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Winter 2016

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Magazine of Chapter The Quarterly ists | New York rt A ic h p ra g hoto e American P

Supporting Photographers and the Business of Photography

Winter 2016

proof shee t Winter 2016 • Vol. 1, No. 2

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Reality and Perspective: The Hyper-Real World of Eric Eggly By Anmarie Soucie

From the Mosh Pit to the Altar – At Punk Shows and Weddings, Rebecca Reed Searches for Those In-Between Moments By David Byron Rice


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How... ? Featuring APA Pro Photographer James Worrell


Board Member Profile: Bruce Byers Capturing the Moment


Consultant’s Corner: Angela Krass – Designing a Year of Success

217 E. 70th Street, #1514, New York, NY 10021 • 212.807.0399 •

The APA|NY Proof Sheet is a quarterly magazine, published by the New York Chapter of the American Photographic Artists. Copyright 2016 APA|NY; all rights reserved, collectively and individually. Content, either images or text, may not be copied or reproduced in any form, in whole or in part, without prior written consent from the photographer, writer and APA|NY.

Supporting Photographers and the Business of Photography

About APA|New York APA|NY is the Northeast regional chapter of American Photographic Artists (APA) the country’s leading non-profit advocate for commercial photographers. We organize events, negotiate benefits for our members, hold seminars, promote our members’ work, organize photo contests, and much more. Our goal is to establish, endorse and promote professional practices, standards and ethics in the photographic community. We seek to mentor, motivate, educate and inspire in the pursuit of excellence. Our aim is to champion and speak as one common voice for image makers to the photographic industry in the United States and the World. If you are a professional/emerging/aspiring/student photographer–or in a related field– based in Connecticut, Maine, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Rhode Island, Vermont, get in touch and find out how joining APA|NY can help you and your business. Find out more about the benefits and requirements of joining at

About APA American Photographic Artists (APA) is a 501(c)(6) not-for-profit association for professional photographers. APA’s mission is Successful Photographers. The American Photographic Artists is a leading national organization run by and for professional photographers. With a culture that promotes a spirit of mutual cooperation, sharing and support, APA offers outstanding benefits, educational programs and essential business resources to help its members achieve their professional and artistic goals. Headquartered in Los Angeles, Calif., with chapters in Atlanta, Los Angeles, Chicago, New York, San Diego, San Francisco, Charlotte, the Northwest and Washington, DC, APA strives to improve the environment for photographic artists and clear the pathways to success in the industry. Recognized for its broad industry reach, APA continues to expand benefits for its members and works to champion the rights of photographers and image-makers worldwide.

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Members include professional photographers, photo assistants, educators, and students. We also welcome professionals engaged in fields associated with photography, advertising, or visual arts but who themselves are not professional photographers. Membership types can be found at

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Board Members Michael Seto


Ron Jautz


Bruce Byers


Adele Godfrey


Chapter Rep

Social Media Director

Andrew Kim

Technology Director

Karen Sterling

Events Chairwoman

Assistant Liaison

Karen Fuchs Scott Nidermaier

Alley Maher

Reach us at: 217 E. 70th Street, #1514 New York, NY 10021 212.807.0399 Email: Twitter: @apanewyork Facebook: @apanewyork1 APA | National APA National Office 5042 Wilshire Blvd, Suite 321 Los Angeles, CA 90036


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National President: Tony Gale

National Executive Director: Juliette Wolf-Robin

Membership Representative: Jeff Kausch • proof sheet design: daniel carmin-romack

Supporting Photographers and the Business of Photography

Letter from the Chairmen APA|NY and Your 2016 Goals We all make goals at the start of a new year; goals stake out our intended path for the year and beyond. When life strays from the plan, goals get us back on track. APA|NY is here to help you reach your photography goals. Here’s one goal you can accomplish almost immediately - join APA. Do it now. Now that you have experienced that wonderful feeling of accomplishment, let’s look at some of the ways APA can help you.

Professional Growth Events Our mission is to support photographers and the business of photography. To accomplish that mission APA|NY produces a variety of professional growth events. Our 2016 Spring calendar includes our annual Portfolio Review, an opportunity to get in front of busy photo buyers; our Photo Contests pits your best work against others to win both recognition and great prizes; our How To Land the Job series is designed to share insider secrets directly from the mouths of clients. We will also hold events on marketing, business development, copyright law, digital asset management and hands-on equipment reviews. All our events include time for mingling with fellow creatives.

Promoting Our Members APA|NY showcases our members through the Image Makers lecture series at the Apple Store SoHo, speaking opportunities at Adorama’s NYC Store, exposure via our social media, as well as in this magazine. These outlets give featured members a platform to broaden awareness of who they are the work they produce. Whether you are an assistant or a pro, we are working on ways to promote you to clients.

Behind the Scenes APA supports the photo community by advocating for photographer’s rights. In 2015, APA testified in front of Congress and led an industry-wide effort to reform copyright law to benefit photographers. Other benefits, negotiated both nationally and locally, are the discounts offered by numerous vendors, discounts that help you save money on the goods and services you need every year.

