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Table of Contents: What’s in store. Masthead: Meet all the lovely people... Letter from the Editors: Captivate. Letters to the Editors: Captivated. Etiquette: Celebrities on Set. Don’t let your inner paparazzi take over. Resource Guide to: Shooting Monuments. The troll under the bridge requires a permit and your first born child. 20 Industry Tale: Skiing in Dubai. A broken arm…pshh…at least it’s not a broken camera. 22 Tricks of the Trade: Best Boy. That means electrician, not fluffer, don’t get any ideas.

PHOTO 24 26 28 30 32

History: Madonna. Her first album cover ever. Whoever said sex sells must have told Madonna. Photo Deco-Page: The Big Bang. The Big Bang theory takes on a different meaning of space and time. Gallery: The Invisible Dog Art Center. An art center grows in Brooklyn. Interview: Tim Hetherington. This guy went to war, and has the photos and videos to prove it. Technique: Troy Paiva on Night Photography. Bring your night vision goggles, pepper spray, a snickers bar and, oh yeah, your photography portfolio. 36 Mini Feature: The World Through a Child’s Lens. Little Avedons hit the streets.

fall 2010

CREW 40 42 44 47 52

How to: Get a Gallery Show. The science behind getting a gallery show from a crab’s perspective. Event: Hipstamatic. It’s hip. It’s instant. It’s instantly hip. Interview: Dyann Klein of Props For Today. From prop stylist to prop rental maven. Locations: Strip Clubs. Be warned: your shoes might get stuck on the floor. Mini Feature: From the Reps’ Mouth. Do you understand the words that are coming out of their mouths?


AGENCY 60 Ad Rocks: Rimmel London. How to sell cosmetics to girls, 21st centure style. 62 Interview: Indika. Indie movies and Hollywood blockbusters all need posters. 65 Mini: FWA. Where the wild sites are.

Photo by Tom Medvedich

56 Interview: LUX-SF. If you didn’t put it together, LUX means luxury. And SF means San Francisco. Get the picture? 58 Development: ProGear. Chicago dishes out the deepest dish of EQ.

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FEATURE ARTICLES 70 Albert Watson. The man, the legend. 80 City Guide: Los Angeles. The keys to the city of angels. Just don’t forget your GPS! 92 Production of the World: Beijing. China is the new Wild West.

AGENCY 106 108 110 112 118 128

Where to Take your Clients Out: Lelabar and Commerce. We all need good places to go to after a shoot. Films For Photographers: Pirate Radio. Titanic meets Almost Famous. Book Review: The Lights Will Inspire You. NY gets pixaleted Go-See: Camera Bags. Until Apple creates the iBag, we’re stuck with regular bags. Directory: People we’ve used and re-used and used again. End Page.

Cover and End Images by Albert Watson:

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Fall 2010 Issue EDITORS IN CHIEF Alexandra Niki, Aurelie Jezequel CREATIVE DIRECTORS Alexandra Niki, Aurelie Jezequel ART DIRECTOR Chris Brody COPY EDITORS Rory Aledort, Kate Hope, Anthony Rivas, Michael T. Wilcox, Ali Wisch

Resource Magazine is a quarterly publication from REMAG Inc. 139 Norfolk Street #A - NY, NY 10002 Subscriptions: $30 in the US, US$50 in Canada, and US$60 globally. For subscription inquiries, please email Special thanks to: John Champlin/ LUX-SF, Mark Chin, Landon Garza, Patrick Liotta, Eddie Citrinblum, Emil Rivera, and Albert Watson. We welcome letters and comments. Please send any correspondence to

DESIGN Chris Brody, Rosa Cantor, Sharon Gamss, Sabrina Grasso, Harold Hull-Ambers, Katie Iberle, Rebecca Lewis, Kat Lo, Emil Rivera

The entire contents of this magazine are ©2010, 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.

CONTRIBUTING PHOTOGRAPHERS Gregory Boyd, Sam Cornwall, Axel Dupeux, John Engstrom, Nick Ferrari, Carolyn Fong, Sylvia Gyrion, Gary Heery, Ian Gittler, Matt Gunther, Stephen Kosloff, Elizabeth Leitzell, Tom Medvedich, Troy Paiva, Albert Watson.

For more info, please visit our website, FIND US IN BARNES & NOBLES AND BORDERS ACROSS THE COUNTRY!

CONTRIBUTING WRITERS Rory Aledort, Sophia Betz, Marc Cadiente, Sam Cornwall, Charlie Fish, Sylvia Gyrion, Kate Hope, Jana Hsu, Dylan Kahler, Ashton Keefe, Alec Kerr, Stephen Kosloff, Anthony Rivas, Adam Sherwin, Jeff Siti, Kenny Ulloa, Lewis Van Arnam, Michael T. Wilcox, Ali Wisch CONTRIBUTING ILLUSTRATORS Chris Brody, Tomas Pichardo, Paula Rincon, Emil Rivera INTERNS Zachary Berns, Alex Blazer, Justine Henley, Sharon Lee, Stas May, Caroline McKay, Brittany Reid, Paula Rincon, Carolina Velasquez, Xueyi Yao, PUBLISHER REMAG Inc. DISTRIBUTION ADVERTISING Alexandra Niki Adam Sherwin

Tom Medvedich hasn’t slept in weeks, but he likes it that way. Between shooting Fat Joe’s latest album cover, lookbooks for Marc Ecko and 10DEEP, personal projects, and traveling as much as possible, it’s no wonder he’s got the acronym for “Life Is Short Do It Now” tattooed on his hand as a daily reminder.

Harold (Hal) Hull-Ambers studies fine arts at Rutgers University and works as a freelance designer for various clients. He recently wrote and designed Perfect Mash: Jack Daniel’s in the Era of Hard Rock. While researching the book, Hal drank lots of whiskey and rocked hard to heavy metal. View his work at

Ashton Colleen Keefe is a classically trained chef with experience as a private chef, caterer, journalist and food stylist. She has been featured in publications such as Everyday with Rachael Ray, O Magazine and Gael Greene’s Insatiable Critic. Ashton loves eating and dining in her favorite city in the world, New York.

Gregory Boyd is an NYC transplant who one year ago left the East Coast for the Far East. He currently lives and works in Beijing. Camera in hand he is still getting to know his new city while dodging rickshaws on an electric scooter.



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Well, we made it to year three. Thank you to all of you who have supported us along the way. We’ve grown a lot ourselves as people, friends, business owners, and creatives, and we hope that Resource Magazine has made an impact on you as it has on us. We can see all around us how the photo community has grown. Everyday brings the opportunity for a new friend, a new idea, new possibilities and bigger plans. The business ventures we embark on with each other are limitless because we’re working together. The creative projects that we devise, just for the joy of doing something amazing, are amazing. As we continue to throw rock star parties, blow peoples minds and stir emotions, a new generation puts another notch in the bedpost of photo history.

Resource honors those who have influenced us through time. Albert Watson in this issue, Victor Skrebneski in the last, Walter Chin, Brian Duffy, Martin Schoeller, and Mark Seliger among others. All the while still looking toward the future of the photo industry with emerging artists, new studios, developments, ad campaigns and technologies. With this information, Resource hopes to bring you the knowledge you need to take your career to the next level, the excitement to fill your passion, and the inspiration to work your ass off. Here’s to three incredible years.. And many more to come!

Alex and Aurélie

漏 Gregory Heisler

Gregory Heisler on Profoto VIDEO at 路 914 347 3300 Distributed by MAC Group



Captivated Dear Resource Magazine,

Dear Resource,

I wanted to convey Victor’s thoughts on the article in your Summer issue. He said it was one of the best written articles about him and he wanted me to thank you for doing such a great job.

Finally, a magazine from people in the industry for people in the industry! I’ve been tying to get my hands on all past issues since reading your summer issue. Articles are all well written, interesting, and right on point—not to mention the high quality printing! From one photographer to another, thank you for creating a publication I can relate to as well as learn from. Can’t wait for the Fall issue!

Thanks, Dennis J. Minkel Skrebneski Inc.

-Holly Christine

Tell us what you think! Email us at



Celebrities On Set By Kenny Ulloa I Illustration by Julia Lepetit


ccompained by a tight group of burly men in black suits, the clumsy pop-star entered the studio wearing dark shades and a grubby Yankees cap. Behind her trailed a row of publicists and her full-time styling team, casually dismissing the under-cooked eggs and plopping down on the ornate studio furniture. On the over-stuffed leather couch sat the glowing blue faces of an entourage immersed in a smartphone limbo. Our starlet was awaiting her fashion metamorphosis.

Who is this young lady? What show is this for? How come she gets her own separate table for catering? Well, it’s because she’s famous, or at the very least famous enough to command a team of producers and assistants to put together a photo shoot. No matter what the case is, whenever we get a glimpse of this élite group, we tend to gawk and act like the rough handed working class we’re expected to be. Reactions range from the electrified and jumpy intern to the jaded photo industry vet who’s “seen it all.”


Always: Make eye-contact, smile, and introduce yourself by name. Just kidding, you’re a peasant, a worker, a serf, a little person, a minion, a ... Although the situation changes depending on the level of celebrity of the “star” you are shooting. The average poorly rated sitcom actor who is doing a cover of the now uncool Irrelevant Magazine will most likely shake hands and introduce himself to almost everyone on set, but when we change that scenario to a “blockbuster” actor on the cover of the new hypercool buzzworthy Irrelevant Magazine, you become an interchangeable worker with a prop (the digital computer guy, the assistant with big hair, the stylist who wears funky boots, the photographer with the adorable dog). Let’s just keep it simple and say, “Don’t speak unless spoken to.” Keep your distance. Not really for the sake of the celebrity (they have mastered the art of ignoring unimportant people like you), but for the publicist. She will bite your face off if you try to come within six feet. This is mainly an exercise in power, so don’t take the smirking grins and once-overs personally.

Julia Lepetit:

Accommodate. Often on celebrity shoots, there are way too many bodies on set and you sometimes get questions that have nothing to do with you—like when an overzealous hollywood-ite is asking if you control the iPod and the music. Don’t use this as an opportunity to scoff (no one is part of a union here): do your best and help whomever, no matter how misinformed their question might be. You never know when you may cross paths with this person at some point in your career. Be discreet. Unless you’re expecting a fat payoff from the elusive paparazzi, don’t brag about the talent’s whereabouts before the shoot. Often celebs’ privacy concerns go beyond just trying to avoid crowds, so keep in mind that those empty-eyed personalities need their respect of space too.

Never: Try to tell a story, make comments—or talk for that matter. You were never in a movie, or had lunch with Harvey Weinstein, or danced the night away drinking Cristal on a yacht in Ibiza while slurping oysters with Bono and Diddy. Your stories are lackluster compared to this celeb’s exploits. Keep the on-set funny anecdotes away from the action. Challenge “the talent” to a game of Rock, Paper, Scissors. There’s a very good chance they may not know how to play the game, or maybe they might pretend not to know the game so they can get away from the idiot assistant who’s trying to score a good story to tell his friends. There’s a good chance the head of security might find your daring attempt at being cute as an act of aggression and he may angrily deter your flailing hands like a bullet headed toward a head of state. Try to sneak in a test shot / color-chart. This is the biggest marketing blunder for some digital capturing companies. Often assistants and digital technicians suddenly become enamoured with color-charts and grey balancing images. This can turn into a “get a photo of yourself with Mrs.TMZ” moment that no one appreciates. Not only is this completely unnecessary (light-tests exist for this reason), but it wastes time and money. A sparkly celeb all of a sudden turns photography professionals into teenagers trying to one up each other’s Facebook profiles? Remember we’re at work folks. Act too cool. It’s not a good idea to pretend you don’t know who’s involved in the shoot. Playing the “I’m so old I don’t even pay attention to pop culutre” card is lame. No one is going to judge you if you happen to know the real names of every cast member of Gossip Girl, so stop pretending that being thirty-four is the new sixtyfive. You’re not old, just insecure with the fact that you secretly enjoy reality TV and trashy teen dramas like everyone else.



Shooting Monuments By Mike Wilcox I Photos by Nick Ferrari


espite evolving technology that allows filmmakers to place their characters anywhere in the world without leaving a studio, life is not lived in front of a green screen. For producers who have the time and budget for location shoots, permits become a necessary evil. Generally speaking, acquiring a permit to shoot in any public place is not a difficult task. However, if one has an ambitious script or photographic concept that places the subject in the crown of the Statue of Liberty, Ă la Ghostbusters 2, the process lengthens and a permit is more difficult to obtain. Many of the following buildings and monuments are operated privately and permits are truly given on a unique and individual basis, as no two productions are ever the same.

**Please note that no or small application fee does not necessarily mean no location fee. For most places, the final location fee is determined during the permit approval process and depends on the size of your production.

National Monuments

All National Monuments permits are requested through the National Park Service; this includes Mount Rushmore, the Statue of Liberty, the St. Louis Arch, and all monuments in Washington D.C. The individual park must also grant permission and issue a permit.

Mount Rushmore $50 application fee for all permits. Ed Belmore: 605.574.3173 Or Kelly Newman: 605.574.3162

St. Louis Arch $200 application fee. Park Permits Office: 314.655.1613


All D.C. Monuments (Lincoln & Jefferson Memorial, National Mall, etc.) $50 application fee. Division of Park Programs: 202.619.7225 Golden Gate Bridge & National Recreation Area $400 application fee. NoĂŠmie Margaret Robinson: 415.561.4371

Statue of Liberty $25 application fee. Public Affairs Office: 212.363.3200 ext. 107

Los Angeles The Hollywood sign is located on land owned by the City of Los Angeles Parks and Recreation. You will need a permit from both the Parks and the sign owners.

