of the wannabe speakeasy surplus, racked up nearly every Best Cocktail awards in the city, and still maintained a strict first come, first served door policy. If there is a wait, the door host takes your name and number and calls you when a seat frees up so you don’t have to stand in the bitter cold. Easy. Groups of eight or more are turned away, which makes sense since the place is fairly small, and the classy black suede banquettes are really best suited for a group of five or six. Death & Co. works the antique mirrors, glass punchbowl, and chandelier look, yet it still exudes a dark, masculine, and sophisticated vibe. It’s the best place to play catch up with someone at the wood paneled bar, while watching the suspender-clad bartender shake and stir beautiful drinks made with only the finest ingredients (and at $13 a drink, those ingredients better be damn fine).

In the bone-chilling winter, during the do-it-yourself depression where everyone’s drinking lips-to-whiskey bottles at home, it takes something special to get us out the door. For the novices, order a Grouse Rampant, which blends together apple-infused Famous Grouse Scotch, honey and cinnamon bark syrup, fresh lemon juice, egg whites for that frothy texture, and is topped off with Peychaud’s bitters. The Faithful Scotsman is subtly sweet and smooth, with Compass Box Asyla Scotch—a very light amber-colored blend—whiffs of vanilla and oak, fruity Massenez Crème de Pêche, cumin syrup, and a squeeze of lemon. The booze-friendly might prefer the Cooper Union, which starts with a glass rinsed with Laphraoig, Red Breast Irish whiskey, St. Germain Elderflower liqueur, and orange bitters. Every cocktail on the list promises to develop your palate, but honestly, how many of us know what a Laphraoig rinse really does to your drink besides the, “Ooh… mmm… yeah, that’s good” remark? Death & Co 433 East 6th Street, b/w 1st Avenue and Avenue A New York, NY 10009 212.388.0882 deathandcompany.com

Price $$$ Drinks **** Ambiance ****

Where To 93

ucked away beneath the grandeur of SoHo’s renowned Prada store and directly across the cobble-stoned street from the famed Mercer Hotel, sits your oyster shooting, whisky drinking, winter locale. The dwindling economy has left us all searching for a sweet deal to swallow, and Lure happens to have a happy hour special with fresh oysters and clams ($1 each), beer ($4), wine ($5), or cocktails ($6), every weekday from 5 to 7pm, leaving just enough cash for tomorrow morning’s coffee. SoHo regulars are welcomed warmly by Chef Josh Capon, while young Intermix-clad women maneuver to their table. Our waiter comes carrying a massive glass platter of fresh seafood ($110) on his shoulder. Blue Point, Kumamoto, and Fanny Bay oysters, Littleneck clams, stone crab claws, and one pound of lobster curl neatly on the chilled plate. And just like that, the sushi and sashimi dish ($40) looks meager in comparison and fails to impress. On the coldest days, and especially through

chilly markets, I would opt for a filling entrée of the grilled Daurade, served whole and filleted, seasoned with chili, herbs, and lime ($28). Rarely does one spare room for dessert after gorging on seafood, but you should. Their classic warm chocolate crème cake served with an extraordinary salted caramel ice cream, popcorn brittle, and chocolate panna cotta ($8) is a pleasant discovery. All the desserts were rich enough for the entire table to indulge in, but the crumble with softened fresh fruit juices seeping through a buttery sweet sugar crust ($8) just floored me. It’s too noisy and extremely difficult to carry on a quality conversation around a table of four, let alone a larger party, but if all you’re looking for is an energetic room with cuisine prepared to keep the beautiful people beautiful, Lure provides an excellent venue for eating well and sharing a laugh during the winter chills.

Lure Fishbar 142 Mercer Street at Prince Street New York, NY 10012 212.431.7676 lurefishbar.com

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

94 Movie Review

MOVIE REVIEW:

Fur, The Eyes of Laura Mars By Alec Kerr | Illustration by Emil Rivera

Diane Arbus: I want to take a portrait of you. Lionel Sweeney: Why do you want to take a portrait of someone you've never seen, Diane?

ur is not the movie to see if you want to learn about the photographer Diane Arbus. Subtitled An Imaginary Portrait of Diane Arbus, it opens with title cards that are half disclaimer, half justification. It is made clear that the film is not a historical biography; instead, it “invents characters and situations to express Arbus’ inner experience on her extraordinary journey.” Nevertheless, some elements presented in the film are historically accurate. Arbus was the daughter of a wealthy fur merchant, and in the late 1950s, when Fur is set, she ran a photography studio with her husband, working as his assistant. Her childhood was one of repression, as confirmed by her daughter Doon in the documentary Masters of Photography: Diane Arbus, which was released in 1972, a year after Arbus’s suicide. Doon explained “there was an enormous sense of what was prohibited, and I think photography had to do with being able to discover that prohibition didn’t apply.” In early scenes we see Arbus (played by Nicole Kidman) reserved and uncomfortable around her parents. A series of close-ups of cigar smoking, drinking and eating, expresses Arbus’ disgust of opulence. Her distaste for the normal and predictable is further emphasized at a photo shoot with models all posing with the same fake smile plastered across their faces. In her own photography, Arbus would set out to document people on the fringe.

Arbus’ fascination with the odd and different is represented by the fictional character Lionel Sweeney (Robert Downey Jr.), who is covered in hair from head to toe and resembles the Cowardly Lion. Downey’s first appearance is laughable, but he is such a compelling and unique performer that even under all the hair his extraordinary talent shines through. Sweeney and Arbus fall in love, and it is on this level, as a fairy romance, where the film works best. There’s a Beauty and the Beast quality to the love story that is oddly affecting. Director Steven Shainberg showed a fascination for unconventional love in Secretary, and it is clear that with Fur he wanted to continue to explore this theme. Even if the film doesn’t delve into the mechanical and creative processes of photography, it is shot with a photographer’s eye for composition. There are isolated images, such as a cluttered children’s room or a child riding a tricycle in a lobby, that have a quiet beauty. The muted color palette, punctuated with bright blues and reds, along with graceful camera movements through darkly lit halls, at times recalls the fantastic splendor of Pan’s Labyrinth. Shainberg’s camera peers through keyholes, peep holes, and intercoms, as if spying on a world we shouldn’t be seeing. This tendency to tunnel the vision becomes a metaphor for the film itself. You’re only seeing a small piece of the image. If you want to know more, you need to look deeper, and elsewhere. Release Date: 1 September 2006 Director: Steven Shainberg Writers: Erin Cressida Wilson (screenplay), Patricia Bosworth (book) Main Actors: Nicole Kidman: Diane Arbus Robert Downey Jr.: Lionel Sweeney Ty Burrell: Allan Arbus Emmy Clarke: Grace Arbus Genevieve McCarthy: Sophie Arbus Producer: Laura Bickford, Andrew Fierberg, Willaim Pohlad, Bonnie Timmermann Music: Carter Burwell Distributor/ Studio: Picturehouse Entertainment

Movie Review 95

“These are not easy questions to answer, but here in this gallery, there is a fabulous exhibit of violent and sexy photographs.”-Laura Mars

t the core of The Eyes of Laura Mars, a fairly standard slasher movie, is an interesting debate about the impact of violent and sexual art on society—a debate that still rages today as people continue to search for an easy answer for the terrible things that plague the world.