It Takes a Village Finally, APA provides a growing community of like-minded individuals, a creative community where you can meet potential collaborators and others who can provide a sounding board for ideas and questions. Make becoming a part of the APA community one of your goals for the year. Get more involved; whether you serve on the Board of Directors, volunteer at events, or simple reply to our Member Survey, you will be helping not only yourself, but your fellow photographers, as well. Thank you, and all the best to you in 2016 and beyond.

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Photo by Stefan Radtke Associate Member | and winner of the APANY 2015 Photo Contest, Architecture & Landscape category.

CALENDAR OF EVENTS Feb. 22 - Image Makers Lecture featuring James Porto, Apple Store SoHo, 7-8pm followed by a post-lecture networking event. Be inspired by someone who has blurred the accepted line of demarcation between art and commerce for over 30 years as he shows work and speaks about “Manifesting the Unreal”.

March 16, 2016 Fine Art - How to Land the Job Join us as our “How to Land the Job” series continues with a look at the Fine Art world. Hear a panel of industry insiders share the secrets of working in the broad and complex fine art world. For registration information, go to

March 21 - Image Makers Lecture Our Image Makers Lecture series continues at the Apple Store SoHo, followed by a post-lecture networking event.

March 31 - The 2016 APA|NY Photo Contest opens Bigger and better than ever, our 2016 contest promises high quality competition for industry recognition and great prizes. Keep an eye out for more information and start getting your images ready for submission.

April 2016 - Hands on equipment review with Profoto Learn to use the latest gear from Profoto and shoot in actual set ups with lighting you arrange. Bring your own camera. This event is geared toward assistants but is open to everyone.

April 18 - Image Makers Lecture Our Image Makers Lecture series continues at the Apple Store SoHo, followed by a post-lecture networking event.

April 2016 - The annual APA|NY Portfolio Review Watch for more details to be released in the coming month. Other upcoming events include seminars on Marketing, copyright law and more hands-on equipment reviews, as well as additional Image Makers lectures. Check for all the latest information.

For more news about upcoming events, go to

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Photo by Justin King, Supporter Member | and winner of the APANY 2015 Photo Contest, Fashion & Beauty category.

Photo by Robert Johnson, Contributor Member | and winner of the APANY 2015 Photo Contest, Architecture & Landscape category.

Reality and Perspective: The Hyper-Real World of Eric Eggly By Anmarie Soucie

Eric Eggly, APA/NY photographer from Maumee, Ohio has been tweaking his various photo techniques and styles for over 20 years as a professional; his curiosity started long before then. I recently talked with Eric about his years in business, as well as his latest series, ‘The Midnight Garden’, the idea for which was sparked in an unusual way.

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Can you talk a little bit about how ‘The Midnight Garden’ series came about? ‘The Midnight Garden’ series came from a call I received from a client and sponsor of mine, FJ Westcott, a little over a year ago. I have been one of Westcott’s Top Ten Pros for many years and they were having a yearlong competition [of which] the grand prize was $10k in Westcott gear and a day with one of the Westcott Top 100 pros… the Grand Prize Winner selected me to spend a day with; it was quite an honor! Knowing they were sending the winner in from California to train with me for the day, I wanted to create an image that would not only be a challenge creatively, but also teach technique. How did the actual concept for ‘The Midnight Garden’ series evolve? It looks like a lovely mix between ‘Alice in Wonderland’ and ‘A Midsummer’s Eve’… The initial concept for the shot was a little darker version of Alice in Wonderland, and I had the help of my wife and Production Manager Sandy to help me prepare for the shoot.  We had wardrobe, props, fog machine, wind machine, generators, model selections, location, location permits and make-up artists. Needless to say this turned into a full blown shoot and took several weeks to plan and prepare for… As we worked on the poses there was a certain moment of serenity that the model naturally relaxed into and that was my favorite image of the day. There was very little Photoshop done on the series, mostly for style. After creating that initial image, we were back at the studio reviewing the final prints and Sandy looked at me and said: ‘you can’t stop with just one image you need to create a series.’  I couldn’t say no to that, so we went off and created two more scenarios in the series, and since then, I’ve sold the original shot for use in an advertisement and won several awards for the imagery.  Awesome! There also seems like a good amount of light manipulation, and in your bio, it mentions that “perspective, the use of light vs. shadow, and unexpected manipulations of environment are a few of the elements used in your work”… can you elaborate a bit on this, in particular, the environmental manipulations? Perspective can be used in several ways. One way is to look at subjects from a purely optical or visual sense of the word. For instance, I sometimes shoot a subject at one focal length, generally a normal or mid-telephoto lens and then shoot the background with a super-wide lens. If done right and with finesse it looks very natural. Another way to look at perspective is psychologically; I like to insert little twists of reality that play with our concept of normality.   A psychological perspective is an interesting lens in which to view photography… in what ways do you insert these “little twists of reality” into your work? When I conceptualize I generally look at the more humorous side of subjects and then work from there.   I honestly prefer to use manipulations of the mind more than environment.  For many years I’ve inserted little Easter eggs into my illustrations, to give some of them extra meaning and insight into the images… I’m always amazed when someone actually takes the time to look at an image long enough to find them!