Nick Ferrari:

LA Department of Recreation & Parks $75-150 per shoot day application fee, depending on the size of your production. 323.644.6220 Need to go through Film LA to apply for a permit: 213.977.8600 Hollywood sign no application fee. Betsy Isroelit 213.300.0108 filmingatthesign.html


Seattle The city of Seattle permits filming on public property, including the Seattle Center, for a flat rate of $25 per day. Office of Film + Music Chris Swenson, Film Program Coordinator 206.733.9245 The Space Needle is located on the Seattle Center property. Since the Space Needle is privately owned, filming inside it requires a permit from the owner. Space Needle No application fee. Dave Mandipat: 206.905.2164

Michigan The state of Michigan does not control the permissions for filming at the Mackinac Bridge, the Mackinac Bridge Authority (MBA) does. There is not application fee for a permit. If the MBA board approves the application and deems the project beneficial for the MBA, a payment of $60 per hour per employee required to accompany the production is required. Mackinac Bridge No application fee. Bob Sweeney: 906.643.7600

New York City In general, the city does not require a permit for any shoots on city property (meaning streets or bridges) as long as you only use hand held equipment. For all other productions, a $300 application fee is requested. Shooting in parks means getting permission from the individual parks’ Conservatory Board. The Empire State Building or Chrysler Building are private properties and you need permission from their management company and NOT a permit from New York City.


NYC Film Commission Katherine Oliver, Film Office Commissioner: 212.489.6710 _home.shtml

Chicago Film Office: 312.744.6415 narrative/events___special_events/special_ events/mose/chicago_film_office.html

Chrysler Building No application fee. Rubenstein Communications, Iva Benson: 212.843.8000 Empire State Building No application fee. 212.736.3100

The city requires a permit for any shoots on city property with crew, special effects, and/or the use of weapons. Application fee is $25 per shoot day.

The Willis Tower (formerly the Sears Tower) No application fee. Kate Murphy, Managing Supervisor: 312.932.2813


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Skiing in Dubai By Rory Aledort I Illustration by Tomas Pichardo


Sample Vertical Contributor Credit

orking as a photographer, you are asked to travel to the moon and back if it will get you good pictures. The pressure is always on and the end results are what matter the most. Your name and reputation are extremely important and if it means traveling and taking risks, then so be it.


Tomas Pichardo:

A little while back, I was assigned by a prestigious fashion magazine to do a travel piece about Dubai. I was extremely excited about the shoot; I had heard Dubai was the most extravagant city, a mirage built on petro-dollar in the middle of a desert. I was ready to explore it all. Once I arrived, the place reminded me of an Arab version of Vegas, minus the strip clubs and gambling, but with no shortage of bling! Everyone dressed nice; the men were always accompanied by women half their age and looked like they were ready to spend, which was slightly intimidating. Coincidentally, part of the assignment was to shoot at multiple highend jewelry stores to illustrate the glamour and high-spending habits this area represented. I had five days to get everything done, so I got right to work.

On my first day I strolled around the Burj Al Arab (the really cool looking, sail-like hotel) before going into one of the jewelry stores I was to shoot. While working, I noticed an old Russian man walk in with a very young and very blonde girlfriend at his arm. They went to the counter, discussed some things and proceeded to pick out some very elaborate-looking pieces. I assumed he had to be bluffing and showing off for the hot mama on his arm because there was no way anyone could afford all of these items. Yet, before my eyes, he began to pull extremely large wads of cash out of his shorts, and eventually went back to his hotel to get a second batch of cash! Once they left, I asked the jeweler how much he had spent and was told that he had just paid $185,000. My jaw dropped. I could not even fathom that whole concept. Was this man going to gamble these jewelry pieces? Was he simply buying them to show off and planning on returning them once his flavor of the week was gone? Who was he? I was astonished but I needed to keep my mind on my assignment. I decided maybe a change in scenery would be a good idea, so I headed to Ski Dubai. Ski Dubai at that time was considered one of the largest indoor ski slopes in the world. The place was very big, blue and beautiful. Since the slopes were so large, however, I knew it was going to be difficult to get a good shot that really gave the viewer a sense of scale. I decided to head to the top of the slope. Yet, the only possible way to do that was taking the ski lift. I rented some skis and grabbed my forty-pound backpack full of photo equipment and headed up. Dumb, I know. Once I got some shots I was satisfied with, I began to head down and suddenly remembered that I had never been a good skier. I can literally count on one hand the number of times I have skied. Although I might have thought I had it together, I did not. I began to get the hang of it when I felt some pressure coming from behind me. I could tell someone was headed in my direction and thought for some odd reason that I should try to turn around and see who was coming for me. I swear it looked like a pack of Olympic skiers heading my way at 100 mph. I lost my already precarious balance and fell hard—and I mean HARD—on my right shoulder. ‘SNAP!’ It wasn’t so much the impact as that initial ‘snap’ noise that made me cringe the most. I knew how bad it was going to be just from that awful sound. I

slowly began to make my way off the ground and carefully stood up. The pain was unbearable, however I was more annoyed and disappointed in myself for being overly confident in my untested skiing ability. Once I got my balance, I looked down the hill to try and find the bastards who caused this, when I realized it was a pack of twelve year olds on their hands and knees laughing in hysterics. I am pretty sure some veins in my neck popped at that moment. I wanted so badly to get up and ski over to the little brats, but I couldn’t even move. Most of all, I wanted to continue my shoot. Yet I knew in my gut that I needed to get my shoulder checked out before I really screwed myself over, so I rushed to the closest hospital. After multiple X-rays I was informed that I had torn a ligament, which meant I needed surgery. “Great!” I thought to myself, “first day on the job and I am handicapped.” I was advised to get the surgery immediately and then return home in order to fully recover. However, I have a strong work ethic and a torn ligament was not going to keep me from getting my assignment done— especially if I ever wanted to work for this magazine again! There was no way I was going home empty-handed. I was released the following day and, although I was tempted to get the hell out of there, I forged on and continued shooting. Although my head was in the right place I was in a sling with twenty-plus stitches in my shoulder and in a LOT of pain. I had to shoot lefty, and as much as I wish I was, I’m neither a lefty nor ambidextrous. I had to suck it up and teach myself how to shoot with my Mamiya 7 left-handed. Thank God for Percocet! Luckily, the magazine was much more concerned about my physical well being than my photos. As a result of the trip, I have a big scar on my shoulder and the nagging thought that my photos could have been so much better if those kids hadn’t cut me off. And I now know to stay away from snowy slopes.



Best Boy/Electrician By Mike Wilcox | Photo by John Engstrom


lec Bova didn’t intend to follow in his father’s footsteps, yet he could not deny the electricity in his blood. Alec’s father is an electrician who covered Ohio, Kentucky, and Indiana, while two of his uncles work in sound system installation. The Bova’s seem to have a thing for electricity. Although Alec studied theater and music at the University of Cincinnati, earning his degree in Fine Arts, what started as a way to pay his rent turned into a career. Alec is now a manager at Scheimpflug, a digital equipment rental house. He is also an electrician and Best Boy on sets, powering the equipment he has rented… a dual threat.

As a Best Boy, Alec employs his skills as an electrician, acting as the main human catalyst bringing power to the production. Here, he offers tips and tricks that he uses to be successful in his work. Keep a clean house. Alec learned this first and foremost from his father. “He would say, ‘If you clean up where you are, you know where everything is and it’s just more efficient.’ That’s a really important one,” Alec said. Having things tidy also helps prevent one from tripping over themselves and the equipment.

Keep your head in the game. “That’s more of a general thing,” Alec said. But there are many things on set to distract you from doing your job. He had recently worked on a commercial shoot that used a “really cool red cam” that he wanted to check out. However, he had to remind himself that it was his job to actually supply power to that camera, and to ensure that the massive generator kept running. Have a gun and not need it... Many times, Alec and his co-workers are not able to physically see the set or location that they have been hired to power. Alec gets a general idea of the power requirements based on the list of equipment a client has ordered. However, he must also understand how and where they might use it. Since Alec is delivering power to not only cameras and what is seen on screen, but also to computer villages or catering set ups, he must work with the equipment he has brought to properly divvy up power. Most of the time, he works a few hours away from home base and running for a missing cable is not an option. On the same recent shoot, Alec had to power a 1,000-yard long field while an actress frolicked in the hay… with minimum direction from the Director. Be like the foundation of a house. “When I was a kid, my parents built a house. I remember going there and seeing nothing but the cement and foundation. That’s kind of what I do, because you have to lay that down first before the house can go on top,” Alec said. Working in remote locations, a shoot cannot start until Alec has done his job as he typically brings the only power source.

If Alec were to run just one wire, cable, or power supply incorrectly or route it to the wrong location, he would have then to turn the power off to fix it. That usually doesn’t go over too well on a set where multiple things are plugged in all at once. Be a strong Tetris player. Alec packs the truck, unloads it, uses the equipment and repacks the truck—usually by himself. The wiring alone brought to a set can weigh over 300 pounds. Alec has developed a geometric strategy in packing this heavy equipment in his trucks: “I think of it like Tetris.” An acute knowledge of angles certainly helps in both Tetris and packing a production truck—although Alec gets to use bungee cords and there are no “L” pieces. Be a strong...person. Literally. Beginning with the 300 pound wiring, a completely packed generator truck can weigh multiple thousand pounds. Since Alec is the only one hauling much of this around, he must have the strength to move things but the endurance as well to work a twelve hour day. That is not to say that only muscle bound men are capable of this kind of work; “I’ve seen the tiniest girls easily move [the equipment] around,” Alec says. Combined with the strength to move the cargo, knowing how to move it is also key, as well as having the mental strength to stay concentrated while driving the boulder-like truck. Go slow and get ready to be shocked. Not emotionally—literally. As an electrician, the potential of being electrocuted or shocked is an obvious hazard of the job. “Luckily, I haven’t had a big accident,” Alec said. On a daily basis, he works with enough electricity to kill him a few times over. If he doesn’t slow down to take his time to properly plan a layout, his risk for a mistake increases. Above all else, safety is first, even if a production is delayed.



Madonna Words by Charlie Fish

Photo By Gary Heery, 1983, NYC



Gary Heery:

Charlie Fish:

n1983, a plucky, determined ItalianAmerican girl from Michigan was hell bent on establishing herself as a singer. Her name was Madonna, and she was inching her way toward becoming a staple in the downtown New York scene, having already performed in clubs like Danceteria and befriending the likes of artist Keith Haring. When her first single “Everybody” played in nightclubs and on the radio, it was an instant call to the dance floor. Her shrill, girlish voice was off-putting to many, but her sexuality and plaintive call for the world to dance and sing, get up and do their thing, was enough to land the still-unknown Madonna a record deal with Sire Records, then owned by Warner Brothers. Australian photographer Gary Heery’s previous work with the record label led to his shooting of the singer’s upcoming debut album.

Spawning five mega hits, and arguably inspiring dance music and artists ever since, the album made Madonna a huge star. Hits like “Holiday,” “Lucky Star” and “Borderline” have made countless lists as the defining songs from the 80s, and their longevity and influence are undeniable. Many have loved and loathed her since, but Madonna’s music has always strived to become mainstays in popular culture. With her debut, the songs seemed effortless. Critics at the time mostly panned the album, dubbing the pint-sized starlet a one-hit wonder. Many critics today still scratch their heads at her enduring legacy and continuing career. But if her debut album taught the world anything about Madonna, it was that her infectious hooks and booty-shaking beats, coupled with her sheer tenacity and defiant nature, were more than enough to secure her tenure among pop culture’s greatest. Since that shoot, Madonna has grown to be recognized as the Queen of Pop. But in 1983, in Gary Heery’s SoHo studio, she was far from royalty. Naturally, Resource wanted to hear first hand from Heery to see what the self-proclaimed Material Girl was like before the flash, before the fame, and before her superstardom catapulted her from approachable and accessible to a veritable deity, the unattainable superstar that many would later emulate.

On The Gig: I had just moved to New York from L.A. where I previously did work for Warner Brothers on a lot of record covers. It was the first or second job I got when I arrived in New York. I had a studio on Broadway, between Prince and Houston. When Warner called me they said it was just another album cover, and I had certainly never heard of Madonna. Rush, Rush: I think she may have rejected a previous cover and she wanted a reshoot, because there was such a rush behind the shoot. I shot her on a Tuesday, I think, and she came the next day to look at the proofs. The great thing was that we totally agreed on a number of photos that we both liked. I did the prints that day and they immediately went out to Warner Brothers, and the album came out two weeks later. In my mind I never put that sort of stardom into it. The record was printed and reproduced and out faster than any record I’d ever done. And then weeks later she was a star. Who’s That Girl? I thought it was a great cover but I didn’t realize how successful Madonna would be with it. It’s become iconic in the sense that she’s probably as raw, and as young and as vulnerable as you’ve ever seen her. You would never see her like that again. On Madonna’s Look: I remember at the time that Madonna probably lived around the corner in SoHo. She came with very little (half the jewelry [you see] belonged to my girlfriend at the time). Madonna had this very street look about her, very simple. She didn’t bring a lot of things over. Striking The Pose: There were really a lot of potential covers from that shoot, when I look back on it. We could have picked a number of images off that one proof that I think would’ve worked great. She was almost model-like—extremely confident and naturally performing in front of the camera—whereas with a lot of groups you have to work a lot harder to get them to do things. But it seemed effortless. The whole thing was effortless. On The Diva: I don’t remember her being difficult. I think she was warm. I don’t know what she’s like today, but I’d say whatever she is today, she’s a long way from when she first walked into that studio. I don’t recall any affectation or disharmony on the shoot; it was very fluid. I don’t remember it being anything other than professional. She was really confident. In terms of shooting a record cover, the job was quite easy. I suppose that’s why there are so many shots in there. It’s like when you have a really good model in front of you. On The Set: It was all shot on a Hasselblad and Tri-X. I’d probably be laughed at today, but the lighting was a raw head—I think they were called Asco lights at the time. She was so young and fresh and white, and her skin so perfect, I could get away with a hard light. In the printing I’d keep the contrast up. It was a very simple lighting system: I’d think, “Where’s the sun, Gary?”