The Eyes of Laura Mars was co-scripted by John Carpenter, who released his breakout hit, Halloween, the same year. Although Laura Mars beat Halloween to the theaters, it is easy to see why Halloween remains a classic while Laura Mars is more of an interesting blip on the resumes of the people involved. The murders are shown from the first-person perspective of the killer, as in Halloween’s opening sequence. The twist here is that the title character (played by Faye Dunaway), a provocative fashion photographer, is seeing the crimes through an unexplained psychic connection to the killer. Laura’s visions are shot in soft focus, and you know when one is about to begin because the camera zooms on her eyes and the score enters horror movie mode. The film offers a behind-the-scenes peek at the photography scene in the late seventies. A photo shoot with models involved in a mock cat fight in front of a backdrop of flaming cars has a kitsch campiness with an appeal of its own. The movie is most stimulating, though, when it focuses on the question of whether art reflects or influences society. Unfortunately, things become less compelling when the story gets bogged down in the formulaic mechanisms of a horror movie.

When the killer begins to target Laura’s crew and colleagues, an investigator (played by Tommy Lee Jones) theorizes that the killer is offended by the decadence and exploitative nature of her work. Her images are full of raw sexuality and violence, but she defends them as “an account of the times in which I am living. I’ve seen all kinds of murder, physical but also moral, spiritual, emotional murder. I can’t stop it, but I can make people look at it.”This is a valid point as too often people are afraid to truly confront the darker side of humanity. By looking at it face to face, can we understand it better, or do we just learn to accept it? One of Laura’s models advocates the desensitization effect of the images when she states, “What Laura’s saying with the work is, ‘OK America, OK world, you are violent, you are pushing all this murder on us, so here it comes right back at you, and we’ll use murder to sell deodorant, so you’ll just get bored with murder.’” The model’s naïve logic is quickly refuted when sales of Laura’s photographs increase following the announcement that someone from her crew was murdered, For Carpenter, society will always have a morbid fascination with death. Release Date: 2 September 1978 Director: Irvin Kershner Writers: John Carpenter (screenplay and story), David Zelag Goodman Main Actors: Faye Dunaway: Laura Mars Tommy Lee Jones: John Neville, Jeffrey Niki Producers: Jack H. Harris, Jon Peters Music: Artie Kane Distributor/ Studio: Columbia Pictures

BOOK REVIEW:

A.L.T 365/Paris Peasant By Taylor Dietrich | Photos by Nick Ferrari

n preface to Louis Aragon’s classic surrealist novel Paris Peasant, critics be warned: “Death to who paraphrase what I say. . . ” The concluding paragraphs read: “I do not admit the right of anyone to reexamine my words, to quote them against me. They are not the terms of a peace treaty. Between you and me, it is war.” To disarm a hypothetical literary critic seems like a shallow reason for writing a novel, and if his stated intention is true, Aragon does it at a price.

To his credit, it’s not necessary to have a full grasp of the novel’s historical context—of Andre Breton’s Surrealist Manifesto, or of La Revolution Surréaliste—to appreciate the text’s remarkable qualities, although it wouldn’t hurt. Aragon and Breton, along with Philippe Soupault, would launch the review Littérature, and deploy the remnants of Dada’s foundational thrust toward Surrealism. This is vital to literary and art history, but incidental to this text. The book reads like a prudish Henry Miller novel and stands alone as a thought-provoking, and occasionally aimless, challenge to established forms of literary composition: namely, the logical succession of interrelated characters and events that can be understood through their shared consequences.

Aragon does away with character and finds no use for narrative, linear or otherwise, writing in a trope-like fashion with a nebulous style and comedic juxtapositions of aphorism and simple observation. His observations, when focused on the common place, are uninspiring. Aragon’s best writing engages the obscene. He devotes swaths of his meandering first section to examinations of simple artifacts that, when pulled from context, turn grotesque. However, he provides little in style or substance as compared to James Joyce’s Ulysses—a work of contrasting intention, but similar situation. Aragon curates a guided tour through a museum for containers of human ailments, including hernias, with their pads attached to “spring metal belts, trusses for adults and trusses for children . . . and stockings for sufferers of varicose veins.” He writes as if he’s describing historical artifacts abandoned from a strange race, but it’s the realization that it is we who find value in “rubber knickers, douches with bulbs . . . enemas, clysopumps, clusters, fumigators, cannulas. . .”, along with the aura of dust, that impresses upon us a freshness of place. Aragon presents a particularly inventive narrative as a dialogue of a man conversing with his various faculties. The subject is again incidental. The nihilistic tone is abandoned when Aragon proposes a fairly reasonable argument for the necessary existence of brothels, and again when he articulates a valuable defense for the superiority of transcendental idealism over reason.

PARIS PEASANT BY LOUIS ARAGON Publisher:Exact Change

Although Aragon, through his removal of expected literary devices, has dismantled the historical critic’s weapons, he has also deprived readers who value literature for its ability to disrupt through his disassociations, fragmentations, de-constructions, and reformations. By creating a world where the primary elements are randomness, happenstance, and disorder, he’s in danger of creating concentric circles. A literary masterpiece envelops those who come to it freely. It presents itself in the form of believable, generally provisional truths that often dismantle embedded truths and prime our mind for a fresh coat. This attempt is patchy at best.

Book Review 97

A.L.T 365 ANDRÉ LEON TALLEY Publisher:Power House Books

“B

ut the light of style’s comet still lifts the heart.” This quote by Vogue writer Kennedy Frazer, penned sometime in the 1970s, might straddle the line of the ridiculous. So I take a risk using it as an opening for this review, just as André Leon Talley did in his hard bound tome, A.L.T. 365+. That Talley chose to begin his book with an epigraph by someone he likely met as Vogue’s editor-at-large shouldn’t seem strange. If you make it through A.L.T. 365+ to the back cover—which is decorated with the phrase, “a kaleidoscope of humanity in all its colors, textures, and emotions”—it is apparent that Talley straddled the line, then ran far away into the world of the ridiculous. However, as the man in the full-length fur cape knows, that’s where the fun is.

A.L.T. 365+ is a compilation of photographs taken by Talley with a disposable Kodak camera over the course of a year. Through these pictures, we get a glimpse into the life of this largerthan-life personality. The quotes accompanying the photographs, if removed from context, tend to be too broad, but with the snapshots, they add glitter to the fluff and make A.L.T. 365+ an indulgent guilty pleasure. Talley quotes C.Z. Guest saying, “Style is what you are inside.” Or Charles Dickens: “Happiness is a gift. The trick is not to expect it, but delight in it when it comes.” Everyone Talley photographs has an abundance of self-contentment, which Talley seems to find most appealing. It’s not the real world, but the real world isn’t all haute couture and flowery language and beautiful people. A.L.T. 365+ is like grown-up playtime.

Talley is a renowned editor and socialite, and a front-row staple at most fashion shows. The book gets slightly self-indulgent, and it sometimes seems that Talley has an infatuation with his own status, which, by extension, affects his impression of the people around him.He describes the young fashion designer Zac Posen as having the characteristic look of a mythological hero from Homer, inordinately comical as a caption for a snapshot of the twenty-three-year-old looking selfconsciously elitist in a well-tailored blazer and sandwiched between the Schnabel sisters. While ultimately self-promoting and what some might call a “fluff piece,” A.L.T. 365+ gives the reader just what it promises: it’s a glimpse into a year in the life of one of fashion’s most eccentric personalities, all of the fabulous things he does, and the fabulousness of it all.

Sara Roth contributed to this article.