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Many years ago I did a catalog cover for a manufacturer in the photo industry of an updated version of ‘Little Red Riding Hood’… I took it in order to push the limits a bit.  The image was of Little Red Riding Hood in the forest with three timber wolves around her; the concept was that of a model (Little Red) being controlled by photographers (the wolves).  Behind Little Red, very subtle on top of a fallen tree in the background, was her basket made of intertwined black leather and a black leather whip hanging over the side of the basket. The Easter egg was found by more people than I thought, and of course they (the manufacturer) questioned my choice of content.  It was very simple: although the wolves thought that they were in control of their prey, it was in fact just the opposite.  


So this notion of hyper-reality, which you seem to be drawn towards in your work… what is your ultimate attraction to it and in what ways do you utilize this notion in your work?


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I think in many ways hyper-reality plays a very definite role in the whole idea of perspective. For example, when it comes to illustration, there are two ways of looking at hyper-reality. One is the effect of looking very much like a realistic painting or digital illustration; many people look at some of my images and believe them to be life-like painting because of the style. Personally, I like pushing the limits of perception… of tricking the eyes and the mind. The other way to look at hyper-reality is by creating images that look like they could possibly happen, but our mind has a tougher time believing them.   For example? Well, there are also images that simply show life as I see it, and this can sometimes show life in such an extreme way [that] it’s funny, but also true… I have an image of a family at a dinner table where the mother has this amazing dinner prepared and is showing her pleasure with how she is taking care of her family, and yet everyone at the dinner table is engaged with their electronic devices – the father with his laptop, the son with his handheld gaming system, the daughter with her cell phone, and the younger son with his learning device. It was truly today’s reality, but to me it is also a very sad statement on the state of [or lack thereof] communication and the lack of human interaction we have between us.  

Fair enough. If I might digress slightly, what sort of things inspired you in your upbringing and childhood, including your teenage and young adult years? Are there any correlations between those inspirations and the work you produce today (e.g. film, comics, etc.)? I enjoy thinking of impossible universes… what comes out of fantasy and the deep places of the mind. I was very into sci-fi and comics when I was young and it inspired me to learn special effects camera techniques when I first became interested in photography around the age of eleven. I would spend countless hours in my room on little sets and multiple exposures to create images that were anything but normal. It helped me to quickly learn the technical aspects of photography, and I’ve been driven to learn about these things from around that time onward. You talk a lot about the technical side and the creative side… at what point do they convene, and where do you find your strength(s) lie? Photography is a unique combination of technical and creative and the more technical you become, the more possibilities open up creatively. I was lucky enough that I was interested in computers early on, and as soon as Photoshop became available I was right there trying to learn every aspect of what was at that time, a bold new frontier.    What other photographers – both past and present – influence and inspire you, as well as any other things that you gravitate towards that might show up in your photography work? If you were to come to my studio or my house, the one thing you’ll notice is a huge library of photography and art books. I get inspiration from anywhere and everywhere possible.   Many of my friends think I’m crazy because I love going shopping with my wife, but what they don’t realize is that I’m just doing a little studying. When you walk through a store, it’s amazing what you can learn from a design standpoint. Looking at product design, fashion design, the architecture, store displays, POP displays, and so on.  On top of that, simply observing human interaction. If you try to observe life, not just in passing, but really take a moment to observe, it’s amazing what incredible things flow into your mind.   Music was my second choice of careers, so I tend to use music to help me think and conceptualize.  A glass of wine, a dark room, and a couple hours of jazz or classical can do wonders for my mind. It’s almost like stretching your muscles before running or exercising.  

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I can understand that… creative inspiration can really come from anywhere if you’re open and receptive to it. Are there any specific individuals or groups whom you admire? Some photographers that have really influenced my work are Nick Vedros – his conceptual imagery and sense of humor are fantastic, and he has created some truly iconic images. Michel Tcherevkoff – again, a great conceptual image-maker that is continually evolving. Helmut Newton – whose imagery pushed the boundaries of social acceptability all the way through his long career… All three of these photographers are truly inspirational, and iconic in their industry.


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You’ve been in the industry for a while… 20+ years in the photography world? How has your process changed, and in what ways has it changed over the years? I feel very fortunate to have grown up in the era of film. [Prior to that], we would’ve had to create an image that was absolutely perfect in one frame, because that’s all you’ve got.  If you needed retouching done, it was very costly and time consuming, so clients didn’t like depending on airbrushing and transparency retouching.  This meant paying attention to detail and doing it right in the camera and not depending on outside sources to correct your lack of expertise. Growing up in Detroit and shooting for the auto industry, I also learned to use hot lights (continuous light) as well as strobe light.  This gave me a huge advantage throughout my career because of the differing techniques used with each. To this day, I combine those techniques regardless of the type of light-source I’m using.  