The Big-Bang By Kate Hope I Photos by Matt Gunther


orn and raised in New York, photographer Matt Gunther grew up as a self-described “NYC party kid.” His love for street and documentary photography is evident throughout his personal projects, but he also knows that art won’t always pay the rent—advertising will. Shooting for everyone, from Nike to Pop-Tarts, Gunther has successfully been able to incorporate his own style into projects meant to appeal to the majority of everyday consumers. By “taking his commerce like his art,” Gunther aims to capture the inner side of his subjects even during commercial shoots, because it is this rawness which turns him on.

The visuals adorning the pages of The Big Bang: A Guide to the New Sexual Universe express Gunther’s thought that reality, in itself, is sexy. Originally shot in 2003, subjects appear vulnerable yet confident in a slew of sexually charged images. The emotion of each scene is accurately captured through Gunther’s ability to first notice environment, then people, and lastly clothing (lack thereof). This method allows him to successfully balance outer beauty with inner thoughts. The Big Bang series portrays sex the way it should be—fun, exciting, spontaneous, and seductive. Currently working on a few film projects as well as a photography book about Newark, NJ, Gunther notes, “I’m in love with it—I’m in love with what I’m doing right now. ”

Matt Gunther:




The Invisible Dog Art Center By Sophia Betz I Photos by Axel Dupeux


ften, there’s a lot more to New York City than meets the eye. I’d been to the Invisible Dog Building in Brooklyn several times before I had a chance to speak to its director, Lucien Zayan. I saw it as a gallery; it is entirely more. Three years ago, French-born Zayan arrived in New York, as many do, with a preconceived idea of what the city would be like—brimming with culture, but gruff, even unfriendly. He freely admits he was “one hundred percent” wrong; he found the city and the artistic community to be welcoming and the artists fiercely independent. He had no particular plan of what he wanted to do though, until he found the building.

The invisible dog toy—a stiff leash and harness one can carry as if walking a dog—was a very popular American plaything and gag gift for a time. The Invisible Dog Building in Boerum Hill, Brooklyn, had been used for various production and storage businesses for over a hundred years when, in the 70s, George Zorbas turned it into a factory, manufacturing belts and costume jewelry. Something of a hoarder, Zorbas kept all leftover materials and began making the invisible dog leashes with the scraps from belts and other items. The clever toy enjoyed much acclaim and success, and Zorbas sold the iconic invisible dogs in bulk to major clients; it was highly profitable for over two decades. When Zayan—an opera and theater producer in a former life—told me that it was the factory building itself that had brought about its current incarnation, it fit right in with the space’s rich, unconventional chronology. Zayan had been in New York only three months and was planning to return to Europe when a friend showed him the building. He took one look at the former factory, which still housed tons of original material, machinery, and, yes, invisible dog leashes, and knew he would stay in New York. “I visited the building and I fell in love immediately,” Zayan said. “The place inspired the project here.” The building is striking; it’s clear why it was a prime target for condo developers in the area before Zayan took an interest. He tidied up the three loft floors— not throwing much away—and set out to make an artistically collaborative space unlike any other. Each and every work of art shown in the building’s sprawling first floor gallery must involve the space or be tied to the area’s historical narrative in some way. The first piece created for the Invisible Dog is an impressively large chandelier made of 10,000 belt buckles that artists Steven and William Ladd discovered in the building; it still hangs there today. It’s a beautiful piece; I liked it immediately, but found it much more compelling once I understood the full meaning and scope of the project. It was created both of and for the space; the factory made the work materially possible, and the work itself engages with the building’s past and adds to its evolving history. The Invisible Dog is anchored in a deep respect for the building and the neighborhood’s past, and aims to support and inspire artists of all genres. Part of Zayan’s mission is to host parties, live music shows, and theater acts in different areas of the space. All installation artists have to be OK with events taking place around their work; it’s made clear that this is a living, breathing cultural center, not a museum. Zayan is frequently given unsolicited advice about implementing “Do Not Touch” signs and the like; he happily ignores it. He wants to create as welcoming and engaging an environment as possible; to date, not a single piece has been damaged. As part of the Invisible Dog’s mission to make a “place where artists could feel free to create and get inspired,” Zayan rents custom studio space on the building’s second

Axel Dupeux: The Invisible Dog:

floor. Though this system largely finances the entire center, he doesn’t treat it as a purely financial endeavor. “I felt I had to think of a new way to run the space,” he recounts, and “[only] doing a gallery was the worst idea.” Discounting his own taste as irrelevant in renting out space (“I always try to go against my taste when I select an artist [to rent a studio to]”), Zayan initially found ten studio tenants. He built each spot (with the help of movable walls) to each artist’s needs, the only requirement being that each studio had a window (it’d be “depressing” otherwise). None of the walls go all the way to the ceiling, and the soft sounds traveling over them create a lovely mix of privacy and community. All ten original renters renewed their leases and now over thirty artists lease studio spaces. The unconventional way in which Zayan runs the space is both unpretentiously innovative and entire-ly straightforward. He says of both his studio artists and the artists who show work: “I’m not their gallerist. I’m not their rep. But I try to promote them and show their work” to others in the artistic community. He takes no commission on any work shown in the space. To bring in as many voices as he can to the Invisible Dog, the artists who rent studio space aren’t allowed to show their work in the gallery, with

one exception. Zayan has introduced a biannual program called Plus One, in which one Invisible Dog studio renter can curate a first floor gallery show and include any artists they like. Kiya Kim is the first to do so with “If You See Nothing, Say Something.” “I want this show to be about discovery,” she explained. This core idea— leaving room for the imagination—embodies the essence of the Invisible Dog. With the center’s first anniversary approaching in October, Zayan has no shortage of big plans. He wants to open a black box theater in the basement, host a film festival, and spruce up the build-ing’s back garden to create a respite from the city for its visitors—just to name a few. Not having any background or experience managing an arts center “helps a lot,” he said. Sometimes, without an expectation of how things “should” be done, we can create something entirely new. Just like with the concept of the invisible dog toy itself, the imagination helps us see what can be possible. And so, in Brooklyn, a building’s legacy continues along its appropriately unusual trajectory in Zayan’s 21st century factory— breaking the mold, one idea, one story, one invisible dog at a time.

Photo and Words by Stephen Kosloff

Tim Hetherington



im Hetherington is a British photojournalist and filmmaker. In 2007 he was paired with the author Sebastian Junger for an assignment to write an article about a platoon of U.S. soldiers serving in Afghanistan’s Korengal Valley. For ten months, sometimes together, sometimes separately, Hetherington and Junger lived with and documented the soldiers’ struggles at a time when the valley saw some of the hardest fighting of the war. In addition to the article, Junger and Hetherington directed and produced a documentary film, Restrepo. It’s possibly the best combat documentary to emerge from the war on terror so far and a contender for a best documentary nomination.

Hetherington has years of experience and multiple awards under his belt as a photojournalist, but multimedia and video are as much a part of his DNA as still photography is, if not more so. He was creating multi-media packages before there was a place for them on the Web, and he was the cinematographer on the documentary The Devil Came on Horseback, about the war and genocide in Sudan. Hetherington’s views about the future of still photography are bracingly unsentimental and contraindicated for the faint of heart. If you’re passionate about still photography or are merely in a good mood, you might want to read this sitting down. He spoke with Resource at his spacious, sparsely furnished apartment in South Williamsburgistan, Brooklyn. You studied literature at Oxford then returned to school to study photojournalism. Why the switch? I didn’t want to be in Britain after Oxford because it rains all the time and there was a recession, so I left. I spent nearly two years abroad, in India. When I came back to Britain, people asked me where I went and what I did. I had these amazing experiences but I found I couldn’t express what I had gone through in words. Then a friend took me to see Sans Soleil [a French film directed by Chris Maker, released in 1983], which blew my mind. It expressed on the screen everything that I felt inside that I couldn’t express in words.


What did your parents do? My mom was a nurse in Liverpool, where I was born. My dad was an accountant for small shops and bodegas. Over the years, he became more successful. Class in Britain is a divisive issue… maybe that’s why I’m in America.

Tim Hetherington:

Stephen Kosloff:

So you decided to study photography. I started going to night school for it in London. A friend of mine who had done a course at the University of Cardiff introduced me to photojournalism. That’s where I did post-graduate school in photojournalism. It was a year course, I was twenty-seven when I finished. I left college expecting to live in the north of England, getting two pictures a week published in a local paper. After graduating, I got a job from the school’s bulletin board for a paper called The Big Issue, which was sold by homeless people in London. I was the first staff photographer for them and was the lowest-paid guy there, apart from the guys who sold it. How did you get published in The Independent? A photo editor from The Independent did the interviews for photographers for The Big Issue. That guy told me to come and talk to him. How did you get into conflict photography? I was working in the UK and I heard that a football team from Liberia of ex-combatants was coming to Britain for three weeks. I found out who was organizing the tour in Britain; it was actually an NGO. I said, “I want to get on the tour bus when they come around Britain.” They told me they were looking for someone to go to Liberia to photograph the guys playing, for press purposes. They sent me to Liberia, and it blew my mind. I made a set of pictures out there; one won second prize at the World Press Photo. I kept going back to West Africa and eventually I was basically living in Freetown as a freelancer. In the end, I worked in nearly thirty countries across Africa. You started shooting medium format in Africa? I also started moving to color; I started covering war in medium format in 2002. Black and white seemed like a clichéd view of Africa. The change was also a reaction against a very complicated black and white photography coming out the Danish school of photojournalism, using wide-angle lenses, depth lenses, and complicated framing. I was looking at photos on the computer and realized you expect something different from the screen. If you have very complicated photography on the screen, you’re not going to get it in the five seconds it’s up.

How did that prompt the switch to medium format? I started getting interested in making pictures that represent the object in a more straightforward manner, in 2D almost. Also trying to work in metaphors with color. Some of the framing is complicated, but it was this idea of making a picture that would exist well on the screen as well as on the page. Medium format was a good way to do it because the square frame plays better. You can say complicated things with it but use more of an alphabetical language almost. Who were some of your influences as a photojournalist? I had seen Gilles Peress’ work in books as a student, and it really affected me. Let’s move on to Restrepo. Did Vanity Fair pair you up with Sebastian Junger? I did jobs for Vanity Fair in West Africa, and eventually they teamed me up with Sebastian. I met him for the first time in the airport lounge in Heathrow before our flight to Afghanistan. We got on like a house on fire. He’d told me that he wanted to follow the platoon during the course of the deployment. It was very inexpensive for Vanity Fair because we were embedded, so it didn’t cost any money on the ground. Sebastian wanted to write a book and do a documentary, but I don’t think he envisioned having one in the theaters. He didn’t know how to make a documentary and I did because by then, in Liberia, I was a cameraman on a feature film, and I directed and produced TV films. When we first went, the focus for me was still photography, because that’s what Vanity Fair hired me for, but I was also always filming. I carried two cameras attached to my vest. What camera did you shoot with? How did you normally shoot? For stills, I shot with the 5D. I usually shot with a 28-70, sometimes a 135 prime. I shoot manual sometimes; sometimes I shoot Program and under-rate it, depending on the light. I just do whatever works. The 5D Mark 2 hadn’t come out yet. Would you have used that instead of your video camera? No, because there’s still the problem with the live view. Plus you would have to build a rig for it. I like not having to hassle with a rig. What video camera did you shoot with? We shot on a Sony Z-1. We needed cameras that we could smash up and buy new ones, that wouldn’t break the bank to buy. In those days, they were about $5,000. I used a shotgun mic.

Do you think there will be a day when there won’t be dedicated still photographers? If I am a newspaper editor, why am I going to hire you to take a photograph separately when I can take snippets out of your video and use them as stills? When people started writing to communicate, it was monks writing books. When the printing press was invented, it made the work of those monks partly redundant. If I make a project now with images taken out of a video stream, is that “photography”? Probably not. I don’t think we can protect the art form and idea of photography. When you look at a photography book, it’s very beautiful but you can feel the age of it. That is what I’m saying about living in a post-photographic age. Not that photography ceases to exist, but the art form has been delegated. Even Alec Soth, a still photographer whom people revere, has said that it’s not just about the good pictures anymore; it’s about the edit. The next step is that it’s about the idea. But still and motion are two distinct media. I’d argue that Joe Rosenthal’s photo of the US flag being raised on Iwo Jima, for example, is more powerful than the film footage. The still image has power versus the video; but what isn’t important is the craft. Moving images allow us to be, for lack of a better word, lazy. We prefer moving images. A still image requires a creative interaction with it—you have to think. Moving images, contextualized with sound, drag you in—you’re fed it. Still images will still be part of the conversation, but the way we make them is less important? Absolutely. There are people with the nostalgia for the craft of photography. That’s getting in the way because at the end of the day I’m interested in talking about the war in Afghanistan, not preserving the craft of photography.

Check out Tim’s new book, Infidel, released in October 2010. This interview has been edited for length and clarity.


Troy Paiva on Night Photography By Sam Cornwall I Photo courtesy of Troy Paiva

Where are you from? I was born in New York and moved to the San Francisco Bay Area when I was five. Aside from a few short, failed experiments, I’ve lived here ever since. Did you go to school for photography? No I didn’t. My training is in graphic design and illustration. Night photography started out as a hobby, a way of creating personal art, without having art direction and outside influence. Over the last twenty years, it’s really become an obsession. When and why did you start shooting abandoned night shots? I’ve explored abandonments and been a high desert ghost-towner since I was a teenager in the 1970s. In 1989 my brother was getting a photo degree at a SF-based art college. One of his classes was in night photography, taught by Steve Harper. He told me, “You’re gonna love this.” So I tagged along to a few lectures and field trips to the industrial sections of SF to shoot. A few people were waving flashlights around to fill shadow areas during the time exposures and I immediately saw the potential of using these techniques to shoot the abandon ments I had been visiting my whole life. I bought some cheap 35mm gear, hit the desert during the next full moon, and never looked back. Please describe what this shot was for. All my light-painted, full moonlit, night photography, is personal work. It’s intentionally noncommercial–a pure art project. I gladly license my photography for commercial use, but that’s not my intention when I shoot this stuff.