GO SEE:

Compacts By Alec Kerr | Photos by Nick Ferrari

Sardine Survival Kit Finally, you can pull back on the metal tab of a sardine can and be greeted with something more appealing than the pungent odor of oily fish. This mini survival kit comes packed with everything you’d need to survive on a hiking trip gone awry,... well, at least for one night anyway. As for getting lost on a badly catered set, the gum and tootsie roll will keep you going. Survival Kit in a Sardine Can: $11.99 Think Geek - www.thinkgeek.com

Miss- A- Kit It’s a Swiss Army knife, for women, and much like men and women this multi-purpose tool shares certain qualities–a knife, a corkscrew and nail file–but also has differences aplenty. With its miniature supply of needle and thread, perfume, mirror, flashlight, and an assortment of other necessities, the Miss-A-Kit can help avert a crisis in either professional or personal life. Maybe even both. Miss-A-Kit: $18 www.missakit.com

Dumpling Dynasty Sewing Kit If you’re going to have a sewing kit today, you need something a little slicker than the wicker basket your grandmother carried around. This kit looks like a mint tin, but is functionally crammed with all you need to create or mend on the go. The retro Asian design brings it all together in a unique, adorable package. Dumpling Dynasty Sewing Kit: $16 Exit 9 - www.shopexit9.com

Go See 99

Waterproof Digital Wrist Camera With this handy-dandy waterproof wrist camera, the adventures are limitless. The quality may not be comparable to that of a Nikon D3, but for a photography lover and professional such as yourself, this is just another little toy, perfect for those who love the trade like they love their Mama. Play, surf, snowboard or skate and shoot at the same time. Better yet, you can become an amateur spy and get snap shots of nefarious villains committing their underwater crimes. Sweet. Hero 3 Waterproof Digital Wrist Camera: $139.99 www.wetsandsurfshop.com

Card credit organizer Wallets are so passĂŠ. In fact, cash is just too bulky. The people at ACM have the solution: a sleek, sturdy holder that has slots for the numerous IDs, debit, and credit cards for the moneybased society we live in. We are in the 2000s, and it is about time we started looking like it. Bring on the flying cars and debt! ACM Wallet: $39.95 (6 cards) or $59.95 (12 cards) ACM Wallet - www.acmwallet.com

USB Fridge Why waste precious time getting up and walking to your fridge? Now with the USB fridge, you can have a perfectly chilled canned beverage at your computer. Or perhaps you more sophisticated geeks could use it for a smallish snack such as cheese and grapes. Either way sneaking on YouTube when you should really be working just got a whole lot cooler. USB Fridge: $28.95 Sector 29 - www.sector29.com

ARTIFICIAL FOLIAGE

ICE SCULPTURES & WATER EFFECTS

American Foliage* 122 W 22nd St. New York, NY 10011 212.741.5555 afdesigngr@aol.com www.americanfoliagedesign.com

Set In Ice 718.783.7183 917.974.3259 brian@setinice.com www.setinice.com

MODEL â&#x20AC;&#x201C;MAKER BACKDROPS Broderson Backdrops* 873 Broadway - #603 New York, NY 10003 212.925.9392 info@brodersonbackdrops.com www.brodersonbackdrops.com

Swell New York 300 7th St. Brooklyn, NY 11215 646.373.6188 makoto@swellnewyork.com www.swellnewyork.com

CSI Rental 133 West 19th Street Ground Floor New York, NY 10011 212.243.7368 www.csirentals.com Foto Care* 136 W 21st St. New York, NY 10011 212.741.2990 info@fotocare.com www.fotocare.com

PHOTO EQUIPMENT

RGH Lighting* 236 W 30th St. New York, NY 10001 212.647.1114 info@rghlighting.com www.rghlighting.com

Adorama* 42 W 18th St. - 6th Fl. New York, NY 10011 212.741.0052 info@adorama.com www.adorama.com

Scheimpflug* 236 West 30th Street Ground Floor New York, NY 10001 212.244.8300 www.scheimpflug.net

Alkit Pro Camera* 227 East 45th St. - 12th Fl. New York, NY 10017 212.674.1515 rental@alkit.com www.alkit.com

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

CATERING Better Being Catering 55 Leroy Street - #B New York, NY 10014 212.353.1986 betterbeing@gmail.com www.betterbeing.net Green Catering 61 Hester Street New York, NY 10002 212.254.9825 www.greenbrownorange.com/green

DIRECTORY PhotoCrew.com 310.855.0345 www.photocrew.com

Available Light* 29-20 37th Ave. Long Island City, NY 11101 718.707.9670 info@alny.net www.alny.net Calumet* 22 West 22nd Street New York, NY 10010 212.989.8500 800.453.2550 website@calumetphoto.com www.calumetphoto.com

PHOTO LABS Baboo Color Labs* 37 W 20th St. - #1 New York, NY 10011 212.727.2727 info@baboodigital.com www.baboodigital.com

Directory 101

Duggal* 29 W 23rd St. New York, NY 10010 212.924.8100 info@duggal.com www.duggal.com

PHOTO-SHARING WEBSITE

L & I Color Lab* 1 W 22nd St. New York, NY 10010 212.645.5300 info@landiphotolabs.com www.landiphotolabs.com

PRODUCTION SERVICES

Manhattan Color Lab* 4 W 20th St. New York, NY 10011 212.807.7373 Primary Photographic* 195 Chrystie St. - North Store New York, NY 10002 212.529.5609 www.primaryphotographic.com Taranto Labs* 36 E 30th St. - Ground Fl. New York, NY 10016 212.691.6070 lab@tarantolabs.com www.tarantolabs.com

Fotki 866.268.3991 www.fotki.com

ajproductionsny, inc. 212.979.7585 917.209.0823 ajprodnyc@mac.com www.ajproductionsny.com Blair-Schmidt + Turks & Caicos 212.987.4233 www.blair-schmidtproductions.com www.turksandcaicosproductions.com

PROP RENTALS Arenson Prop Center* 396 10th Ave. New York, NY 10001 212.564.8383 http://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 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 The Prop Company* 111 W 19th St. - 8th Fl. New York, NY 10011 212.691.7767 propcompany@aol.com www.propcompany.com Taylor Creative Inc./EAST COAST 150 West 28th Street Suite 1001 New York NY 10001 646.336.6808 info@taylorcreativeinc.com www.taylorcreativeinc.com

102 Directory

Taylor Creative Inc./WEST COAST 4445 South Valley View Boulevard Unit #4 Las Vegas NV 89103 888.245.4044 info@taylorcreativeinc.com www.taylorcreativeinc.com

RENTAL STUDIOS 2 Stops Brighter* 231 W 29th St. - 10th Fl. New York, NY 10001 212.868.5555 info@2stopsbrighter.com www.2stopsbrighter.com 20x24 Studio* 588 Broadway - #805 New York, NY 10012 212.925.1403 mail@jennifertrausch.com

320 Studios* 320 W 37th St. New York, NY 10018 212.967.9909 info@320studiosnyc.com www.320studiosnyc.com

Above Studio* 23 E 31st St. at Madison Ave. New York, NY 10016 212.545.0550 ext. 3 info@abovestudiorental.com www.abovestudiorental.com

3rd Ward* 195 Morgan Ave. Brooklyn, NY 11237 718.715.4961 info@3rdward.com www.3rdward.com

Atelier 34* 34 W 28th St. - 6th Fl. New York, NY 10001 212.532.7727 studio@atelier34studio.com www.atelier34studio.com

723 Washington* 723 Washington St. New York, NY 10014 646.485.0920 booking@723washington.com www.723washington.com

Atlantic Motion Pictures* 162 W 21st St. - 4th Fl. New York, NY 10011 212.924.6170 adam@atlanticmotion.com www.atlanticmotion.com Available Light* 29-20 37th Ave. Long Island City, NY 11101 718.707.9670

Directory 103

Res BathHouse Studios* 540 E 11th St. New York, NY 10009 212.388.1111 manager@bathhousestudios.com www.bathhousestudios.com

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

Biwa inc.* 214 W 29th St. - #1105 New York, NY 10001 212.924.8483 info@biwainc.com www.biwainc.com

Capsule Studios* 873 Broadway - #204 New York, NY 10003 212.777.8027 Phone: info@capsulestudios.com Cell: www.capsulestudio.com