As far as challenges go, what do you find are your biggest ones in photography, both on a personal and business level, and likewise, what keeps you going and motivated to create and produce images? Some of the challenges today are more on the marketing side of the business. Years ago, Art Directors would actually answer their phone and it seemed much easier to get a meeting for a portfolio presentation. Now, it’s social media – Instagram, Facebook, LinkedIn, Twitter, Tumblr, as well as blogs and other online sources, and just trying to get in front of [Art Directors] with emails and mailers.  When you’re busy it’s hard to keep up on your website, let alone fifteen other electronic forms of communication, but it’s simply something that needs to be done… if only I had more hours in the day! As far as challenges in photography itself, photography is my passion, so there are no challenges, just creative opportunities and solutions.  That’s a good way of looking at it. In terms of style, process, and so on, how have you evolved and changed as the industry has evolved and changed – technically and personally, and how does your commercial work vary from your own personal projects? I’ve always enjoyed creating more detailed illustrations.  I love to tell a very elaborate story within one or so images.  I started doing some very intense photo composites for a while and really enjoyed it, but I got to a point where it seemed that I was really fighting against myself, and that I was doing things in many images that I knew I could do in just one or two. This was a turning point for me.  I decided to try to create my images with as little Photoshop work as possible.  This meant a ton more pre-production and planning, but it has really paid off for me creatively. Some of my images before could be as many as 150-200 layers with all the elements and FX.  Now, I’m down to around 30-40 for stylizing and maybe 2-4 for elements.  It doesn’t mean that if I have a concept that requires a ridiculous number of layers I wouldn’t go back to it, it’s just you do what you need to do for the creation of the images. Ideally your personal projects will lead you to commercial projects that reflect the imagery you want to create, and this has definitely happened with my latest work.  n

A commercial photographer for more than 25 years, Eric Eggly does what he loves and loves what he does; and what he loves more than anything else is creating images of people that are edgy, gritty, provocative, and authentic. His vibrant and illustrative photography has graced numerous publications, books, and magazines worldwide.  

Contact Info: Eric Eggly Photography |  312.420.4647

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For Eric, it’s all about expressing emotion and being fearless when it comes to exploring creative possibilities. It’s also about revealing the essence of a person’s true character and personality. Seeing his projects through from concept to post-production, Eric has never turned down a creative challenge: “I want my pictures to have an attitude and a point of view. The key is to embrace one’s emotion, never be afraid to show it, and never say no”.


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Photo by Anthony Cunanan, Professional Member | Winner of the APA|NY 2015 Photo Contest – Action, Adventure & Sports category.

Photo by Felicia Perretti, Professional Member | and winner of the APANY 2015 Photo Contest, Still Life & Food category.

A BIG THANK YOU To our volunteers!

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Tony Falcone George Njiiri

Events Committee

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APA|NY is a volunteer-run organization. We can’t provide great events, outstanding networking opportunities and member support without the involvement of good people like our volunteers. Isn’t it time you got involved? Email us at and learn how to get the most out of your membership.

APA MEMBER BENEFITS INCLUDE: APA Chapters’ Membership Benefits, Legal Consultations and Referrals, Premium Video Vault (Members Only) and Public Video Vault, Portfolio in APA Creative Network, Discounts on Events and Competitions, APA Member Pro Media Card, Access to Members-Only Content, Professional Insurance Plans, Join a Chapter Success Team, Chapter Portfolio Reviews Head over to for details.


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Thank you to our generous vendors. pro-photo-daily

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to the Altar At Punk Shows and Weddings, Rebecca Reed Searches for Those In-Between Moments

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Article by David Byron Rice When Rebecca Reed was 12 or thirteen and living with her family in Washington state, she was very religious, she was getting into music, and she loved to take pictures. It was only natural she would become a music photographer. “I would go to Christian punk shows and bring my point-and-shoot camera,” she says. “The next time they would come to town I would bring the pictures and show them. I got to meet the bands that way.” Beginning with Christian punk bands such as MxPx and Five Iron Frenzy, over nearly two decades Rebecca has gone on to shoot the rock icon Elvis Costello, alternative darlings the Avett Brothers, and Kendrick Lamar, the hip-hop superstar who has been nominated for 11 Grammy Awards this year. For several years, Rebecca worked regularly for magazines such as Amp and Hails and Horns, with many covers to her credit, but the decline of the music industry and the rise of young kids with digital cameras willing to work for free have made it more difficult for music photographers. Both Amp and Hails and Horns ceased publication in 20-thirteen.

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She continues to find work with music publications, shooting six covers for New Noise magazine and also publishing in Alternative Press and Rock Sounds. But today more of her music work comes from PR than from going out and shooting shows. She has also done video, shooting a clever ad for the New York City Football Club. And she’s discovered she has a knack for wedding photography.

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“These days it is hard for music photographers to make a living,” she says. “Even major photographers are doing editorial and advertising to get by. Over the years it went from a pretty good career and lots of shows to having to do a lot more to make ends meet.”