How did this shot come about? Did you have the location/angle/timing planned prior to the shoot? No, not really. My trips for shooting are very loose and freewheeling. While I may have a region, stretch of bypassed road, or town in mind, I never know exactly what I’m going to shoot. Because it’s not client-based work, I can be totally flexible and open to shooting whatever the locations give me. Where was this shot taken? This was a roadside food stand in Yermo, California, a small highway-town East of Barstow. It was bypassed by Interstate 15 and has been a half ghost town since the 1960s. It’s about a seven-hour drive from my home. Was this a new spot for you or had you shot there before? I’ve been through Yermo many times over the years and shot the abandoned gas stations on the opposite side of town, but this was the first time I shot this building. What type of lights did you use? This was lit with a hand-held, yellow-gelled, Vivitar 285. The rest of the light is ambient sodium vapor streetlights and full moonlight.

Troy Paiva: Sam Cornwall:

What camera did you use? I shoot with a Canon 20D and a 12-24 Tokina lens. What specific equipment do you use to be able to shoot in full-moon conditions? For digital, you need a DSLR with a CMOS sensor. For film you need a fully manual camera that doesn’t use a battery to drive the shutter. You need a tripod and remote release too. That’s really all you need to get started. If you want to add light during the time exposure, you can use a flash that can be fired manually, or simple flashlights. It really can be done with a minimum of gear and on a shoestring budget. How long did you spend preparing this shoot? Well, aside from the seven-hour drive, virtually none. It was one of those “Hey, that’s a cool building, I’ll shoot that” as I drove by kind of moments. How long did the shooting take? The exposure itself was two minutes long, but I did a couple of takes. Maybe fifteen minutes total at the site.

Did you run across any special obstacles? When I walked through one of the interior doorways, I felt a tugging on my pants at my ankles and up across my shoulder. I knew immediately it was a big spider web. Shivering with revulsion, I quickly did my yellow flashpop and staggered outside. Shining a flashlight on my leg I found a Black Widow as big as my thumb making its way up my pant leg. A quick flick and stomp and it was over, but my skin still crawls whenever I think about it. Was there any retouching involved? If so, to what the extent? This particular image is a combination of two exposures. When I bolted out of the building with the spider on me, I closed the shutter too soon. The interior was lit properly, but the exterior was too underexposed (even for me). So I did another frame that I left open for the full two minutes, but I refused to go back in there and re-light! I stacked them in Photoshop and used the “lighten” layer effect to let the yellow light appear. Most of my images are SOOC with minimal post-production, but occasionally, I’ve got to resort to techniques like this to get the image. Why are you going back to film, if only occasionally? Film night work has an x-processed look, as the grain pops, contrast increases due to reciprocity failure, and the color temps of the ambient lights wreak havoc. My old film night work has a Holga-esque, skronky quality that many people find endearing. Still, I moved to digital in 2005 and never looked back. I occasionally shoot film during my workshops to illustrate that making sixty-minute exposures with massively long star trails can’t be done with a DSLR (because the sensor overheats)—but even that can be simulated with consecutive, stacked images in Photoshop. Do you have a favorite film you always rely on? Are there any new films you are experimenting with? Back in the film era, I used almost exclusively Kodak 160T, a now discontinued, tungsten balanced chrome film. In the early days of Hollywood, tungsten film, with its strong blue cast, was used to create a “day for night” look—shoot during the day, underexpose by 2-3 stops and you’d have images that look like they’re bathed in cool, blue moonlight. If I shoot film today it usually ends up being Kodak 100VS. The color saturation with that film really compliments my colored light painting.

How has your technique evolved? Digital changed everything. The ability to chimp the shot on the back of your DSLR before you ever pick up the tripod revolutionized night photography. In the film era, I would set up, do the shot and HOPE I got it right. With digital, I just keep reviewing the image on the back of the camera and reshoot it until I get exactly what I want. This allows me to attempt much more complex and sophisticated lighting set ups. Where has the pursuit of the next shot taken you? All over the West? Yeah, I’ve done this work in every state West of the Rockies. Is there any one spot on your dream list that you haven’t made it to or found yet? No, not very much. I love the lonely, wide-open spaces and lack of man-made ambient light that exists in the desert. Last year I traveled to England to give a lecture on my technique and managed to get three nights of shooting in the UK—at a WWII POW camp, a train junkyard, and a plane bone yard, all under typically British, socked in and rainy skies. The entire country seems to be bathed in sodium vapor light. I was happy with the work, but shooting in these conditions is a very different aesthetic. There’s interesting abandoned locations everywhere, but I’ll take shooting in the warm, quiet deserts of California, Nevada and Arizona any day. How do you research and track down new locations? So much of it is just heading out to the desert and driving around on the forgotten local roads. I get ideas from old road maps too. I have a fifty-year-old Shell Oil map of Nevada and it’s covered with little towns that don’t even appear on modern maps. I also use the Internet—Google Earth has become invaluable for assessing locations. I get a lot of word of mouth recommendations too. Do you have particular locales or ghost towns that continue to draw you back? I always come back to the aircraft bone yards. The sight of a 747 with its nose and wings clipped off, sitting on its belly, weeping hydraulic fluid in the sand is an incredibly evocative sight. These locations are virtually impossible to access without paying astronomical fees anymore, but I have a connection that keeps coming through for me.


How many times has Johnny Law thought you were a terrorist? Not a terrorist specifically, but I’ve been questioned by every kind of cop imaginable, countless times. Dealing with authorities and property owners is a complex dance that you have to master to do this kind of photography. My standard three-point tip: Always carry samples of your work to show them, because they will be skeptical that you’re “taking pictures . . . at night?” Plus showing them interesting pictures calms them and changes the conversation from “You’re trespassing and I’m going to bust you” to “Wow, that’s cool, how did you do that?” Don’t run. If you make them chase you, you’re only admitting guilt and they’ll hate you for making them sweat. If they catch you, nothing you can do from that point on will make them treat you well.Understand the ramifications of trespassing in the location you’re shooting. Sneaking into an abandoned gas station or warehouse has less potential for prob-lems with authorities than sneaking into functioning infrastructure. If you get caught shooting on the tarmac of a functioning airport, don’t expect to be released with a simple warning.

When and why did you start sharing your knowledge through teaching? I’ve always been very open about what I’m doing. The Technique page on my website is as long as your arm and lays out my process in great detail. I teach workshops in an abandoned high desert car junkyard a couple times a year, too. This kind of photography is an adventure. Every trip is filled with peak experiences. It’s extremely gratifying when you come away with a great image, because night shooting and light painting are so difficult to master. I enjoy sharing that because I want more people to go out and have these bizarre andexciting experiences.

Any good stories about your run-ins with cops, property owners or security guards? One time I was shooting an old pet cemetery outside of Ajo, Arizona, about seventy-five miles from the Mexican border. A very quiet, isolated spot. After shooting for about an hour, I noticed a Cessna slowly circling overhead. A few minutes later, two cars, blue and red lights blazing on their roofs, approached on the highway from both the North and South at about 100mph. They careened into the parking lot in a dramatic cloud of dust. At the same time, a Jeep came bouncing out of the gully to the West. I was simultaneously hit by spotlights coming from three different directions. Moments later, several more cars showed up. Before I knew what was happening, I was surrounded by over fifteen very serious and heavily armed Border Patrol agents. Even though the site was public with no hours posted, they threw me out “for my own safety” because “the surrounding hills are filled with desperate fugitives that wouldn’t think twice about sticking a knife in your neck and stealing your car.” That was the biggest, most ridiculous bust I’ve ever experienced.

After twenty years of night photography, two books, numerous workshops and a countless amount of images, how do you keep it fresh and your interest piqued? I still simply love the act of doing it. You know the awe that most normal people feel when they visit Yosemite Valley or the Grand Canyon? I get that same feeling standing, alone, under a full moon, in the middle of a ghost town, an abandoned military complex or a junkyard filled with airliners and locomotives. These sites have always been powerfully evocative and thrilling for me, and I really get off on capturing that feeling with my camera. And because these sites come and go and are constantly evolving, it’s always a new experience. I don’t expect I’ll ever really tire of it or run out of new locations to explore.

Do you ever pursue the history of these locations? What they were? Who owned them or worked or lived there? Sure, all the time. I’ve done two books (Lost America: The Abandoned Roadside West, 2003, MBI Publish-ing, and Night Vision: The Art of Urban Exploration, 2008, Chronicle Books) and the publishers required a lot of historical data about the locations. The historical aspect enhances the images, but my intention is to create imagery that can stand alone, without written explanation.

Is there any advice you’d give to a young photographer working on night projects? Light painting is about practice, so set up in your house or garage and light paint mundane objects like your water heater or washer, so that you understand what works and what doesn’t. That way you’re more prepared when you actually get out in the field to shoot real subjects. Just get out there and shoot. The hardest part of doing this is dragging yourself out of your warm home on a cold night.

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very artist comes to their craft in a unique way, but the stories generally fall into certain types. Those who were born into it. Those who discovered their passion in school. Those who came to it by accident. Those who saw others do it and thought, “Why not me?” And those who may not actually enjoy it, but found they had a profitable knack. The most compelling stories are usually of people who found their art as a means of salvation. They were in an unstable spot and in danger of going from bad to worse, but then they discovered painting, or music, or acting, and art became the bright spot that the rest of their lives cohered around. It gave them something to look forward to and pursue—a creative outlet that drew them away from their demons. Of all the wonderful things about art, this perhaps is the best: the benefit it provides not to the audience, but to the artists themselves. Call it “Art As Therapy”—art as that one thing that makes sense in an otherwise chaotic world. It doesn’t matter what critics and colleagues think about the final results; the artists still have that sense of accomplishment, the knowledge that whatever else life may bring, they have created something of value, and no one can ever take that away. That’s the feeling the Cameras For Kids Foundation wants to give to abandoned children all over the world. A non-profit organization, the Foundation (CFKF for short) donates simple, point-and-shoot cameras to teenagers and young adults living in orphanages and teaches them the tenets of photography. This offers them a way to express themselves and an opportunity to escape some of the heaviness and frustration that often plague their lives. “It’s a happy thing,” said founder and CEO Betsey Chesler. “It’s a way to offer the children something positive.” 146 million children around the world live in a foster situation. In the United States, there are 500,000. Many of these children are in the system until they “age out” when they turn eighteen. If they’re lucky, they’re allowed to complete their senior year of high school before having to move on, but oftentimes they are just processed out and sent on their way. Many end up homeless, with multiple studies showing high rates of poverty, health problems, and imprisonment in their later years. CFKF targets those on the brink of aging out. It wants to give these forgotten teenagers confidence and hope for the future so that they can avoid the missteps and dangers that many in their situation encounter. They don’t have to become photographers, of course, but if the art of photography can help them find their footing, then the Foundation has done its work. Betsey was inspired to establish CFKF after a monthlong trip to South Africa two years ago. Her primary purpose was to volunteer and assist in orphanages across the country, but as a fine art photographer and

By Justin Muschong I Photos courtesy of CFKF

photojournalist, she also wanted to capture what she saw, both the natural beauty of the land, its people, and the often horrific conditions under which the orphans live. When Betsey arrived back in the United States, she was able to exhibit her photographs from the trip in a number of venues, but the experience still haunted with her. “It really did a number on me. I wondered what the state of affairs was here in the U.S.” she explained. In South Africa, the orphanages she had been most impressed by were run by an organization called SOS Children’s Villages. Performing some research on her return, she was surprised to discover that SOS also operated homes in America, including one very near where she lived in Florida. Wanting to continue her efforts at helping children in need, she arranged a meeting with the director of the facility and offered to help through what she knew best: photography. She explained her vision for what eventually became CFKF, unsure of how he would take it. “He sat there grinning the whole time,” she recalled, and when she was finished, he simply asked, “When can you start?” Betsey set to work developing and writing a curriculum for her future students. One hour lessons once a week, lasting through three six-week courses: Beginner, Intermediate, and Advanced. After each lesson, they would receive a homework assignment for the next session, and after each six-week course, they would take a field trip for a photo shoot day at a picturesque location. Emphasis was placed on the artistic aspects of photography rather than the technical. In April 2010, Betsey officially launched her first program at the SOS facility in Florida with an initial class of eight teenagers, providing them with cameras and a portable printer at her own expense. Like any great teacher/student story, of course, she first had to learn how to connect with them. “They’re very guarded,” she said. “Some of them are aloof and feel like nothing good will ever happen for them. I don’t blame them. They do get a bad deal.” Through the program, however, Betsey was able to overcome her own nervousness and break through the barriers. When one teen was hesitant to participate for fear of messing up, she told him all he needed was to want to do it. Now he’s one of the star pupils in the program. One of the goals is to get her students to see life differently, through an artistic eye. “My objective is to teach them how to see. How to get their shots before clicking the camera.” The students practiced this during their first field trip, which took them to the Miami Metro Zoo, where they met wildlife expert Ron Magill. By July, they had progressed so much that Betsey was able to display and auction off her students’ work at a fundraiser for CFKF, held at the Jet Runway Café in Fort Lauderdale. “I get silly, it blows me away, they’re so good.” Those who attended from the photography community


agreed, raving about the work they saw–and those photographs were just the results from the first six-week course of Beginner classes. CFKF is just in the beginning stages, but based on the response so far, it’s ready to take off as an international organization giving focus to troubled kids. Even now, Betsey is working with a photographer in Illinois to launch a new program for the SOS Children’s Village there. At the same time, she is continuing to instruct her students in Florida, who can look forward to further exhibitions of their work later this year and early next at several venues, including the Norton Museum in West Palm Beach. There’s also another fundraiser coming up on November 12th and 13th in the Fort Lauderdale area that CFKF is holding in conjunction with the American Cancer Society and the American Heart Association. As always, however, there’s a catch. The ideas behind CFKF are ready to expand—photographers all over the world have volunteered to serve as teachers in the areas where they live, and SOS Children’s Village is eager to bring the program to as many of their foster facilities as possible. But despite the fundraisers, Betsey doesn’t yet have the resources to take it as far as it can go. “I have more teachers now than I know what to do with. If I had more cameras, I’d be a lot further along than I am at this point.” Each child needs a camera, which runs at least $100 per head. And each class needs a printer, along with all the other gadgets, doohickeys, and accoutrements necessary for creating and displaying photography. The Foundation needs funds and cameras, and it’s reaching out to the photography community for any assistance they can provide. “The more cameras I have, the more kids I can reach,” Betsy explained. A camera manufacturer or retailer would be the perfect sponsor; unfortunately, quite a few companies have said tuned down the opportunity. So far she’s received a number of cameras from Nikon and Pentax, but nowhere near enough to go around. Anyone who can donate money or equipment—refurbished cameras will be gratefully accepted—will be doing a great service for a great cause. To a very real degree, these children have had to fend for themselves their entire lives. “They’re not used to people doing things for them,” Betsey said. You can change that.