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

Cinema World Studios* 220 Dupont St. Start D ate/Tim Greenpoint, NY 11222 e E n d Date/Tim 718.389.9800 e cinemaworldfd@verizon.net www.cinemaworldstudios.com

Bill To:

Direct

Daylight Studio* 450 W 31st St. - 8th Fl. New York, NY 10001 212.967.2000 212-123 info@daylightstudio.com -4567 www.daylightstudio.com

CSI Rentals

Offers Huge Budget Savings by Consolidating Your Equipment Needs

:50 PM

BarCod e

Bill To: Bill To:

As Ce

Shippin g Comm en Ship M ethod:

Your N ameRHee serervatio Locatio es n n ShRoeostervaR tionervation

Direct T Bill To:o Client Direct T Direct T o Client o Client

Item De scriptio

133 W New Yor 133kW T. 212-2 New York N 4 T.F2. 21-2 2-4 www.c12 siren F. 21 2-2 www.csi rent

n Digital Captur Ship To: RR eseesrevravti a e ti o P R n o n e A a P tt s ckageervation ShRipn:eTso:ervaSh12tiStip34udTioo: St h Phone: ase One oion5th St. udio ASt ttud D n: 212-123 Attn: ig i t C a Brookly 1234 5t l BackRe,C o Ph e: -4567212Phelol:nT 12 h St. 34 5thnSt NY s e: w2ero-n8 e r v a C 12 1 ti a 23 -4567 l:123-4567ore X Cell: eon 3.2gRese meorna Body,1Brooklyn NY. Brook13Nly3ewnNWewNYesY13ortY19133korWN3kYWesNt10Yes19t100119st.st. 133 W EizoCelM on h rva onAssistant DS MaNrewkYorkTN.TY21. 10212-24012-st243-.R3-ER N011ew1 York Nest Start D NETNT Y1 1 Datue/TaimStle Qu Scihetduoler,Glyph Har InteltiD Cu l t uAa64ssd6-isstant T. 21wI2-13wwI243wIF3-W,. FR21es.L ela T. 2122-24 21 l: 2A ss E 243-R istanQ nd ar d t Data StartDDate/Tim D ngive,A 11/27/20 Schedule e/Sc hesdu 9876 it64whwNwew8F.c.sig21Yor2-igk24w.cNw3-siY.c21reEsit10Nnt02re19eTalntst24n3-s.al.co213-ss.mco2102ewm02s,F.M Td Cell:009-w ate/Time im 212-a Shippir 08 08 ew le ith Celp 24c 3e l: P :0 E 8 ho 0 nd P g C ho A ne c ommen : : 21 Date/Tim 11/28/ ne i7/Ms of R 1 PhoEnendCDL w.csirent 2 646ate/T ts: Batt 2-12 2008 05 11/2g e 11/27/20 2-12 e00r9-y98,876 C6-oN00TewF. 9-21. reY98132-ornt76243alWs3-s.coResoEtmN1901fT1stR. AwM Shippi als.c 3-P45 elCl:eli 3e 21 67 :50 PM2008 08 Phot: og 08 08:0 :0Sh ng Com l:gim 0 ip M ho45 , ping AA ne67 M , 0/2A8/M20 : 11 21 t 11 ra21 C m i 21 k 12 p2-hh D om n en r 2N 3Cell: e ts er g Y m 24 Sh i 2: 4567 CelP e3-s.oR2110En020113.2g aouc/2rkN8/a20g08123-e0545:5670 PM 08 05:50 ipPMMethod: entsgPr: ital Te:ch wwwT.c. si21re2-X Job otograp l: Y P 24al3hot/og nt PP.Orop.:hferJoPob:hto ame Her Ship ompt h Inte Phone: ra Ship MAssAissstaisnt F. 212-24 comNT e P.:rhoerYLoou:7carA / P.O Job ethod: tant Method: On Time 21 tiNon Sho Your Name w AssistaCelC w Pr Cell:/ P.O.: 2-123-4567 am 2e4HLot0eroca0e ti,oP HerCeell: nt l:ell: PromAptssOisntaTntime ompt On Time w.csirental3-s.co21m02 Q ExBte Photy L s o C ne: arn i ca r eons,P tion Sho 212-od Q 12ty 3-4567 CQelty reoItemFDreseotsn n Shooot 7ABssis2ta 1200, PCell: l: BarCod Ba P,B aru Pho toe Cod gr to criptieoln, ap gr 1 ho ro 7 DHoueble ChPacked By : ap he t y r: he r:e Dis D ig PhotogrJoJo ripCelZl: ontom Item DP it b al / houYaceour heNsrItamr:N,P adPsacecDkk,B hore P.O ap bPr:/.O em .: .: 1CapPtu escro toY gr ed iBy : Packed By D am e He5 Pap ti cr Ao Job / P.O 1Dhe ssnistant Pd ed er 0 S ip Hees e h D k : er ti 's a p ag ig e se o Jo Lo Y o o it n ,S e D ou O b :u Lo al ca t ,OcDtou .: igit Lne Dh rN C /P bkeedsB,yH tio tr e HerligCelhl: ble Chec oubBleyT ca Certio Y hec am nap ntu ig eB.:H Sh oore it ap aP.O T t tPackour Namip oo t l ac a eSh oBwareral-8Cig Qty ked By tu ,K 1 PhotoG QP a re P Lo B : ead D ck tyh h i e ca a ay ag t a n ,C se tio s C B s Lo : e n o a kne n ShO arO ,R aseC mer cation Sh agD od re Xeo k Cne U F od e oeD e oo s i ap n a n , l t it he B ig E o Qty gr r g n G P o iz r: it oo d ,L ri al Back y, TQoit t .2 LighPactPkeacs,C ridn s ,Sn waer E1D Job / PB DS ML ty arCTi V Dayce lB op em -83aIt Itgh weoerM od oYr,ig B te aiton em arck C .O DeIn s U lcrD GP ood es -8on C mera aBrk rlyNp re ,C cr utial Q,Cuaad es ig C 1 .:1Dua ip I, tLen am aDXm dDBday ke hc eo it Price oots reEou H ek lDitQ er Une Dou yBh ntiipon Photogr Hrd odII Doig Xizem :sy i Dou era sea oa eo itrPa It y,h bleblCehe eD :m s,n igaluad 1 P nM3es ogh iz s ap d In on ri's Lo Me rie Total al Cit apEhe wit P .2craitgh g vea,A3Bp.2on ce ,H h 8g aclP ca ap ac 1DteDSslesw C M ckck or, hre tio on ked C tu aD r: Mit 1Jo1C eded ip igsDoSf R nDka Pac re rk G ro tu Dcrituaip c BIty,aem s M tiIn Shsoo ByB:y : Byhe o ly ig te Pl8g on D II r, ke ,P S ac a p l P 1 D I, P ua ou rk G : l h d D ha tt o t t ac ig P Q ti L ly f er bl B H a u Qb o D II se ha it A / on ka ge en u R D a y p Q e ty P.O L.:alig y,8 Core I,ad Your NhDuig M , Check ua n se c AM, Digal rd ouble C One : MI F gew seed QuD Chlap Len ad H k d One s s, it Bar Q a w D ti e al ad s s rd tu M ri u se it ig n am D t C ad C ve r s re h he g a ita s, , it ig D ap od e c w To X e B P 8g ,A s P ck h Pac ital Tec ithpc8gBig ita l8g Here ritu R Te eon 3.2gMaigcsPoro y : Pro Ba ac wkka s To weer Phase 8g ed By : ve lPBa a otlal re,A it n o D ck w1-8 ig h r ag P er ay ge D ck l ,C s ac a p Pro Lo s -8 f C l s ay One e tt c h o am ha ,C R ka or e s ig ca f er , C 1R s B h ,J A eorX fo R ge rtRkInipneamerAtiSDMaerigta sseooo L attAer D Intel P M U, niUtniPtriPce eeo ig oker Bu My, fO Baod XItneo Eh em h izEoto , 8DCigoitrea ofy,R8AC L Toa More BDod titio 3. l Ba y, DSh nnng2g iarlit-8igD,S wE rice , ay 3. 