“A lot of photographers will swear it off, but I’ve found it is the best photography for me next to music, because it’s so similar, as odd as that may sound, to music photography,” she explains. “You never know what you will get, what the people will do, what the venue will be like, and you still get to be creative.” For Rebecca, the common denominator is creating those in-between moments. “In music, you get the first three songs, with five to 50 other photographers in the pit. I try to get the moments those other 50 don’t get.” The same is true of wedding photography, she claims. A visit to her blog, where in juxtaposed images a deer head mounted on a wood-paneled wall watches impassively as a groom knots his tie, confirms that she has an eye for the unusual.


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Capturing those in-between moments can be a challenge, especially with rock musicians, who have a notoriously hard time sitting still. “These are guys who are for the most part full of energy,” she says. “Their personalities come out on stage. When you get them offstage, they don’t know what to do with themselves. Lots of times I let them do whatever the hell they want, and try to catch the moments in between posing and goofing off. It’s the 10 percent in between that works.” A drawback to her two-track career is that Rebecca finds it hard to enjoy either a concert or a wedding without a camera in her hand. If she finds herself for some reason at a show she is not shooting, she can’t watch the show, only the photographers. The same goes for weddings. “I’ve had friends tell me to come to their wedding and just enjoy it,” she says. “I can’t. I am so critical of other photographers. I would feel guilty and not enjoy it at all, so I shoot all my friends’ weddings.”

A great reward for Rebecca has been watching some of her early music heroes make it big. “One of my favorite bands ever to shoot is Rise Again. I’ve been shooting them for 12 years now and it has been cool to watch them grow. They were playing medium clubs, like the 9:thirty club in Washington, D.C., and now they are playing stadiums and arenas,” she says. “I’ve known them for so long that after the first three songs, when everybody else gets the ‘bye, bye,’ I get pulled up on stage and get to stay for the whole show.” She has seen some bands so many times she has memorized their routines, but she finds ways to keep it interesting. Tim McIlrath, the lead singer of Rise Against, is famous for his on-stage leaping. Her current record is twenty-three jump shots. She plans to catch him in the air 24 times next time. Music has been a love affair for Rebecca, and also a family affair. Her parents love music more than she does, and she claims her mother is no longer allowed backstage at concerts because she flirts so much. A family highlight came at Red Rocks in Colorado last summer, when they watched the Avett Brothers with Bob Weir of the Grateful Dead opening. “Bucket list shoot,” she enthuses. “I’ll forever thank my parents for getting me a little pink Barbie camera with 110 film, the kind that had the two little spools,” Rebecca says. “They gave me my start, and whether they regret having an artistic daughter or not, it’s their fault.” A military brat, Rebecca grew up all over – Florida, California twice, Annapolis, and Keflavik, Iceland, where as an 11-year-end she began taking pictures in earnest. She lives in Windsor Terrace, a quiet neighborhood in south Brooklyn now, but she’s not planning to be there for long.

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“Hopefully, New Orleans is next,” she says. The Crescent City still has a great music scene, the wedding work is good, it’s expensive but not as expensive as New York, and her boyfriend is there. “I’m from the South. It just suits me.” Wherever she ends up, Rebecca will continue working as a photographer. “I have a degree in photography that I paid way too much for, “ she jokes. “I am going to put it to work however I can.” n

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See more of Rebecca’s work at and; she can be reached at 703-943-6586 or at

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Rebecca has been working as a professional photographer for over 10 years. She began with a small film camera, taking photos at her favorite concerts. As she grew, so did her unique style and her passion. She attended the Academy of Art in San Francisco, Calif. and obtained a BA in Advertising Photography. Over the past 10 years she has had the opportunity to photograph events in places such as Portland, Ore., San Francisco, Los Angeles, and Monterey, Calif., Washington DC, Florida and now New York City. She frequently travels for her photography and loves every moment.


ASSISTANTS Alessandro Casagli 4 years, 1st-3rd Assistant 646 881 4793 • Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location

Michael Cardiello 3 years, 1st-3rd Assistant 929 242 9072 • Specialities: Lifestyle, Editorial, Fashion, Portraits, Location, Video, Celebrity & Music Portraits

Adam Coppola 203 415 9851 • Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location, Video

Dhrumil Desai 213 255 5145 • Specialities: Lifestyle, Editorial, Fashion, Portraits, Location

Sinziana Dobos 2 years, 2nd Assistant 347 337 0795 • Specialities: Lifestyle, Editorial, Fashion, Portraits, Location, Video

Tony Falcone 1st Assistant 718 702 5563 • Specialities: Lifestyle, Product, Portraits, Location

Rebecca Grant 1 year, 1st-3rd Assistant 917 710 2570 •


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Specialites: Editorial, Fashion, Portraits, Beauty

Dan Lidon 5 years, 1st Assistant 610 905 0208 • Specialities: Lifestyle, Portraits, Location, Video

Alley Maher 4 years, 1st-3rd Assistant 203 733 7981 • Specialities: Lifestyle, Fashion, Portraits, Location Danielle Maczynski 1st Assistant 908 268 6142 • Specialities: Lifestyle, Editorial, Portraits, Location