If you’re interested in donating to or otherwise helping the Cameras For Kids Foundation, please go to its website: www.camerasforkidsfoundation. org. If you’re in Florida on November 12th and 13th, you can also attend the upcoming fundraiser at the Jet Runway Café in Fort Lauderdale.


Get a Gallery Show By Jeff Siti I Illustration by Paula Rincon


t’s crab season out there, kids. Vicious, vicious crab season. But it always is. And just like the ambitious little crab that you are, there is your opposite in nature—the bastard crab. They’re the ones at the bottom of the cage smoking cigarettes and getting the slutty crabs pregnant. They have no ambition in life other than ruining yours, because theirs is meaningless. They wait for you to think you’ve just about gotten a break, and that’s when you feel a claw on your ankle. “What the hell? Is that a claw? On my ankle?” Yes, it is a claw. On your ankle. You can either give in and sink back down with the bastards—with a sore ankle no less—or you can kick them in their crab faces and get out of there. Those are your two choices. It’s a simple matter of wanting something or not wanting something. Or, if this not so brilliant crab metaphor hasn’t done anything for you and you’re wondering where the last thirty seconds of your life went, you can just go ahead and skip down below. We’ve got some can’t-miss pointers on how to land a gallery show. But then again, you knew that. It says so on the top of the page. Step 1: Be prepared before you make contact (know the importance of the website/artist’s statement/jpgs) Start with an updated, straightforward website. If you don’t have a website, don’t panic. Don’t plan on having any of your inquiries taken seriously, but don’t panic. Gallerists don’t care how much flash your website has or what tricks it can do. All they care about is the quality of the work being shown and the clarity of the vision. You’re an artist and your site should reflect your artistic taste, but don’t get bogged down with the bells and whistles—unless you want to do a bells and whistles show, in which case, go nuts. Design a clear, coherent site that shows off

your work in the cleanest way possible. After that’s squared away, get cracking on your artist’s statement. This written description of your work needs to be good, strong and polished. A little old fashioned (classy) fancy talk never hurts anybody. Finally, it’s important to always have good quality jpgs ready to send off to an interested party. Make sure they’re not so big that they take a long time to download and slow down the gallery’s computer. You don’t want to annoy the shit out of someone before you even meet them. There’s nothing wrong with carrying a disk or two around with you with samples of your work either. You never know.

Step 2: Research galleries to find the most appropriate fit. Don’t waste your time and the gallery’s time by submitting work that is not even close to the sort of program it is known for. Don’t submit large-scale color work to a gallery that specializes in vintage black and white. Nothing pisses a gallery director off more than getting submissions that make it perfectly clear that the artist has no idea what the gallery program is. Do your homework. If possible, go to the gallery to see their shows and space.


Step 3: Make contact. The best time to kidnap your ex-girlfriend is at night, when she’s not… wait. Which one is this? Ah, right, right. We’re making contact with a gallery. When sending work to a gallery, send a professional and courteous e-mail with jpegs—somewhere between ten and twenty—and a link to your website. Add a personal note to your letter: you might mention how beautiful you think the gallery space is, how much you loved a specific show or your affinity for a particular artist they represent. And don’t use the generic (and mood killer) “To whom it may concern.” Get the name of the person you are targeting. Nor send one email and bcc everyone—way to make the gallerist feel special! Galleries receive hundreds of inquiries a year. It really helps if you can set yourself apart. Gallerists really do look at submissions, so do not despair, your hard work is not going unnoticed. You may not get a call back, but who cares. You’re doing the work that needs to be done and your work is being looked at. People might not always respond but they will always look at the work. Another great way to get your work seen by a gallery rep is by participating in a high quality portfolio review. Gallery owners, directors and associates regularly find new artists to exhibit and represent at portfolio reviews. No lie.

Step 4: Meet. Be respectful of the gallerist’s time by being punctual. No excuses. Know that like everyone else, gallerists prefer to work with people they genuinely like and connect with. To this end it truly helps to be warm, courteous and professional (in short, be your best self). Attitude is a turn off, good attitude is not. Have a completed or near completed body of work that is accompanied by a well written artist statement. Be ready to have a fluid and challenging conversation about your work. And always, always send a “thank you” letter by mail. You’ve gone through too much at this point not to show a little courtesy. And who knows. Anything could happen. This whole deal is a journey, kids. The work never ends. When you clear a sand dune there’s just more sand. Lots of it. You just have to keep walking until there isn’t. Simple, like the crab thing we talked about earlier. Also, you’re probably going to want to look into getting a camera. We totally didn’t even talk about that. Not having a camera is sort of a deal breaker. So, if you don’t have a camera that’s your step one.

Thank you to Sasha Wolf and Michael Foley, gallery owners, for their insight.

Six brains are better than one “Being on a Success Team is like having your own think tank. You have a group of professionals helping solve problems and create success using their experience, insight and knowledge. The time spent helping others in the group is amazingly beneficial in opening up new avenues of thinking for your own career. For me, it seems like I gained years of experience overnight by being able to draw on my Success Team.” -Lee White

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Hipstamatic By Ali Wisch I Photos courtesy of Hipstamatic


was at a bar the other night when an older gentleman sat next to me. We got to talking and eventually discussed photography. Automatically assuming that he hadn’t heard of Hipstamatic (considering that he looked old enough to be my grandfather), I did my best to describe the application, beginning, for some reason unbeknownst to me now, by defining what a hipster is. Before I could even get the words handlebar mustache out of my mouth my new friend had whipped his brand-new iPhone out of his jacket and presented me with photos he had recently taken with the Hipstamatic application, much like someone might offer up pictures of their children; in other words, he was showing off.

The coolness that is Hipstamatic transcends gender, race, age, and socio-economic status. All you need is $1.99 and, well, an iPhone, and you are in business. I had the privilege of meeting up with Mario Estrada, Hipstamatic’s New York City rep at their first gallery show, curated by Savannah Spirit at the CultureFix Gallery on the L.E.S. You might be wondering, “Did she just say gallery show?” The answer to that would be, yes. Hipstamatic has not only come out with every photo enthusiast’s wet dream, they are also allowing people to get their work shown in galleries and other arenas. For this particular show the winners of the competition not only got bragging rights but also won some sweet electronic equipment from DigitalFix, David Auerbach’s new muse located right above the CultureFix Gallery. Mario and I got to talking at the opening; picture it like a really good first date where the two of you can’t stop jabbering. I found out what exactly makes this iPhone app so much cooler than the rest. First of all, it was born to be cool. “The app was created because we missed the experience and intimacy that analog photography had. Also the element of the unknown. These things have all but disappeared in today’s snapshot photography,” Mario told me. It’s like the digital wave of the future made love to the classical elements of the past and Hipstamatic was the result. “We decided that creating an app that we wanted to have was a good way to go—after all, we are the target audience,” Mario continued. Hipstamatic offers the ability for anyone to be an artist—you don’t need a degree from Parsons or Pratt to rock an iPhone app, (“the great thing about the iPhone is that people always have it on them”)—with an old school vibe. When you pop the flash you not only get a sweet quality added to your picture but the noise that comes with it will bring you right back to fifth grade. Hipstamatic can make mistakes look damn good, and for you photographers out there, you don’t need to carry around fifty-pound packs of equipment to be able to have different options for your shots. Plus, it’s affordable and instant. Ever since finding Polaroid film has become like trying to find an airline that doesn’t charge you to check just ONE bag, I’ve been searching for something that offers the instant gratification of a Polaroid but with more creativity than my everyday digital camera. Then, there it was, poof—Hipstamatic. The original Hipstamatic 100 was actually an all-plastic camera invented by two brothers in 1982. It mixed elements of a Polaroid camera and a Lomo: it was cheap and created unexpected effects and very distinctive photos. Years later, two web developers from Synthetic, Ryan Dorshorst and Lucas Buick, decided to revive the beauty of the analog image for the 21st century. They launched the Hisptamatic app in December 2009 and it quickly became one of the most celebrated apps available.

“We set out to bring back the magic and mystery that analog photography had.” - Mario Estrada When I asked Mario what they had for us next, he told me that the future was looking bright and full of new ideas. “We’ve launched Incredibooth for the iPhone 4 which is a photo booth in your pocket and a great party accessory. Swankolab is our app to manipulate images you’ve already taken. And I think what we are most excited about right now is the launch of our printing service. We’ve been working to perfect the quality of the images on archived paper and make sure that the user experience is great. You’ll be able to order prints right from your phone or at and have them delivered to your door.” Sounds good to me. “We set out to bring back the magic and mystery that analog photography had,” Mario concluded. I for one don’t doubt it, and I promise you, one click of your iPhone later, and you won’t either.



Dyann Klein of Props ForToday By Jana Hsu I Photos by Carolyn Fong


yann Klein, former stylist and now CEO of Props For Today, owns the largest prop rental house in New York, catering to photo and film shoots, trade shows and events. Are you a stylist who needs to shape up that kooky set by using a guitar box as a coffee table? Need 11-foot faux elephant tusks in a jiffy? Perhaps a sepia-hued love letter still propped up inside a Smith Corona manual typewriter from the Roaring 20s would be your dig. Props For Today has what you need, whether it’s shabby-chic, new vintage, baroque, Art Deco, or any other period, including midcentury and contemporary. How about shooting right at Props For Today to avoid your trucking expenses? Need to paint a prop? Change it? Props For Today has you covered. Just make sure to ask for permission and restore it back before returning it. Dyann’s showrooms are packed from floor to ceiling with anything between 600,000 to a million props, furniture, and other odds and ends tailored to a wide variety of tastes. She tells us how it all started with 500 feet worth of dinnerware.

Were you already working in the photo production industry before starting Props For Today? How did you start your company? I began as a stylist, food stylist, and set decorator for TV commercials. I started Props For Today exactly in June 1980. I like being behind the scenes better than being the stylist. I like doing my own thing; I was the kid with the lemonade stand. I made jewelry to pay for my college. I’ve always been business-oriented in a creative way. I started Props For Today with renting out dinnerware for photography shoots. I had $5,000 and rented 500 square feet and filled them with white dinnerware—plain white, modern—because nobody had it. Food photography often focused on using white dinnerware. Being a food stylist, I knew it was really hard to get dinnerware for rental. You had to go to showrooms, or go to department stores and buy and return. It was very time consuming. Stylists could spend a whole day trying to get three white dishes for a shoot. It was also very costly to schlep around shopping bags from Bloomingdale’s to Macy’s to everywhere all day long. I saw a market possibility where there was a vacancy. So I decided to open up a resource where you could rent antique as well as contemporary dinnerware. I did everything. I was doing shipping, answering phones, buying and collecting. And over the years I bought other props companies. Now we have so many themes and time periods to choose from—anything from the Middle Ages all the way up to New Age.

Carolyn Fong:

Props for Today:


Where do you find such a wide selection of props? Trade secret! I get furniture honestly from all over the world, in all different ways. You know, from yard sales to manufacturers to import. We go to trade shows, antique shows, and all kinds of things. We have objects here from Morocco, England, France, Bali, Africa, Indonesia, and most recently, an absinthe cup from New Orleans. I recently went there and learned about absinthe. There’s a lot of interest in it right now in New Orleans, so I brought that back. I brought back some voodoo stuff too. I brought a lot back from India, China, wherever I go. Do you follow design trends? I can’t imagine where there would be a more fashion-forward prop house than Props For Today; we’re very much trend-oriented. There are pink and green items over there, which are very Lily Pulitzer: home follows fashion a lot and those are fashion colors right now. I also just went to Sweden so we’re going to showcase some of the Swedish lifestyle. I think with the book, The Girl with the Dragon Tattoo, as well as all the Swedish films coming out,

there’s going to be some interest in that as a trend. Most of it is really visualizing, seeing what people are interested in, seeing what interests me and finding ways to present props in a new inspiration. We’re very involved with creating inspiration for people. And our customers are well versed and they know design trends well. We do trust our customers who are talented people. How big is Props For Today compared to other prop rental companies around the city? About twenty people are on staff at the moment. I would say we are probably the largest one. First of all, our staff is wonderful. When I opened this company you couldn’t go to a prop house where they were nice to you. That was one of the reasons I started my company. We offer snacks, and we have a lounge and WiFi for our customers because I know what it’s like as a stylist to not have anything [while you are running around]. You’re working hard all day and you have no time to stop to eat anything. Just putting out a little food and some drinks so people can do their work here is very important. I think that level of interest in the customer

and having been a stylist myself differentiate Props For Today a lot. The founding idea of the company is to be nice to people and people will come. It’s really one of the major things for us. It’s kind of like that movie, Field of Dreams, “if you build it, they will come.” So is that your company motto? Be nice and they will come? That’s what inspired me to start this company, along with offering tasteful modern décor. Be nice and they will come is a perfect theme for us. That’s another cultural thing. Neiman Marcus is known for customer service and really trying to understand what the customer’s needs are, and I think we’re like that. We’ll go over the top, we’ll email photos if people can’t come in; we’ll help them figure out a theme; and we’ll assist the newcomers who need a little help. Everyone here was trained and everyone knows the different style periods. They all have to take a test about design history when they come to work at Props For Today.

This interview has been edited for length and clarity.