7ito er nligQBa1Dy,dit1D ck24 , ita hesac 2g Xs eoU cr To P ked y Sas In 1Qty h te ,C w S,O Cti lXTeo ciznQoeeMoliggnuarPXtuQonMitas,eoProiuadsonitoPacm r,kAG am or M Days ck te Bxt ag Don -8 3ac.2 r,lyG ecnh 3.2gDDou er en leua ,C P IIkv g Cly, lM ni eDXua ig ph Pader ro I, ly00 ua am C si ble Cnhe leo Tar or Dod t PgrihceB s roBD EizDoP ag Qlnua ph Le eckarher H,P fo I,od nro l ap ua od al Unit Pri Inte: l s ar 3. nsy, Le e 7B to H aIIe ro C ds ua 2g M es ar r 1D h B ns E ,A fo 2 ck on ds h , iz w d h In es ro S M ri 3. to 1 o T ith In ds D ed w ito , w te ve ce 20 M e re 2g ac ot F M p M ri ith te 1D T 7 ith wka 8gl 8g l arkPII By rege al on lofD h te ac PAxt otal 0at Pro ith proRA Sa 8g pc ac ig ,Alypc sn ua PIIro Md D1ua lAQeitoip,MZua24,ADtiveo,r,dsonB M It ig 8g igofs of ph7E Bph el ar lM 00 sua ig G Dsua ks ,F en RA AM te 24 aP1DlE,BhaDwQcedxtigereaseLuahenitoigLOudshtsiiigtynenwinohtr,DithDnPGgines,igisrolyPg8gP,W P sl,DQ atry Dem ar ns Packed : of RA PB,x si H I, Lelns d 00 ro ea hac crds H w,o nve esl HBa 1 To Ps, Total ith or om ,P ds, w,ith ita ro Pesua esg etarofteroig7B,O,8chI,rydss7LeDIn,8C2,S B e20 or ig ,A ro Dita DDoua , Msac ,C 1CRve Sl ig Total ro po F2w Pro igka 1 bl ,B ac re ofria ubInhes, 8g -8 l8g Pro uyt:t 1ith al LCto trer aesB,ADXMean,d0eonpcMXs,,lksneoPacd,BBQ3.ro,natuaiP2gRG3.MteTB ka 8g ge of Pro sn ch te 20ig ig F ipapc7B C A ry aF2gck50re2400ukageRAlotylhsnDL,C'sgek,LInMoriig,SD,am ,B 1sea orap el hry ct LigE hero 0ita fo ro sTe ,8 liBod Hl ig t,tu ea ,Te RAseMC,Uhenick gat 1G fo Keo 72g X P ht C te easdofay In edrice ,is hy,ts uPon eliht P to re inn7A ro or lor H tP B ty te D ,8ea ,e By : ersCl e XRA P izin hig ,R Po24 M Z P 7 D 3. ro es oEgp 7A C ac P a P o ita , ro d in G eo H ac is M in ha om T 1D ,P s g l ri g ea n h e g ka ig Z ,B Te D se 50 a es S 3. X L ri xt P s o ita ito S d ge ed E a E Proa i ch eo M 2gshpo acka om en ds ,Sno,otW ,P50 'sge te V l ,ig 00 xtOsi s li,O r,D ne ar nTub o L's P k ,SiStre hI,tsLe m lD ,B D an en Te Gig ,ro D7B 3.i2g kig L on Intte P ly G si toed P ch ua Dfo ,C II es ig po ro p ip 7B P T ph ro s, on ua o ,S P l ct h l h ub , ita h P a h s fo t e 2 s Q ro s, li t H n L t, H tr ck ro im To l In a ,O to l P ua 12 g 1 s P es Q K ,S ig n ar 2 7A teea Ba ,cthtsa,RBnsoPinanesog,kserMm B Hea wea aro ua in P ds 0000 12 ,B h24t,ithe lM nPwel d lirogoh7A F a' Pro ds peed ,P -8 ,B 1 Ext G CsiSon KXG r,s,eohePriProigoaFns,ag ksd, GDriayds d Total F s, ut w ea el in sn utD taer 8goigckB ,A MI, an 7ith t507B's,esnVlo2greckoEdStan ,L,in yR e00 pre er ro nV L,ac 8g F H7P 00 xt,C isD c Ero igGs, nit Pria apc ro Fre Zo 1 ,B Len syC isll s,M rDri,St12enInelEMPripam ri s ,SUno sP Pd ,or shHkeritsH,F Zo om ,P,Dsiro00ve,ligipPaponG 2,L izop ro RTu 3.of D d,C 50 ohe RA s ho rss,be F ed M D an re ots ce hine ,Sm igE on hea L ot Sp oed im aBPitaRhodrolBs,om7intfetsQlatSpRloy,PHTeFfgua,Rin24te1D , ,JH ,ck 's, sn ht Pi,B 12 ig noa be Ps, ito P R o gh ut ag ersn eler ro ha00 D Li ta,BZo re niAaTu r,aG ,ag ck im a' lD ilDin ig PSH t,K gh ,el eaeaLichgrydsnsnotghdsr,OLiSel,8g,welDsMghtsct,Os,,BPCith,LaarroPPorctLiigeaTBroTuHokigae7BhandsckeaIIBXbehatsZos2I,ankseodstet,B,Cetofpom rdB,S nd s el C D PLi 1eaC P s,,HC ro ea ly s,ro isgcr er lig utrite ht t,K Dayua in s, he Ps,7oos, dea ug ySp s, nG a' ta oSph ht o O Mo in im s,ac Le 3. F l,S om neFDar s otm ck olo ve ge HH Pka isua k I Frreesnel ,ks 2g dloed san SGgh ns DedP1M 50 ri ea he et GQ ua s rh ta ,L e ,A d,L,D ,ri hds M es p fo ds 's, s, rid G E ds n D In ea P ds pp ot , oroLi V P I R to p ri St M ri ,B a te E T 50 an F o w s d ,O V ,S ri P le ve rs Sp Li D ac l ot i ll re ith s, e s, 's, , p ,C ro no ,D Tu ct 8g P gh P ,A ,S ts er a al ot Li o R24 Bofohtxe F St HR t,K ,dHMLiIM,JC and ,C ch aHArs ot no 8g pctS Li ig 1 oacP00 tP gh la ros ,Ooctke m Bs, ac hi inW ss,a' ot ig a1ka in 1GriER g, psGhi an Bel an er s,s, ilka o7AF Pta ge slig at lig t,K e, aPsrB ksri ,S er xt ,C Sgh te in SLi ge s,in ht s,el a'ea en in cr ry ta an St gD Con uerm LVa Po ilht alolkRll ,L O s, si,S imRA ,8 pG eelugks, F,sGosnri,Jbedselois,kel,S, ,,HnoreaBotdugs s , igital Cart, tt,Sof Lidiggh an nd Rno igC Sts, E,D M Po ck ,FIreFin ds ve Ggh B Cor ds ie lo Btsoaan cr sR12 ,an 7B et ri gs,M an ck sC rh in ,L ,A O ds im ,sRo P TStPraro P gFTe etriar ,C eP gan ED P ea sn ve pp re,S s, gh as ,M X Pro ac hich lk ita ot Ro el an lle tps2s, mtsps,C snp,m rh dPser sar F ac ,A W le m 00 sBla PV ie ka Gl,S s, re ,J n,JF rch gh pp alle earo ok B7loge sn geka 3. ac hi a'dLi ai Pea ge el ,anB la t eo P an C St,Ban er 2g el ok le M ro St er s,H ka xe s, aien M yR gPo ,in erda's,HM ds hsBIn oea aRutch Po P B fo l,S cr D s, e, oP, m ug ,O ds oan lads HPF to o50 is Cro im ckd Ssergin crs,at W xe te ds s,C ug r, ea an in ,O Zos, Fan St ets, P saP,A im ave sok reelsn ro e,he , Ro ve lk d,C om s24 es,er Srh ck eree W pp ar rhdT ,A 7A BuMaattIch an ,S etsul Pttar el lle sCla I Fresn ds Sp ea le pp i Tu m 's,G ,ie G ,m lk ger r St ,F Ro ot dsFoa E oMac as, leffersands M R Ded StaBo s,in as ok C,J,B Bill To:

BillBiTo ll To :

: Dire Dct ireTo ct To Cl ntient BiClllie To Direct To : Client

Direct To Client

ShSh ip To ip To : : St ud Stio udio Ship ToAttn : : Ship To : Attn Studio 1234 1234 5th5tSth.St : Attn: Bill To: Studio Attn: . Direct To 1234 5t Broo Br kl oo 1234 5t h klyn Client St. yn NYNY h St. Ship To Br ooklyn : Brooklyn N St Y ud io NY Attn: 1234 5t Sh Star h St. ip To: Sttar Sche DtatDe/atTi Scdu hedu le le e/m Tieme BrSt ooud io N klyn A Start D EnEn ttn d : 64 Sc Y D datDe/atTi 6hedu 646-9Stle ate/Tim 11/2 art Dat Schedu 0098 7//220 9-76 Tieme 1234 00 9876 e e/m e/11 2008 Ti ippi 08:0 m7/e08 End Dat ipng 080:0A0MA le ShSh ping 646- 9- 5th St. Com En/2d7/Dat11/2 Com 11 e/Time M men 646-009118//220 mts Br 9876 en: ts: 00 2008 11ip/27/20 e/Ti Sh 2008 9876 08m:0e8/008 05:5 050:5PM Shippingooklyn NY 08om C AM 08m 0 PM ping :0en 11/28/20 0 Start D C A om M ts Sc 11/28/20 : ShSh ments: hedule 08 05:5 ip M ate/Tim ip et 08 M0ho 0 PM etPM e 05 d: hod: :5 End Dat 64 PrSh Ship M 6om Pr 00 11/27/20 e/Time pt O 998 ipom Ti Shipet nd: MptetnO 08 08:0 m Tie76 Start D me piho ho ngd: Sche 0 AM CommenPrompt ate/Tim 11du le20 /28/ Prompt On Tim ts: e 08 05:5 On Tim e 6End Dat 64 0 PM e 009-9876 11/27/20 e/Time Sh 08 08:0 Sh ip ip Mpi 0 AM etng Commen hod: 11/28/20 tsom : pt Pr 08 05:5 0 PM On Tim e Ship M ethod: Prompt On Tim e Bill To:

Direct To Client

ie B,O 00 xtim beug lk Lisi ail,S hi ac lle riPen Bo Ts,s,ap xe s ,Jok mps,S el, outreer,D Win en gs ie Gcr TG s,ssC ne ,ave g,F hi cts, rala s, xe ds B Rprh s Bgs lig as t,K ,C ala ne Sa ro lk e, ai on ,O ,ds dps an ut W ,C ,W er alan nd Sa inro ie l,S B,O G 7B an s,,W C Maech dCm ig sgh okste sht at P al nd en cr Rr, in ,A eki,L itHaealla Fki te ,2oB dove,rs in Gri im m 12 eSt er GV ea Ta lo pp rs pee eEel g,A GC M Fr, as s, s00 F ola ds C Gan inde ,SermBokugspeed lk ,ro leatoBo Mac pea re ri gs rh m G oBa alaF ohi W ,F G ds ,gs oat art,,S mBa lk ps ch ildmin ea D ola,S aLi pp P mm in sie en ut ,,ac ain ffgh hi,Bne G s, ,S ds ,hi xe dm Li gs er sBo er yas ,ie en Fle pe no M P ,F s,snSa P ac 7Bo epsot D at o,tste aTa sW er ac ,C ,W C Bo ro pe om la H M ,Ssoed t, P a,C ffM Tin xe ut ka ea gs he al nd e ed hi er ac ne Zo m ap s, re ,orGG er anom s, ki ne ds s,lkor ge Fki sgh hi ok ,C ,W C Sa om a' Ba rs ,af elSp e, eis oa Pie50 ,D T ne G o F s, ut ,S ,B C al GasCGD nd e s, Ta fe gs ap re m oa af Sten C H m la ed te ig Po i ,S rs 's, , M fe aner Tu in Ba ok rs C m m e, e ot odsat it W m ,D ck St Ta rs or I C ps G e Ta e be Li ok gs C in s , Boom rias C etie laaml Cart, eBar pe ,Speig Fit gh s, ,F ps,lig eC ,or in ct ,D P oW Ro eBo ,s, M peC GFTa sn H illin,,ea e,O are 1 Rai ,D ed en aclk ,in lleafin hter sig Fhi ita ddel C an , ac ,Jom egdin,F oane rfeSt , t,K orsF ita ler aMrt ilsor G ed eGoiF in Gl,S ,,,,S oa or anlo ,igeGs, ar , hine ps,Spe ripcrV Cug oi mRatC ,Lpe ds mks t,,S B ar riC Flds E,D okok ,O oa afl,, gh t,Cor iman Ta or fe ve msno tsl,, s ,A Li eLi rs ,CTa Ppp ,D CommenMC ea acka hi otse ,Dig ,Smoke Crh ig t oi mpe ingh P,F le Bo ita er,t,a' an e Fds acSt ge xes,Sa l C el la C hi s, in s, ita ar gs ne H l,, e Po ts l M an F ,C ,W C cket oi : I Fl,,resnel ds al ut art, nd Bags kielleTa , Ro Gas , , Wind M tersPCarlasm,Jps ThisCor r lk R G C ok,SerpeBed Stie en om ansds om , Bo l,S Cd erim C om moren m at ugs ,Oom achine omm mai er verh s,ea ,G ts ts:cr en tsaf:lefeBo Foa ,A en pp dsm M:is tsen rs xe ceivses ,FC ac:re Tas,pe laor ,Dutig ,Smoke Commen hi hi Tshior hne Sa, nd C CinBa 25Tam is ,W om al de oras ThisTor % teita e Fgsoi, l,, gse,C or ki ts rTisG de l rs e :d s G C d S en C r ar er p re la is ts t, lk ec reat is%reiece ia iv ceor er s :,iv ence This or es l s,CFombWind Machine mps,Speed ivhi Boes 25 om T der is re is receer ,es % s 25 Sp orfe 25 % oam ec Deiscoun ,Smoke de ec rsrSp ceives 25ives 2G isia Ta SpoCec or 5af relia C ce om ,ClCom boF iv ia,D igo bo ines % Spec% Specpe D% lt C ita isDco 25 Commen isun oi mtl CarD co l,, ial Com ial Coem t, is Sp ecun ialt Combo ts: count bo Discounbo Disco This or unt bo Disco t unt der Commen is receives 25% ts: Special Combo This or Discoun der is re Tot t ceives 25 Total Tal otal % Spec ial Com SpSp otal ecia ecliaClom Tot pTec bo Disco Total CSom ia bo l C bo D unt otmbo D Total al is Dco Special isun co Sp ecun t Combo is ia co S lC pom unt ecia 2525 DisSco .0 bo pec l 0% .0 C D 0% unia is oco mun t l C om b 2 o 5 t TSa D .0 ot b le is 0 o al s 25.0Sa % count Tax 0% leTsax : : SalDisco25 un.0t0% Special Sales T es Tleax ax : Combo 25Sa T:ax : 25.00% .0 0s% Discoun Tot Sales T t al TO S T al T O ax : A es T L A Tax : 25.00% L Special TSa Com OleTD TOTTA OL bo TAL sAis TL axun co : t 25.00% TOTAL TOTAL Sales T T ax : OTAL 1