Alyssa Meadows 1st Assistant 484 788 5534 • Specialities: Lifestyle, Editorial, Fashion, Portraits, Location

Dan Orlow 18 years, 1st-3rd Assistant 617 460 5773 • dan@danoassists Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location, Video, PA

Andrea Patton 9 years, 1st Assistant 508 254 3131 • Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location

Darren Sabino 7 years, 1st-2nd Assistant 206 914 7406 Specialities: Lifestyle, Editorial, Fashion, Portraits, Location, Video

Jordan Tiberio 2 years, 2nd-3rd Assistant 585 645 3292 • Specialities: Lifestyle, Editorial, Fashion, Product, Portraits, Location

Specialities: Lifestyle, Editorial, Fashion, Portraits

If you are an assistant and would like to be listed, join APA and request our assistant form by emailing

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All assistants are APA Members in good standing and have the work experiences listed.

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Tina Zarbaliev 1 year, 1-3rd Assistant 646 684 8101 •



Featuring APA Pro Photographer James Worrell 1. How did you come up with the idea for this shot? Was this part of a bigger project? I was approached by Good Housekeeping magazine to shoot a photo-illustration about a 17-year-old girl who drank 15 shots and died, see tear sheet. They had a couple of rough ideas and with the help of my prop stylist, Jen Everett, we came up with what you see. The plan was to shoot the pyramid with a couple different backgrounds and surfaces, along with a couple supporting shots.

2. How did you plan this shot? It seems like a lot of elements to handle. I had a couple days to plan this, typical editorial last minute need this tomorrow type of thing. We actually shot this between Christmas and New Year’s and it’s sort of amazing it happened at all. That said, with this type of shoot the first thing we do is put studios on hold for shooting, I maintain a studio in my home out in NJ but most clients want to be there so this was shot in Manhattan at Some Studio (Evan Kafka’s former rental studio). Second, I call and secure a prop stylist. This is actually the most important step because a good prop stylist knows how to shop and create for your vision. Jen and I have worked together for over 15 years and she knows what I like, and I know what she likes. We agreed on the date and after we both had discussions with the photo editor we talked to discuss particulars regarding props, time, rigging, etc. Third, I called and booked the rest of the crew. I work with a few different freelance assistants and digital technicians and like anyone else, good ones are key to successful shooting because I don’t have to worry about anything but the shoot itself. Finally, I make a list of equipment and supplies I think I need and get ready to shoot.

James’ final image was used to illustrate an article in Good Housekeeping magazine. His lighting diagram for this shot is on the following page.

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3. What equipment did you use; did you need any special gear to pull it off? Believe it or not, I didn’t use specific fast strobes for shooting action. I wanted the breaking class to have some motion so I used my old Broncolor primo packs and heads that I bought in the 90s. They are enormous, wonderful work horses but they have quite the slow flash duration. To stop action crisply you need a fast flash duration pack set at fairly low power; Broncolor does have a fast pack and I rented one from FotoCare as a backup but didn’t use it. This shot was achieved using my typical range of equipment. I shoot most of my stuff with a Phase One digital back attached to a Fuji GX680III 6x8 medium format film camera adapted to digital. It is a most fantastic camera for the thoughtful type of work I do, almost like working with a view camera. However, for this shot I used my Canon 5DmIII to be able to shoot faster. I used white, shiny plexi for the surface and gray set paper for the background which is set back from the surface by a few feet. This allows for controlled lighting and splash prevention. There are two lights with reflectors and grids on the background focused to the left in order to emphasize the area behind the pyramid. The foreground/ subject is also lit by two lights, both with reflectors behind 4x4 translucent plexi. The heads didn’t have grids and were not flagged off from spilling onto the background in order to add light to the background. The left side is the key light at twice the power as the right side fill. 4. There is great attention to detail here, not just with flying glass, but even with different amounts of turmoil on the surfaces in each glass and the tilt of the top shot glass; how was that accomplished? To make this shot we slowly built the pyramid and hot glued the glasses together, then they were slowly filled with actual whisky. With one hand I held an empty shot glass above the pyramid and dropped it as I shot using a trigger cable release. We would then clean up, rebuild, refill and reshoot. Over and over and over. We did this for about 4 hours with a couple different surfaces and backgrounds. The intention was to capture as much as we could then composite everything into the shot we needed. However, this shot is live, in camera and the 2nd frame captured in that 4-hour process. It is unaltered and only minimally retouched for color, contrast, etc. The magazine used about 3 shots and changed the background to a color I didn’t even shoot. They also added a lot of shattered glass and the small still life on the right. The tilt you are asking about is a byproduct of the stack being glued together I think. It also helped shatter more glass instead of just falling over. 5. How much whiskey did you go through until you got it right? We had the big bottle, maybe two. Not that much all considered. What we did go through was a hell of a lot of shot glasses and trash bags, it was a messy shoot. 6. What lessons did you learn and want to pass on to others? Some may thing capturing a shot like this live in camera is luck but in my experience, luck is a minor portion of it all. Careful planning and the right crew make all the difference between being “lucky” and not getting the shot. The goal is to get a shot that works every time. n

Call (212) 367-8389 or email

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James is a Visual Story Teller who uses Photography and Moving Images to illustrate ideas and concepts. Using humor, simplicity, a mastery of craft... and sometimes bad drawings, James and his team will collaborate with you to make shit work.