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By Mike Wilcox I Photos by Tom Medvedich


t is fair to say that people go to strip clubs for a certain visual experience. The jaw-dropping scenery, the red-hued shadows, the sights burning the retinas so much that one does not want to blink… and I’m just talking about the lighting here.

Though it is quite obvious what the main attraction at any given strip joint is, the large amount of work that goes into creating the ambiance and look of the place cannot be underestimated. Red often represents lust and passion and, not surprisingly, these clubs are drenched in the hue. “Great fun and fantasy” was how one club promoter described his business. “Vegas party scene” was another description used. The point is to offer relaxation, fantasy, and fun. There are no windows in these establishments (at least in the clubs I accompanied the photographer to); the clubs thrive to create the illusion of being in a different world than the one we live in, and it’s easy to get lost in the fantasy.

Clearly, great skills go into the making of a strip club before any woman takes the stage. Although the places are designed for clothing removal, the bar and kitchen still need to function just as in any other regular bar across the country. This adds a layer of functionality. No detail is missed in the non-human display of things. Not only do body parts need to be lit correctly, but so does every table, wall, chair, and whatever else… just like in any bar. The taboo accompanying strip clubs will likely never be shed. Nor will most people walk in simply to see the set up and lighting display. However, I am confident our faithful readers will take pleasure… in these photos! Come on people! Get your mind out of the gutter!

Sapphire New York 333 E. 60th St. - New York, NY 10022 212.421.3600


Sin CIty 2520 Park Ave. - Bronx, NY 10451 718.401.1700


Rick’s Cabaret 50 W 33rd St. - New York, NY 10022 212.372.0850




hoto reps don’t only connect their photographers with clients, but also help further express an artist’s business goals, perspectives, and personality. Working as partners has its advantages— reps support their artists’ visions while offering an objective eye—something very important when attempting to bring in new clients. As mentioned in the below questionnaires, it is essential to most reps that photographers have a clear vision—as well as the motivation—to succeed in such a competitive industry. Even ßthough the majority of their time is spent behind-the-scenes, photo reps are essential to move an artist’s career forward. Hear that photographers? Appreciate your agent, they work hard for you!

Name: Claudia Monaco Agency: Monaco Reps 44 W. 18th St. - 8th Fl. NY NY 10011 212.647.0336

Years working as a rep: David and I have been repping for twenty-three years. But I’ve been in the business for thirty years. First, at Condé Nast in the editorial departments of Vogue and Paris Vogue, with a short stint in the photojournalism world in between, and then as a freelance fashion stylist. David has been in the business for a little less time, but not by much. He started at Vogue too, in the art department, then moved onto marketing and sales before we started our company in 1987.

their career blossom. We have had a number of successes like that over the years. It is very gratifying. The other important consideration is where the talent falls in our roster. We aim to keep the roster as tight and as interesting as possible. Our agency model is not servicing only one kind of market, but many kinds. If we have enough talent to cover a specific market, then we shy away from taking on more in that field. An example is the car market. We have two of the best car shooters in the business. That is our limit in that market.

How many photographers do you rep? The number changes from time to time but the current number is twenty-three. That’s at the high end right now.

Who is your favorite photographer you have worked with? I have been very fortunate in my career. I’ve worked with some of the best photographers in the world in one way or another. I’m going to name drop a bit here. The early short list includes: Avedon, Penn, Watson, Elgort, Warhol and many, many more. Starting my career at Vogue and Paris Vogue put me at the top from the start. It was Horst P. Horst who first brought up the idea of my becoming an agent. But, honestly I cannot pick a favorite. One of the perks of working with such a diversified number of photographers for so many years is that they are all different and they all have something good to bring to the table. There are photographers I consider friends and photographers with whom I share a fantastic professional relationship.

Are there certain qualifications photographers need in order to be repped by you? Absolutely. This list has changed over the years and it is different for every rep. The first qualification is obvious: we have to like the work and think we can market it. Both David and I have art backgrounds. We understand imagery with a long history of involvement in the making and promoting of art. After thirty years of editing and working with countless images, I often explain to photographers why an image works or doesn’t work, which is aside from whether the work is marketable or not. It is important that our understanding of the process jives with the photographer’s vision. But liking someone’s work is only a jumping off point. It must be combined with professionalism and the ability to collaborate. That is not something that every photographer has. Yet, it is the most important aspect for longevity. A photographer must also be willing to take direction from me. At Monaco Reps I create all the portfolios and oversee the direction of a body of work based on the American market. Some photographers need more input than others. That usually depends on what point in their careers they join us. We do look for some experience, but a lot is not necessary if we think they have what it takes. One of our biggest pleasures is to work with a younger photographer and watch

What should photographers NOT do on a shoot? This is pretty basic and obvious. The client and the assignment come first. Anything extraneous to that effort does not belong on a set. That’s not to say that personal comments and fun is discouraged. That is often absolutely necessary to the work in progress, however, never to the point of interrupting the needs of the assignment. Emotional outbursts are also a no-no. That takes a toll on the entire crew, not to mention whoever is there from the client. If something is aggravating, it is best to step away from the set, grab something to drink and have a discussion with the creative team to solve whatever issue has come up. One other “do not do” is to badmouth someone in the industry. Everyone talks, and sooner or later your reputation will be tarnished by what you say. Remaining

gracious goes a long way. Some of the best photographers I have ever worked with were also the most gracious people in the industry. What makes a photographer successful? Ah, that could be a long list. The short answer is someone who works harder than his or her competitors. You have to be completely immersed in your career and work. Just like any other type of artist—writer, musician, painter etc—hard work is the only across the board absolute requirement. But that alone does not always make you successful. Although we expect all of the talent we represent to live and breathe photography there is always that little something else that sets someone apart. I guess in the end that’s talent and timing combined. Throw in the right personality, the most up to date technical skill and maybe success is in your future. I have seen people whose work I greatly admire never catch on and I have seen mediocre talent gain tremendous success. Unfortunately there is no formula. As an agent I try to set individual guidelines that will help and though we have been more successful than not, sometimes it just does not work. And sometimes we hit the jackpot.

Name: Ray Brown Agency: Ray Brown Pro 601 W. 26 St. - #1310 New York, NY 10001 212.243.5057

Name: Patrick Casey Agency: Marge Casey + Associates 20 West 22nd St. - #1605 New York, NY 10010 212-929-3757

ray brown

Years working as a rep: 17 How many photographers do you rep? Currently, twenty-one. Are there certain qualifications photographers need in order to be repped by you? The most important qualifications are talent and a strong client base. Who is your favorite photographer you have worked with? All the ones I currently represent. Name one person (photographer, client, crew, etc) you will never work with again? Why? It never speaks well of you to speak badly of a photographer, client, crew, etc. so, respectfully I will decline to answer that question. What should photographers NOT do on a shoot? Be disrespectful to anyone. What makes a photographer successful? Their talent, and they must be personable and professional. If you have those traits (and a great rep) you will keep your clients happy.

Years working as a rep: Since 1995 full time—but years prior, growing up, I spent most of my childhood surrounded by portfolios and great, talented artists. How many photographers do you rep? 21 Are there certain qualifications photographers need in order to be repped by you? Yes of course. Most people we represent are very established in their career, some more either in advertising, editorial or in the art world. But beyond credentials, I look for pure talent with a point of view. Part of my job is spent helping artists define and refine that point of view, and reediting and branding their work in a smart and aesthetically beautiful way out to clients. Who is your favorite photographer you have worked with? I love all my artists equally! What should photographers NOT do on a shoot? Be egomaniacs. What makes a photographer successful? Great work, thoughtful marketing and understanding that all relationships are a collaboration and a partnership.

Name: Michael Aash Agency: Michael Ash Partners 212.206.0661 Years working as a rep: I started in 1979 so 32 years! Amazing! I still love it! How many photographers do you rep? 14 Are there certain qualifications photographers need in order to be repped by you? Yes, they must have images that move me. Who is your favorite photographer you have worked with? Impossible question. I have so many of them. Raymond Meier, Duncan Sim, Kenji Aoki, Michael O’Brien, just to name a few...

What should photographers NOT do on a shoot? Talk to or about other projects they are working on. You must stay focused on the project you are working on. Also don’t talk about your cars , homes, material things. Stay humble. What makes a photographer successful? Attitude and evolving their talent. Keep creating and pushing the boundaries.

Name: Susanne Bransch Agency: BRANSCH 131 Varick St. - #1006 New York, NY 10013 212.414.1622 Years working as a rep:  20 years. How many photographers do you rep? 30 visual artists. Are there certain qualifications photographers need in order to be repped by you? Talent, passion, ambition, emotional-—and social—intelligence. Who is your favorite photographer you have worked with? Always the artist with the last, most impressing personal project—it changes every week. Right now: Romain Laurent with ‘Something Real’  Levon Biss with ‘One world,’ a book project about soccer Achim Lippoth’s ‘Promised Land’ Maarten de Groot’s ‘Rockers’ Christian Stoll’s video ‘Welcome’ (look them up on Bransch’s blog: Name one person (photographer, client, crew, etc) you will never work with again? Why? I cannot think of anybody—maybe I am just fortunate. What should photographers NOT do on a shoot? Forget to show up. What makes a photographer successful? Talent, passion, ambition, emotional—and social—intelligence.

Name: Simone Friend Agency: Friend + Johnson Chicago- 312.435.0055 New York- 212.337.0055 San Francisco- 415.927.4500 Years working as a rep: 26 years (yikes) How many photographers do you rep? 14 Are there certain qualifications photographers need in order to be repped by you? We prefer someone who has been shooting for a little while and has an v of what a rep can do for them. We look for talent that has a strong vision and sets themselves apart in a way that makes their work interesting. Who is your favorite photographer you have worked with? That is a hard question. Geof Kern is one of my favorites because of the way he thinks. I love Laurie Frankel and Chuck Shotwell because they are so easy to work with and clients adore them. I could go on and on. It’s about who does NOT have an attitude and is willing to go beyond the call of duty regardless. What should photographers NOT do on a shoot? Complain! Stay positive. It’s contagious. What makes a photographer successful? Being open-minded, insightful, kind, a problem solver. You don’t want to be a pushover either, so have a way about you that says you believe in what you are doing but are open to suggestions. Being able to communicate is also very important. More and more decisions are being based on how well a conference call goes. You are usually one of many clients are talking to so it is key that you have done your homework about the account, the layouts, your solution. Whatever information you can gather will help put you one step above your competition.

Name: Rona Siegel Agency: Rona Represents 20 West 20 Street suite 310 New York, NY 10010 212.989.9400

History: I started as a model agent at Wilhelmina in the “late” 70s. I left to start Next in New York. After two years, they decided to open an agency in Miami. I moved there to run the women’s division, and met a photographer who decided I should be his agent. After taking to NY and seeing several clients, we booked Bloodmingdale’s, Macy’s, A&S, J. Crew and Glamour.. How could I refuse? It was an easy transition and a fun choice. Although scary to start your own business after being employed for so long, I took the plunge. How many photographers do you rep? 7 Are there certain qualifications photographers need in order to be repped by you? Photographers need to understand what a rep’s speciality is before contacting them. For instance I’m better with fashion and music, not landscape. Who is your favorite photographer you have worked with? My most favorite photographer is Daymion Mardel. Name one person (photographer, client, crew, etc) you will never work with again? Why? I hope I never meet the person I don’t want to work again. That would be awful.The people I prefer not to work with are the ones with the attitude that they are better than the rest. What should photographers NOT do on a shoot? Photographers should not be combative with a client.

Name: Norman Maslov Agency: Norman Maslov: Photographers Agent Internationale 415.641.4376

How many photographers do you rep? 12 History: Norman Maslov, a native San Franciscan, is an Artist’s Agent representing photographers nationally from his hometown by the Bay. He attended San Francisco State University studying Communications and Film, which led to a strange ten-year stint in the recording industry. He opened Norman Maslov: Photographers Agent Internationale in 1986. Are there certain qualifications photographers need in order to be repped by you? First review the work of the artists I already represent. If your work is too similar in style or specific subject matter to anyone on my roster, then I’m probably not the one for you. Send new and original work. Not boring or pedestrian work. Make sure your link is clickable so I can easily see your site. Consistency is important. You will need a couple of great portfolios and a website and be open to help with edit-ing. You need to produce new work regularly—every week or month if you are not on assignment. You have to invest in advertising and promotion otherwise don’t bother. You should have a great personality and sense of humor— but not be funnier than me. Listen to me and I will listen to you. Who is your favorite photographer you have worked with? Naming a favorite photographer would be like telling people you have a favorite child and naming one. I love all of the photographers I represent. They all have wonderful images and different personalities. As much as I don’t have a favorite, there are three whom I have been with for a very long time (Michele Cement, Deborah Jones and David Allan Brandt) who continue to excite me with their new work year after year. I’m in awe. But if you twisted by arm, I would probably choose Sue Tallon right now as she is creating an incredible and consistent amount of astounding still life imagery. What should photographers NOT do on a shoot? Forget their camera and their creativity. And their sense of humor. What makes a photographer successful? Never badger a potential client. Call them too much and bitch to them if you are not chosen for a particular assignment. Don’t copy others’ work. Don’t lowball or give your images away. Don’t stop shooting. You should always—and I mean always—be shooting. I am amazed that so many established photographers rarely shoot for themselves.



LUX-SF Photo and Words by Sylvia Gyrion


recent transplant to San Francisco, this was my first visit to this side of town. I wandered through Dogpatch before reaching LUX-SF, located in the Old American Can Building. The area’s warehouses enhanced its industrial charm; I couldn’t help but feel like I was back in New York. After exiting the elevator at the third floor, it wasn’t hard to spot the studio—a doorway spilling light into the windowless hallway; I knew I was heading in the right direction. I walked into a gorgeous, bright space, and was instantly greeted by the owners, whose inviting demeanors matched the atmosphere of the room. The heat of the sun warmed my cheek; while gazing out the window, with the San Francisco Bay in the distance, I was reminded of just where I was.

This beautiful daylight rental studio offers complete equipment and production packages for still and motion shoots. Co-owners John Champlin and Mark Rutherford run the place; here’s what they had to say about their new venture.