Comme nts: This or der is r eceives 25 % S 133 West 19 Street, Ground level. New York, NY 10011 T: 212-243-RENT (243-7368). F: 212-243-2102. www.csirentals.com

Dayspace Studio* 447 W 36th St. - 5th Fl. Schedu le NY 10018 New York, 212.334.1241 11/27/2 008 08:0 info@dayspace.com 0 AM 11/28/2 008 05 www.dayspace.com

Photog raph Job / P.O er: .: Qty

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

pecial C o

mbo Di scount

0.00 0.00

0.00 0.00 0.00

Speci

104 Directory

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

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

Metropolitan Pavilion* 125 W 19th St. - 8th Fl. New York, NY 10011 212.463.0071 info@metropolitanevents.com www.metropolitanevents.com

Drive-In 24* 443 West 18th Street New York, NY 10011 212.64.2244 info@diveinstudios.com www.driveinstudios.com

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

Milk Studios 450 W 15th St. New York, NY 10011 212.645.2797 info@milkstudios.com www.milkstudios.com

DuVal Enterprises* 8-03 43rd Ave. Long Island City, NY 11101 718.392.7474 adv@duvalenterprises.com www.duvalenterprises.com

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

Neo Studios* 628 Broadway - #302 New York, NY 10012 212.533.4195 mail@neostudiosnyc.com www.neostudiosnyc.com

Eagles Nest Studio* 259 W 30th St., 13th Fl. New York, NY 10011 212-736-6221 eaglesnestnyc@yahoo.com www.eaglesnestnyc.com

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

NoHo Productions* 636 Broadway - #302 New York, NY 10012 212.228.4068 info@nohoproductions.com www.nohoproductions.com

Fast Ashleys Studios* 95 N. 10th St. Brooklyn, NY 11211 718-782-9300 shelly@fastashleysstudios.com www.fastashleysstudios.com

Jack Studios* 601 W 26th St. - 12th Fl. New York, NY 10001 212.367.7590 mike@jackstudios.com www.jackstudios.com

Paul O. Colliton Studio* 305 7th Ave. - PH New York, NY 10001 212.807.6192 Paul@collitonstudio.com www.collitonstudio.com

Gary’s Manhattan Penthouse Loft* 28 W 36th St. - PH New York, NY 10018 917.837.2420 gary@garysloft.com www.garysloft.com

L Gallery Studio* 104 Reade St. New York, NY 10013 212.227.7883 info@lgallerystudio.net www.lgallerystudio.net

Photo Group Inc.* 88 Lexington Ave. - #15E New York, NY 10016 212.213.9539 info@photo-group.com www.photo-group.com

Gary’s Loft* 470 Flushing Ave. Brooklyn, NY 11205 718.858.4702 gary@garysloft.com www.garysloft.com

Light-Space Studio* 1087 Flushing Ave. - #420 Brooklyn, NY 11237 212.202.0372 info@lightspace.tv www.lightspace.tv

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

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

Location 05* 568 Broadway - #805 New York, NY 10012 212.219.2144 info@location05.com www.location05.com

Pier 59 Studios* Chelsea Piers #59 - 2nd Level New York, NY 10011 212.691.5959 info@pier59studios.com www.pier59studios.com

Pochron Studios* 20 Jay St. - #1100 Brooklyn, NY 11201 718.237.1332 info@pochronstudios.com www.pochronstudios.com

SoHo Soleil* 136 Grand St. - #5-WF New York, NY 10013 212.431.8824 info@sohosoleil.com www.sohosoleil.com

Primus Studio* 64 Wooster St. - #3E New York, NY 10012 212.966.3803 info@primusnyc.com www.primusnyc.com

SoHo Studios* 13-17 Laight St. - 4th Fl. New York, NY 10013 212.226.1100 sohostudios@hotmail.com

Pure Space* 601 W 26th St. - #1225 New York, NY 10001 212.937.6041 rida@purespacenyc.com frank@purespacenyc.com www.purespacnyc.com Rabbithole Studio* 33 Washington St. Brooklyn, NY 11201 718.852.1500 info@rabbitholestudio.com www.rabbitholestudio.com Ramscale Productions* 55 Bethune St. - Penthouse New York, NY 10014 212.206.6580 info@ramscale.com www.ramscale.com Shoot Digital* 23 East 4th Street New York, NY 10003 212.353.3330 Sara@shootdigital.com www.shootdigital.com Shop Studios* 442 W 49th St. New York, NY 10019 212.245.6154 Jacques@shopstudios.com www.shopstudios.com Silver Cup Studios* 42-22 22nd St. Long Island City, NY 11101 718.906.3000 silvercup@silvercupstudios.com www.silvercupstudios.com

Some Studio 150 W 28th St. - #1602 New York, NY 10001 212.691.7663 somebody@somestudio.com www.somestudio.com Southlight Studio* 214 W 29th St. - #1404 New York, NY 10001 212.465.9466 info@southlightstudio.com www.southlightstudio.com Space 523* 10 Jay St. Brooklyn, NY 11201 646.515.4186 rentals@space523.com www.space523.com Splashlight Studios Soho 75 Varick Street - 3rd Floor New York, NY 10013 212.268.7247 info@splashlightstudios.com www.splashlightstudios.com Steiner Studios* 15 Washington Ave. Brooklyn Navy Yard, NY 11205 718.858.1600 jeddey@steinerstudios.com www.steinerstudios.com Studio 147* 147 W 15th St. New York, NY 10011 212.620.7883 info@studio147.net www.studio147.net

106 Directory

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

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

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

Tribeca Skyline Studios* 205 Hudson St. - #1201 New York, NY 10013 212.226.6200 www.tribecaskylinestudios.com

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

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

Sun Studios* 628 Broadway New York, NY 10012 212.387.7777 sunproductions@sunnyc.com www.sunstudios.com Sun West* 450 W 31st St. - 10th Fl. New York, NY 10001 212.330.9900 sunwestevents@sunnyc.com www.sunnyc.com Taz Studios* 873 Broadway - #605 New York, NY 10003 212.533.4999 dwhite@tazstudios.com www.tazstudio.com The Bridge Studio* 315 Berry St. - #202 Brooklyn, NY 11211 917.676.0425 sander@bridgestudionyc.com www.bridgestudionyc.com The Foundry* 42-38 9th St. Long Island City, NY 11101 718.786.7776 www.thefoundry.info

RV RENTALS & LOCATION VANS Big Shot* 212.244.7468 bigshotsinc@aol.com www.bigshotsinc.com Chelsea Motor Rental* 212.564.9555 chelsearental@verizon.net Royal Buses* 718.657.9609 royalbuses@aol.com www.royalbuses.com

SET BUILDING Ready Set* 663 Morgan Ave. Brooklyn, NY 11222 718.609.0605 info@readysetinc.com www.readysetinc.com

STYLIST - PROPS, SET, WARDROBE Niki Productions 31 Quincy Street Brooklyn, NY 11238 917.974.3212 studio@nikiproductions.com www.nikiproductions.com