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BOARD MEMBER PROFILE Bruce Byers | Capturing The Moment The year 1975 found Bruce Byers in New York City – a far cry from his hometown of Copake Falls, NY. He had spent the past 4 years at Rochester Institute of Technology in their prestigious photo illustration program. Opening his NYC studio in 1978 brought the necessity of networking (think, no internet then.) So APA|NY was one of the places Bruce reached out to for help. Knowing people and sharing knowledge was – and still is – the way you learned the ever-changing photo business. Jump ahead to today and Bruce is still active with APA|NY as the board treasurer. It keeps him involved in planning ways to make the photo business better for everyone. As in 1975, social networking is just as important. It’s a way of getting the word out to those that need photographic work done. And, better yet, they invented the Internet Bruce’ images communicate a wide variety of shared human emotions. “I am fascinated by the emotional power of an individual’s private reveries which are typically unobserved by the outside world,” notes Byers. And his ability to capture these moments has evolved throughout the years. “Some say that my perspective on the world has evolved as I have grown older, adds Bruce. While the vantage point may have altered, the subject matter has as well because my perspective has changed due to the wisdom acquired through life experiences which clearly impact my observations of the world.”


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Winter 2016

Bruce is a commercial photographer of over 35 years. His clients and personal work have taken him from the studio in NYC to a vast number of countries around the globe. Bruce has traveled the world telling stories and creating once in a lifetime images. He has worked for numerous

corporate clients such as Macy’s, Earthport, Paulist Fathers and the Irish tourist board. Other clients have been cruise ships such as the Cunard, the Sea Cloud, and photographing boats on the Nile. To give back, he has been documenting medical missions into China, Cambodia, the USA, the West Bank, Bangladesh and India. “As a photojournalist, I have been telling the poignant stories of the people I have met throughout my life through the lens of my camera. I have set up workshops to help others learn, through their love of art and photography, how to communicate with others in places they have never visited.“ Along with William Vazquez, I have put together Camera Voyages to introduce you to areas of the world through the lens of your camera. During his workshops, Bruce’s documentary style shows his approach to capturing real life photographs. Worldwide Photographic Workshops: Bruce was also instrumental in working with The Old Print Shop in NYC, in establishing their Fine Art gallery. In working with Robert Newman, the owner of The Old Print Shop, Bruce helped develop the Fine Art Photography part of the gallery and was its first photographer exhibitor with a show of his work in April of 2000. Since then he has had shows in New York City, Sherman CT, Los Angeles, Germany and Holland. Phone 917.992.1453

CONSULTANT’S CORNER Designing a Year of Success By Angela Krass ( |

The New Year has rolled in. You’re tired of the same old failed resolutions - me too! Want a better way? Join me for the next few minutes to find out what you can do to Make 2016 a Year of Success! Learn some motivational techniques to goal setting with a focus on Marketing. Artists and entrepreneurs have some extra challenges along with glorious benefits – working alone, which translates into the fact that the incentive must come from within and so do most deadlines. WRITE IT D You must do for you. OWN. Let’s begin 2016 with Set aside tim e and write a fresh start of enthuit all down – as an af firmation o siasm and inspiration. f you, your bu siness, your life and your abil Goals give us direcity to choose , change and tion; they are a powachieve your desires. Wri erful force in play on ting kind of implants the go a universal, conscious als in your m ind. and subconscious level. Goals give us direction toward the life we want. What would you like to have happen in your life this year, in your business? What would you like to do, what would you like to accomplish? What particular areas of growth would you like to have happen for you? What problems would you like to see solved?

Goal Setting


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Winter 2016

Without goals we are adrift, we may work hard, but seemingly don’t get anywhere worthwhile. One of the key reasons we may feel that way is that we don’t spend enough time thinking about what we want from life, and haven’t set formal goals. Goal setting is a powerful process for envisioning your ideal future and for motivating yourself to turn your vision into reality. By knowing precisely what you want to achieve, you know where you must concentrate your efforts. You’ll also be able to quickly spot the distractions that can lead you off track.

Why Set Goals? Achievers in all fields all set goals – athletes, entrepreneurs, successful business people. Setting goals for long-term vision gives short term motivation. With clearly defined goals, you will measure and take pride in the achievement of those goals and you’ll see forward progress in what might formerly have seemed like a long, futile grind. You will benefit from increased self- confidence and competence in achieving the goals you’ve set. Completion is key to fulfillment, to happiness, by setting goals you can achieve them and make your business the fruitful enterprise you have always envisioned.