What can you tell me about this building? Mark: It was always kind of the heart and soul of the San Francisco photo district, and still is to a large degree. There are lots of studios, labs, and a rental house in the neighborhood. Our space has a real lineage; it’s a been a photo studio through numerous hands for probably twenty-five years, which may make it one of the longest running photo studios in the Bay Area. Previous owners include Marcy Malloy, Albert Bray, Rory Earnshaw and others How long have you had the space? Mark: We’ve been here for about five months now, so it’s still fresh for us.


Sylvia Gyrion:

Were you apprehensive about starting a business in the middle of an economic crisis? John: We started a little bit before the crisis; actually, we opened in 2006 [in another location] and incorporated a couple of years ago. Mark: Things were rough even then; technically we incorporated in the middle of the recession, but really the business started years before that. I’ve done a lot of one to one consultation and educational programs on digital imaging; I used to do workshops and seminars at Seybold and PhotoExpo. I was involved in the industry long before the recession happened. What sorts of shoot do you have in here? Mark: We service a lot of out of town clients. We’ve hosted high fashion, editorial, and high end ad campaigns. We’ve worked with Albert Watson on a shoot for Rolling Stone, and more recently for Andy Anderson. We’ve done all sorts of things; we had a monkey in here last week for a veterinary campaign! British Discovery Channel shot for three days in here; it was a full-motion shoot, so that’s something we’re really kind of orienting ourselves to. How are your clients hearing about you? Like anything that’s really good, a lot of it is word of mouth. Of course we also try to stay visible in the community. We have both been involved in the photo industry here for a long time. What did you do before opening LUX-SF? John: I’m from San Francisco and I’ve been in the business here for about ten years myself. My interest in photography started when I was about fifteen. I picked it up in the boy scouts. At summer camp they had a darkroom; it was painted black, and in direct sunlight up in the redwoods of Northern California. It was like 110 degrees in there so everything came out really contrasty. From the get-go it was “this is for me” for sure. Mark: I’ve been in San Francisco for over twenty years. I sat on the Board of Directors for the APA here and produced educational programs for local photographers. We’re both

kind of known within the industry, so once the word got out that we were running a rental and production facility, things kind of took off from there. What specific services do you provide? Mark: What sets us apart and makes us unique, aside from having a great daylight space, is that we offer a complete package for those who need it. We have equipment packages; we offer post services, from retouching and high end Photoshop work to motion post-production; as well as lighting consultation, workflow consultation and digital teching. So it can be as simple as coming in and renting the space, to pulling together an entire production. In that regard we are the only full-service daylight studio in the Bay Area. We also work on location—anywhere in the world. And we’re adding a shooting kitchen soon too. John: We also keep a good inventory of gear on premises for clients. Included in our baseline rates we offer a generous grip package as part of the deal. We provide a lot of the bulky, backbreaking stuff—foam core V flats, sandbags, C-stands and apple boxes—so you can just show up with minimal equipment. And we have parking, which is not common around here. What are your plans for the future? Mark: We want to keep growing into motion production; that’s really a central theme for us right now. Integrating those services [is crucial] because that’s where the demand is. John: As the distinctions between services blur, it becomes one big opportunity. The technology is blurring, the delivery media is changing, and the production tools are converging. You had either a motion set or a print set, it used to be two different worlds before, and now of course that’s just not the case at all. The kinds of images people are asking for and that they want to create are borrowing from both worlds. Mark: With electronic publishing in general not getting any smaller, the upshot is at least 25% of shoots that have occurred here in the last five months have had some motion component involved in them. Basically we are just responding to the demand of the market. Do you guys have time to shoot yourselves? Do you shoot at all? Mark: Having this business has enabled me to do more of my own personal work rather than just be limited to commercial assignments. John: The studio is a dreamy workplace, but also just a nice spot to come home to: when a location day is done, or if I have a day off, to come back to this is fantastic. It’s wonderful having the means to pursue my own vision and interests. Did you guys find the switch from film to digital tricky? Mark: I was an early adopter; I started with Photoshop 2. And have gone on to be an alpha and beta tester for Adobe, Epson, Eizo and Sony, and written pieces for PC World on digital imaging. That’s kind of what dovetailed me into the business of working with other photographers. As much as I love film, having started as a nineyear-old, I embraced digital. John: As much digital as we do, I’m actually stoked about working with a new client and doing some scanning and output. It’s been a long time since I’ve put my hands on film. When I started I just figured that was going to be my lot in life, that I’d be around chemicals in the dark forever because that’s what it meant to do photography. It’s something I actually definitely miss—but not so much having to do it every day and poisoning myself. I have a lovely little chemical burn on my hand from the old days, so I certainly don’t miss doing that every day, but film is still a wonderful medium.

This interview has been edited for length and clarity.


ProGear By Mike Wilcox I Photos courtesy of ProGear


or some, there is a middle ground between the elevated attitude of Los Angeles and the snobbery of the New York scene. That middle ground is called Midwestern charm, and it can be found in Chicago. Specifically, at ProGear Rental.

ProGear opened as a rental house concentrated in digital capture and with a Phase One specialist. In fact, Peter ventured to say that ProGear offers one of the largest rental

options in Phase One in the country. The company has since also moved to feature Canon equipment. In addition to this, ProGear rents out Video DSLR, following the global market trends. Part of the original plan of the company was to also include a network of human resources, including everyone available in the Chicago area, from photo assistants to catering services. This was forged in line with the full service model ProGear employs, being cognizant of what their customers like and need. This service especially helps traveling photographers who might not have a very developed Midwestern rolodex. The rental house also offers studio space as well as seminars on how to best use equipment. While the studios were not part of the original plan, the physical space the company is located in brought this new opportunity. The seminars came as a reactionary but necessary entity to the business, as the market desire shifted to video DSLR. “The seminars have certainly kept us on the map,” Peter says. Additionally, while ProGear does have competition in the Chicago area, most of this derives from retail stores, not so much from other rental houses. ProGear has the proven track record, knowledge, expertise, and a client list that includes some of Chicago’s, and the country’s, top shooters. All this makes it a premier rental house, not only in the Midwest, but in the entire US.


ProGear was founded in May 2008 under the tutelage of four owners. Between them, they bring well over fifty years of experience in the photography industry. “A lifelong commitment,” part owner Peter Biascotti stated. With this lifelong commitment comes an understanding of their clients needs—especially for traveling photographers since Chicago receives many visiting artists annually. ProGear also services further locations such as Minneapolis, St. Louis, and Indianapolis. This reach, combined with the emphasis on customer empathy, leads to Peter’s fondest memory since starting his business. As he recalled, an order was incorrectly fulfilled, delivering the wrong type of softbox…to Indianapolis. This happened during the dead of winter on a Sunday. Having no other option, Peter drove the equipment from Chicago to Indianapolis himself. Much to Peter’s surprise, the photographer was not upset with the incorrect order; in fact, he was amazed and excited that ProGear would offer that kind of customer service. Many times ProGear will rent out equipment without knowing exactly what the project is or what the rented items are specifically being used for. However, the company has a firm understanding that without ProGear doing its job to the best of its ability, the photographers will not be able to do theirs. The experience Peter related speaks to this.

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Ad Rocks:

Rimmel London By Ali Wisch I Visuals courtesy of You to You


ave you ever wanted to be famous? One click of the mouse and five seconds into the masterful Rimmel campaign created by You to You, a French digital communication agency, and you may feel like putting on some big sunglasses and a floppy hat. Started in 2007 by Frédéric Farrugia, a former product developer and web entrepreneur, and Nael Hamameh, an engineer, the agency uses its founders’ expertise in creating and implementing moving, memorable, and viral digital experiences. Aside from Rimmel, a UK cosmetic brand, You to You, which is still an infant in agency years, already has clients that most people would kill for. Ever heard of L’Oréal Paris, General Mills, Turner, or Coca-Cola? Yeah, me neither.

You to You specializes in helping brands engage You thought, “We must bring the London look their customers through word of mouth by to France!” What better way to do that than using a plethora of web tools such as websites, to give the girls that they were targeting a live applications, videos, social networks, and blogs. experience as the star of London for a day? FaWhen I asked Fabien Gagnot, the director of bien explained, “The idea was to engage potenthe interactive Rimmel ad campaign, whether tial customers through an interactive experior not You to You solely sticks to the online ence which created dreams, so we arrived with world or works also with traditional media, he the idea of a personalized video ad. In order to responded, “We only do online campaigns as get the maximum engagement, we decided to we believe it is the best way to engage with execute it through a subjective view that every customers. On the Internet, you can personalgirl can identify with.” The video integrates the ize the messages and get some answers, two viewer’s name and portrait and takes her into a things you can’t get through traditional media. whirlwind tour of London where everyone and However, TV and print are mass media and it every billboard and magazine celebrates her. is always useful to get notoriety through them. We integrate this in our thinking as we try to “We went to London for the shoot and used a get some fallout on TV and press for our online camera mounted on a special helmet that we campaigns.” It seems like advertising isn’t developed [in order to get that subjective viewdying, it is simply changing. point]. The video was shot with a Canon 5D. After the shoot, there was very hard work to do When You to You got the Rimmel account they in post-production. We implanted many trackhad their work cut out for them. In the UK, ers on the video and transferred it into Flash to Rimmel is a famous brand, unlike in France get the video live-personalized. We used both where it’s still somewhat of a newcomer. As the corner-pin tracking and 3D tracking to reprocompany is all about “the London look,”You to duce movement and blur effect in the best way.”

As difficult as the post-production work was, the campaign ended up as a very direct and intuitive experience for the viewer. “You just have to write down your first name, your last name, and if you want, you have the option to upload a picture, and it will rock!” explained Fabien. So far, 500,000 girls have logged in the website, which means that 500,000 girls have been exposed to the brand for more than three minutes each. Clearly, the clients were happy with the results and they are now working on an interactive Facebook application. Overall, this video ad helped Rimmel get recognition in a way other than through a television ad. “On the web you can create more, you can go further than a twenty second ad on television,” expanded Fabien. And just how far will You to You go? We’re looking forward to finding out.








Indika By Lewis Van Arnam I Photo by Ian Gittler


ay goodbye to last millennium’s darling, the supermodel. The 21st century has embraced a new icon for the fashion and beauty world: the Hollywood celebrity. Photography’s incestuous relationship with its closest cousin, the entertainment industry, has become the mainstream portent, and the power shift is profoundly evident. The glamour of Hollywood has entered our daily diet of style, as evidenced by every magazine cover on the rack. It’s a win-win, as an editorial showcase not only elevates a celebrity’s star power, and helps fuel the entire film industry, but also sells magazines! Simple… right?

Well, almost but there’s a powerful element here that must also be recognized; celebrity status is an earned commodity. Without successful roles, and the resulting elevation to a high profile, there is no editorial interest. So, back to square one, and looming on the periphery is the true giant of the equation… the movie studios. The film industry is a multi-billion dollar juggernaut that has defined our cultural backbone for the past century. Although big budget films often generate huge profits, success is never taken for granted. With the obvious need to penetrate the consumer’s universe, and wallet, every release receives an all-out promotional blitz. Ironically, the “world of motion” depends heavily on the power of the static image and subsequently, the movie poster business continues to thrive. Riding the wave is a New York-based agency named Indika. This seemingly humble TriBeCa enterprise is, in fact, a major player in the entertainment event promotion business. Established in 1994 by co-founders, and co-creative directors, Vivek Mathur and James Verdersoto, Indika has become a premier source for the Motion Picture industry. This is a timely story, about a timely subject.  

Movie posters? How did you and James know that entering the entertainment event promotion business would be so right? James and I became acquainted socially while he was the Creative Director at Miramax Films, in the early 90s. I was captivated by his iconic campaigns there (The Piano, The Crying Game, My Left Foot, Scandal) and I quickly became his biggest fan. As our friendship grew over the next few years, we plotted many times to work together, but it wasn’t until 1994 that we actually started Indika. It was James’ reputation and experience that drove our decision to enter this field. Our first project was Pulp Fiction. It won awards and remains a benchmark visual, even in today’s market. This immediate success was an auspicious start. As of today, Indika has created artwork for over 400 campaigns. It seems that we made the right decision. How did Miramax’s approach and aesthetics influence your company? Miramax was started by Bob and Harvey Weinstein with a focus on producing and distributing independent films. Smaller, artistic projects became the hallmark of their identity. Because James and I initially conceived Indika to echo

that philosophy, we started by promoting entertainment products of a similar nature. Much of that identity is still with us today, although our resume has grown in many directions. As we strayed from the indies and began working on Hollywood movies, like Ocean’s Eleven, Training Day, The Last Samurai and Girl Interrupted, we were careful to preserve, and inject, our love of the vitality from our indie roots. Our company name was chosen, in the mid 90s, when indies were prominent. The word ”indie” led us, by phonic association, to Indika, the title of a book written by Megasthenes (one of Alexander The Great’s generals) about the wealth of art and culture encountered on their campaigns. Obviously we fell in love with the title. How has the industry changed, from your perspective, since Indika’s inception? When we started, I think audiences were much more aggressive about seeking out independent cinema. The field seemed more casual, less corporate. Today if an indie hit occurs, it’s usually the result of a much larger effort from P&A [publicity and advertising] than was needed in those earlier times. And the actual advertising process has evolved too. The most