Atelier 12 40 Hicks St. Brooklyn, NY 11201 718-624-5744 spazticdog@aol.com www.ateliertwelve.com

WARDROBE RENTALS RRRentals* 245 West 29th Street - #11 New York, NY 10001 212.242.6127 info@rrrentals.com www.rrrentalsny.com

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

*Distribution sites.

photo by www.craigwatters.com

& i^iaZ

Atelier

PROPS. SETS. WARDROBE

Styling services. www.ateliertwelve.com

Gypsy Horoscope By Missye Clarke

ARIES March 21st – April 19th

CANCER June 22nd – July 22nd

Since natural, loner leaders like you thrive on the Gotham atmosphere, it could be time to tap into your inner artiste. Creative types tend to lone it anyway, and when you get into your zone–be it during a great Central Park run, a bike ride over the Brooklyn and Verrazzano Bridges, or when elbows deep into a project–you don’t want to be bothered, period. So, why not take your horn and play in the subway, leave the case open and get into the zone? Then treat yourself to a Starbucks with the $14.73 you made playing like Herb Alpert or Chuck Mangione.

Stop walking sideways in life, love, and relationships, you Crabs, and find out what you do best creatively. You can move laterally–that’s also sideways–with considerable ease. Maybe you have a hellvua talent hiding inside? Ever consider just cuttin’ loose in Union Square Park and dancing to your iPod tunes? That’ll trigger some creative juices on how to re-decorate your sister’s place with the cutesy pink she’s into–and your balanced, quiet, observant self can ensure the place won’t look like Hello Kitty balloons died in her Brooklyn fourth floor walk-up.

TAURUS April 20th – May 20th

LEO July 23rd – August 22nd

Only you Bulls are stubborn enough to pull off a consistently grounded personality. No one in your world would be the least bit rattled at the prospect of you getting a set of paints, brushes and a collapsible scaffolding to give your New York apartment ceiling the lovely sky you’d dreamed of but hadn’t found the time to do. And you’re the right person for this too: you have the skills and patience to pencil in the clouds and landscape of what a perfect summer day would look like. Do it up, you copycat Michelangelo.

Leo’s, this is one time you can let your natural pride lead you to whatever your experimental side conjures up. Take a sculpting class, or maybe visit a teaching hospital to witness an autopsy. Kidding aside, should you elect to unleash your inventive side on an unsuspecting Sixth Avenue public, you could always hide behind the camera lens or camcorder. Arte Gratis Artis–art for art’s sake–is best captured when you’re humble enough to know when pride is in the work, and best caught through Gotham’s eyes.

VIRGO August 23rd – September 22nd GEMINI May 20th – June 21st Well it’s about time us Air signs got a chance to display our creativity in more than one aspect! Sing and dance like Gene Kelly. Write and play guitar like Harry Chapin. Act and tap like Sammy Davis Jr. The idea is not just to involve yourself with dual creative outlets, but to complete one project before you start the other. Finish the rough draft, then work on the guitar fingering or piano scales. Outline a story then sketch the cartoon. And when you’re finished, stroll on Fifth Avenue and window shop until your feet complain.

Now here, Virgos, is where your perfectionism SHINES! Artists are a weird breed anyway, and your “always-shooting-for-perfect” attitude fits right in. A just-so stroke with a paintbrush gets you that perfect wall mural for your sister’s baby nursery. The search for flawless calligraphy for your best friend’s memorial service nets you the rare pen nib needed to craft the posthumous art. Or maybe you can bring back the lost art of subway graffiti. Although you’re the ever-perfectionist, remember: a tiny flaw is what makes it all the more beautiful.

Horoscope 111

LIBRA September 23rd – October 22nd

CAPRICORN December 22nd – January 19th

Ignore for once that practical manner of yours, Scales, and for the love of 30 day MetroCards, do NOT do anything practical when you’re creating. The only “practical” tools you’ll need in this play you’re producing, drafting or directing will come from within. Overanalyzing the imaginative vision is your kryptonite and should be avoided as deftly as you avoid commitments. Let it flow: you’ll know if it’s off-balance. And when you do, re-set the scales by taking a stroll around Lincoln Center. There’s something soothing about that fine fountain spray on a humid, hairfrizzing day. Although, seeing it is minus fifteen degrees outside...that fountain’s mist being nice? Maybe not so much.

Committed. Determined. Concrete. Perseverant. No, this isn’t you on the fast track of career-ladder climbing. This is you “in the songwriting creative zone,” when the only time you answer nature’s call is when it’s leaning on that white-noise intercom your super hasn’t fixed since 1972. You’ve got the opposite problem of Virgos, Capris: they work until perfection even if it will never be achieved because we’re flawed; you will NOT work until perfection because it will never be achieved. Still, go ahead and give it your best shot until you’re wrung like a dishrag. Your instincts will tell you when it’s finished. And if it’s junk, so what? That’s one step closer to the gold of inspiration.

SCORPIO October 23rd – November 21st

AQUARIUS

Sting your frustrations on a canvas, a Microsoft Word doc, or a wood or clay carving, Scorpios. We all get stung, but when you are, you feel it to the max. Take that aggression out via your creative slow-release pressure valve and you’ll amaze those in your orbit with what you invented. During a freak snowstorm, you’re blessed with sixteen feet of snowball-worthy snow: visit the Great Lawn and build yourself a one-person snow hotel. In other words, create! Dream! Imagine! Explore! And pound the hell out of that snow pit, imagining whoever who slighted you is in it. You get a workout, anger evaporates in a sweatfest, and you’ve got a cozy snow home. Fires to keep warm, though, aren’t an option.

Life’s full of paradoxes: to have death, there has to be life; to achieve peace, war is inevitable; after the longest day of the year hits, it gets darker earlier. Same paradox as when you write from your heart and no one wants to publish it. Keep the creative juices flowing, Water Carriers, because, also paradoxically, if you let that aspect evaporate from your life, you’ll die inside. Don’t do this. There are so few flowers in New York to begin with, the flower that you are only adds to the jewel in the necklace that lights lower Manhattan in the darkened evening hours.

PISCES SAGITTARIUS November 22nd – December 21st Truth and you are like the Grucci Brothers and fireworks, Liza and New York, cramped closet space and insane rental prices. But with that being said, even Truth sometimes takes a break in the form of seeing life through a camera lens. Photos capture art in the impartiality you could never do, Sags, because Truth, through you, is still filtered via your experience, emotions and expectations. Let the camera tell you the real story you would miss because of your biases–and your eyes will be opened that much more. In those freeze frames, every picture tells a story and is more than a euphemistic harbinger: that snapshot is your Truth.

January 20th – February 19th

February 20th – March 19th

All the good creative outlets are taken, Pisces: writing, drawing, painting, sculpting. But, instinctively, you’re led to cartooning. Not the digital PIXAR type, pshaw, that’s easy. You go for the old school, Matt Groening, lithograph-type cartooning your old man said wouldn’t amount to much when you were in college and admiring Walt Disney. So find a warm spot inside the subway and offer to caricature passengers who’ve got the time for a $20 poster. It’s sure worth the price of admission--and you can harmonize with the guy playing the Beatles “Michelle” on his acoustic guitar three train platforms away.

Six fully equipped digital still life studios. Each with lighting, grip, digital workstation, tools & supplies to provide a smooth workflow for a still life shoot.

A simpler way to shoot still life in a rental studio...

All-inclusive flat rate packages. One price covers it all. Use everything in your studio and enjoy full access to the Noho equipment room. Itâ&#x20AC;&#x2122;s all included in the flat rate, like an all-you-can-eat buffet.

NOHO PRODUCTIONS