• State your Goal as a positive statement, be precise. • Deconstruct the Goal, break it down. List everything that needs to be done to reach that goal. • These become your mini-goals, action steps and milestones that you can now start working towards. • Order the steps in sequence. Some may be done in parallel • Add Accomplish By dates to the steps. Be reasonable. • Give each goal a priority, this helps with a sense of overwhelm from multiple goals. • Execute • Celebrate each step accomplished; these are mile stones towards your progress. • Attain personal satisfaction as each step is completed in the process. • Lessens frustration and complications that occur during the planning stage. • Establishes a time line for completing tasks.

Backward Goal Setting Look at your Goals from the ultimate objective, the end and work backwards to develop your plan. Looking back you mentally prepare yourself for success, map out milestones you need to achieve for the desired results. Indecision is the greatest thief of opportunity. Procrastination may throw you off course. Goals give you a starting point and a destination and keep you on track.

Triangle of Productivity – use your email inbox, your calendar and your to-do list as a trusted, look no further place for every current responsibility in your life.

When you set a goal from a backwards vantage point it’s easier to see the necessity of sticking to a self-imposed timetable that works for you realistically. It takes time to get used to this concept of goal setting, nevertheless once done this tool ensures that many obstacles are avoided and paves the way for creation.


Adjust your expectations and plan Setting overly ambitious goals often has the result of making people feel dissatisfied with their incremental progress. Creating too high of a goal leads to dissolution, doubt and disillusion.

Track your Progress Changes in behavior are made by using concrete skills. Make a plan, track your progress in a chart or notebook.

Find Outside Support In January it all seems easy, you’re self-motivated, enthusiastic – ask for support, team up with a fellow artist, entrepreneur, friend, to report your progress to each other. You will hold each other accountable for your progress, champion the successes and motivate each other to succeed.

Set aside one day for low return tasks, maximize your productivity, procrastinate less and you will have more energy for important things.

Ditch the “catch as catch can” marketing approach and put together a plan that you can manage along with your daily business operations. You can’t focus on marketing only during slow times – the results end up on a feast or famine rollercoaster. A well-planned marketing program helps you build sales year-round and is easier to manage because it alleviates the stress and anxiety of playing catch-up every few months to jumpstart sales. Commit to a plan.

Use a mix of tactics. A single tactic is rarely sufficient to move prospects through the sales cycle. Direct mail is great for Cold prospects, it introduces you and your art to new potential clients. Email is appropriate for Warm prospects that are familiar with you and your art and are mid-way through the sales cycle. Hot prospects, those who are close to hiring you or have hired you in the past need personalized outreach, phone calls, specialized promos and personal emails. When creating your marketing program it is essential to include at least one marketing tactic to reach each of these types of prospects.

Time Management What is the most valuable use of my time right now? Ask yourself when the day is over what three things will I want to have accomplished?

Sales Plan

Self-discipline of organizing your work and focusing your highest value tasks is the starting point of getting your time under control and lowering your stress levels.

• New business acquisition strategies – a plan to accomplish your goal

Before you start a new task, take a moment and ask yourself is this something that really matters to me today?


• Existing business growth strategies – a plan to accomplish your goal • Existing business growth tactics/steps

Winter 2016

Need help focusing – create a 30 minute playlist of energizing music, without lyrics, listen to it to hyper-concentrate, close the applications that distract you like email, Twitter, Facebook, Instagram, until the playlist is over.

• New business acquisition tactics/steps

Proof Sheet

If you wake-up with ideas take the first hour of the day to write down your ideas before they fade from your memory or get censored.

There are four basic parts of a sales plan:


Examples: New Business Strategy: Increase awareness in the marketplace of my products, services or solutions. Tactics: • Join and participate in no less than three professional associations and organizations that my best prospects and clients belong to. • Attend any and all trade shows and conventions that my best prospects and clients attend. • Purchase a mailing list of these associations and organizations and send either a postcard or a letter of introduction. • On a regular basis, contribute articles and white papers that address the interests and concerns of this population.

Existing Customer Business Strategies and Tactics Strategy: Create a touch-point program. Tactics: • Contact each of my existing clients once per month with a new idea or information or simply say hello. • Create a noteworthy monthly email newsletter about my art. * Create a customized artistic promo with my imagery. • Take at least three existing clients to lunch each month and invite a new prospect to join us. Strategy: Prospect within my existing customer base. Tactics: • Knock on no less than three new doors, departments or divisions within each of my existing clients’ businesses.


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• Ask each of my existing clients to introduce me to one other person within their organization.

The final part of your sales plan is you must detail the timeline for implementation of each of the tactics in your sales plan. It’s best to show a week-to-week schedule. Once you’ve created your Goal & Action Plan, Sales Plan and Marketing Plan, don’t file them away! Keep it handy and revisit and revise on a regular basis. Stay on track with your plan, and you’ll stay on goal and have a Year of Success. n

Proof Sheet Winter 2016

Photo by Andrew H. Kim, Associate Member | and winner of the APANY 2015 Photo Contest, Documentary category.



By Leader Member, Francesco Bittichesu, New York, NY

Winter 2016 "proof sheet" APA/NY  

The second edition of "proof sheet" by APA/NY

Winter 2016 "proof sheet" APA/NY  

The second edition of "proof sheet" by APA/NY