Ian Gittler:

obvious change is in the area of available technology. It’s cheaper and faster for an agency to produce the same art as before because the artwork can be delivered in more efficient ways, with significantly quicker turnarounds. I also think, on average, that the art being produced now is better than in the early 90s but, of course, it’s normal, and expected, to see that type of relative progress. At the end of the day, though, the creative process is much the same: clients and vendors working together to create campaigns that resonate in the marketplace. Clients change, agencies change, technologies and strategies change, but the fundamental creative process remains refreshingly pure. I should mention that our clients’ expectations have changed, as well. It seems to me that the barriers of entry are higher today, because studios are more sophisticated about the type of treatments they are looking for. There is definitely less room for experimentation. Subsequently, the ‘threestrikes-and-you’re out’ principle of the past is more often one strike now. It’s sobering. How have these industry changes influenced your approach?  We have offices in New York and Los Angeles but, as of recently, all our creative projects are done out of our NY office. In fact, LA is in the process of being phased out. We find it much more empowering to the creative team to have everyone work together, and with the advent of computer presentations the physical need to be in LA has been greatly reduced. We now send PDF’s of our creative development, and the work must stand on its own. If we felt it was imperative to talk a client through our ideas, we’re inadvertently admitting our presentation falls short…. that we’re insecure about our approach. Let’s face it, that style of narrative can be construed as making excuses for a weak visual presentation. I hope that doesn’t sound too cynical. Our key word for today’s business model is ‘lighter’. Do more with less. Although we’re not too affected by the economic downturn, we know it’s there. We’ve learned to take advantage of available technology, as well as outsourcing, to stay efficient. Your projects are short term (yet need to stand the test of time), heavily branded and contain an automatic celebrity endorsement. How does your philosophy encompass these complex components?    When approaching movies, we attempt to develop imagery that reflects the intrinsic entertainment value of the title. It could be that the celebrity is what will attract the audience, or it could be something else, such as genre. Then the task is to create artwork that will make the movie feel new, yet remain consistent with campaigns that have worked in the past. The style of art we choose depends on what we feel needs to be said about the movie. We examine the value of a photographic execution, or an

illustration. Photography usually involves showcasing the star(s) of the production, while an illustration is designed to capture a mood from the film. When photography is the solution, how do you work? Most of the photography we use is provided by the studio, or production company. Every movie has a unit photographer who is on set every day to capture and document every scene and shot of a movie. Not only do they accurately capture images from the film, they are able to record the actors in full character, incorporating all the subtle details of the set, lighting and tone of the movie. These elements are almost impossible to recreate. The larger studio projects can have up to 10,000 to 15,000 unit shots—and we have to go through all of them to edit selects. The advent of digital has greatly impacted this process, as you can imagine. The physical rigor of manually examining that type of volume was unbelievable. When we are asked to organize a special shoot and recommend a photographer, we base our choice on whom we feel will create distinctive images for the immediate poster, as well as all the various additional applications down the line. There is also the factor of experience working with celebrities. We are always searching for inspired photography sources, and nothing is better than finding someone who can execute ideas brilliantly. When we find those relationships, we stick with them!At the end of the day, though, the studio, the celebrity, and the publicity team have a heavy hand in the decision. It’s great when it works out, but sometimes shoots end up looking too editorial—and our executions are the antithesis of an editorial approach. Using the right photographer is huge… being directed to a source that’s ill fitted heightens our challenge to deliver an “Indika” caliber product. Fortunately I can say we always rise to the challenge.   Your approach is the antithesis of editorial, yet your reference room is floor to ceiling magazines. How do you reconcile these two seemingly opposing conditions?   Yes, a dichotomy would seem to exist here, but there is none. The fact is, we get inspiration from magazines, art books—wherever we can get it. It’s important to get visual inspiration before working on any creative project, and one of our favorite sources is editorial and fashion advertising. We love the style, tone and mood of great editorial photography, and magazines give us a view into the current visual zeitgeist. It’s fascinating to see trends and conventions in photography—particularly when it’s experimental and cutting-edge. That being said, the function of photography in entertainment advertising is the polar opposite of editorial and fashion advertising. We’re obviously not selling a lifestyle, or clothing, and we must recognize the different function actors have for

us, opposed to the way that a star is handled editorially. In our experience, entertainment advertising that looks like editorial fails—because consumers are really looking for a fantasy experience, not a “lifestyle.” We must create a hybrid environment—part information and part intrigue—that entices an emotional engagement in the entertainment product being advertised. Producing visually arresting artwork, that supports this intended purpose, is our goal. Everyone wonders: how difficult is it to work with high profile Hollywood talent? Actually it’s surprisingly more civilized and goal-oriented than one would think. But, I do remember working on a campaign once, that involved two A-list actresses whose respective publicists were dueling over which would get priority. Eventually, when one realized their cause was lost, they made the desperation statement: “then make the other look fatter” (for the record, we didn’t). Indika has such a specific niche; do you consider your company an advertising agency? Absolutely. In addition to entertainment clients, we also work with select companies using our entertainment experience. Presently we are re-branding a South America-based beverage conglomerate. The core challenge is the same: to identify and enhance the intrinsic value of the brand, and then generate a customer experience that reinforces that brand. Parallels aside, this is a very stimulating project. The demographic preparation and creative execution have brought us new lessons, as well as renewed dedication to our traditional approach. You’ve enjoyed great success, and built an amazing reputation. Do you still compete for assignments? Yes and no. There are only about ten agencies in our category. Although many projects are multi-vendor, the level of competition is muted because the focus is on “solving” the creative challenge in the best way possible. Whether our art is chosen, or not, our work is remunerated. Of course we always strive to have the “finish” come our way, but as with all corporate endeavors, it’s out of our hands after a cerbvtain point. Whatever the outcome, we take tremendous pride (sometimes solace) in knowing we did the best possible job we could. This is a basic philosophy throughout our company. James, myself, and all the vin-dividuals who work here (or are brought in for a specific project) strive to the goal of performing to our “personal best” potential on every phase of every assignment. Ultimately we find our greatest competition comes from challenging ourselves.   

This interview has been edited for length and clarity.

1 title




Styling services.








by Marc Cadiente


How about the seemingly simple idea of drawing a song? To the tune of a romantic Spanish melody, the viewer is given the power to—yes, draw a song—create a new landscape in which the song can exist, an experience that is memorable, unique and personal. Millions of sites exist, but for a handful to standout—to be an experience—it must be “a site or project that makes the hair stand up on the back of your neck within one minute of seeing it. One that makes you sit up straight in your chair. One that makes you turn the sound [up] on your computer. One that makes you email people and ask if they have seen it. One that makes you send an invite to submit to [Favourite Website Awards] if they haven’t already. One that has the X-Factor,” said Rob Ford, founder of FWA. From its site, “FWA is an industry recognized award program and inspirational portal, based in England, and is one of the world’s leading website recognitions. FWA is widely recognized as the number one achievement for innovative Web design through the Site of the Year award.” Indeed, the site is an archive of innovative design, interactive invitations and thought-provoking ideas—a sort of yearbook of inspiration and excitement. FWA, the brainchild of Rob Ford, started after the agency he founded in 1997,, was shortlisted for a Yell UK Web Award in 2000. At the time, the Yell UK Web Award was the most sought-after award run by Yellow Pages. “I got an amazing buzz being nominated for a top UK award, but also realized the failings of many Web awards at the time,” Ford recalled. “I set up FWA, to focus on the sites that were awardworthy rather than the awards themselves.” There are millions of sites, and for many of them, a designer or team of designers spends endless hours creating an environment that captures one’s eye, holds one’s attention, ignites one’s imagination, and makes one lose his breath. In May of 2000, Favourite Website Awards was established as a way of showcasing these— the most cutting-edge and pioneering online projects. Ten years and over 100 million visits later, FWA is still following the same principal. FWA bases its selections on: Design 40%, Navigation 25%, Graphics 15%, Content 15%, and Personality 5%. Judges for Site of the Year are picked personally by Ford. “I have built up an incredible network of contacts over the last fourteen years and the biggest issue I have is who not to ask, to keep the numbers down,” Ford said. Site of the Day judges are picked by putting out a request on Twitter, asking for previous FWA winners who want to be judges. “You’d be amazed at how many apply. I put the request up at the weekend as I am always looking for people like myself… those who work whatever day of the week it is.”

“In the early days I did everything. I built the website, promoted it, worked 24/7…I didn’t have a holiday for ten years and not even a single day off for sickness.” Rob Ford

gainst a brilliant blue sky, a spacecraft is cradled in its bright red tower and launch pad. Voices from the control tower can be heard checking the conditions of the weather, the massive glistening shuttle, and the crew inside. All is clear— clear as the sky. Then the countdown to launch the space shuttle to the moon begins. A voice crackles from static over the intercom. “Three, two, one, zero…liftoff. We have a liftoff…” while spectators on the ground—hearts thumping, chins quivering, hands raw from applause —witness the eruption of smoke, the powerful roar of rockets, and a seemingly impossible amount of steel being lifted upward and upward and out of sight. This is the historic mission of Apollo 11 that took place on July 16, 1969, recreated in real-time with archival radio transmissions and 3D animation at wechoosethemoon. org to commemorate the 40th anniversar y of the event. Even if you weren’t there that day, you can now say you were. It’s a powerful experience made possible through the creativity and technology of the Web.



For Ford, FWA has meant endless hours of work. “In the early days I did everything. I built the website, promoted it, worked 24/7.” Ford spent a lot of time scouting sites himself. Eventually, he assembled a team of scouts, but for about the last five years, FWA has received submissions from agencies and companies directly. “It’s quite rare for us to look for sites now. Most agencies submit to FWA as soon as their projects go live. We have never awarded sites without prior permission or submission as it’s potentially risky, especially as you can take a site’s server down with the amount of traffic a Site of the Day mention can generate. We actually took down a Volkswagen site a few years ago.” It was only when FWA launched the recent version of the site in March 2010, did Ford’s work begin to lessen and he finally got some time to himself. “I didn’t have a holiday for ten years and not even a single day off for sickness.” FWA was not only a passion but the natural next step in Ford’s career. He was one of the early adopters of Flash, using it to create treecity (screen captures from the site in 1999 is a testament that Web design has come a very long way). “I have always been interested in progression, whether in computer games, fashion, music and even gardening. The Web just took me in a new direction.” To help promote the project, Ford looked to design portals

the such as ThreeOh, PixelSurgeon and K10K to get the FWA link mentioned. Most of these portals are now defunct or just a shadow of what they used to be, so the success of the project depended on the project itself. And the payoff was huge. Today, FWA is “the most visited website award program in the history of the Internet, with over 75 million site visits as of January 2010 and an estimated additional 30 million per year.” Ford never thought it would be this successful. “It has grown by word of mouth alone. I have never advertised. It has been a lot of very hard work over a long period of time. I lost all of my 30s to FWA!” With success came sponsorship offers. Many major brands, including Coca-Cola, Sony, Adobe and Microsoft wanted to tap into FWA’s audience, however deals were not struck with any of the companies. Ford looks at this as a good thing. He attributes the site’s long term success and longevity to the fact that he created a robust business model around FWA and stayed a single entity—not joining forces with other people, portals, or big brands. “It’s rare to get any sort of deal off the ground as most of the [companies] think that the brand association is enough and that FWA should roll over and give them what they want, with little to nothing in return. [A] reason why being independent is important—the lure is never as great as being in control of your own destiny. I am always keen to find sponsorship but it is a rare thing these days.” Ford is clear to state that FWA has never been about making money. The first six years of the site’s existence was financed from his own savings, and despite the lack of sponsorships, advertising revenue and site submission fees help support the project. “I will never give up to a big brand unless the offer is perfect for both the FWA brand and FWA’s loyal users.” True to his word, the FWA site offers exactly what it seeks in other websites—interesting, innovative and fresh content that is easily accessible. And that’s the lure that has its audience coming back time and time again. Now that the project has many more automated processes, Ford has the time to look at new initiatives. He has regular pages in magazines in countries including China, Korea, Netherlands, Japan, etc., and he writes a regular column for Adobe, which helps keep attention on FWA. Ford is also in talks with possibly the hottest agency in the world right now about creating a press pack for FWA. What’s the next step for FWA? Quite logically, it is moving on to include a new mobile showcase site at, which will focus purely on creative mobile content. Still it’s the websites that excite Ford. They are, after all, the reason why he started FWA. There’s for instance a site for Vodafone (http://, a European mobile company, which offers a hundred new possibilities of communicating, integrating the system into every aspect of our lives and customizing it to our own personal needs. It doesn’t sound any different from what other mobile service offers—and perhaps it isn’t. So what makes it so special? It’s the delivery of the message. The site excites the viewer. It invites the viewer to take a journey into the future, creating the possibility of simplicity and ease in our lives that both soothes and excites us. That is the power that some sites have, and the Vodafone site is privileged to have Ford call it “one of the very few pioneering sites in the history of the Web.” And he should know—he explores and sees the best of the best every day.


Ten years and over 100 million visits later, FWA is still working by the same principal. FWA bases its selections on: Design 40%, Navigation 25%, Graphics 15%, Content 15%, and Personality 5%. Judges for Site of the Year are picked personally by Ford.



5% personality



15% content

% %


graphics Today—or maybe any other day at the FWA office—the world is peaceful. The PC hums steadily as the keys on the board are tapped. An occasional bark can be heard from a distant dog. But the cyber worlds that are being explored include Sean Connery-esque adventures thousands of feet below the ocean surface in a Navy submarine; colorful furry “Things” that teach children about genetics; a fashion show in Japan you direct yourself; and simply an unbridled view of the future. A typical day at the office. “The atmosphere is in the interactive ether… even though you can’t see it, you can definitely feel it.”

What’s the next step for FWA? Quite logically, it is moving on to include a new mobile showcase at which will focus purely on creative mobile content.

Canon 5D Mark II Kit

[[[ $125

CANON HDSLR Canon 1DS Mark III Kit Canon 1D Mark IV Kit Canon 5D Mark II Kit Canon 7D Kit CANON LENSES Canon 14mm/2.8 L II Canon 24mm/1.4 L II Canon 35mm/1.4 L Canon 50mm/1.2 L Canon 85mm/1.2 L II Canon 100/2.8 L IS Macro Canon 16-35mm/2.8 L II Canon 24-70mm/2.8 L Canon 24-105/4 L IS Canon 70-200mm/2.8 IS L Canon 70-200/2.8 L IS II







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CARL ZEISS LENSES FOR CANON Carl Zeiss/Canon 18mm/3.5 ZE 30 26 65 Carl Zeiss/Canon 21mm/2.8 ZE 35 30 65 Carl Zeiss/Canon 28mm/2.0 ZE 27 23 65 Carl Zeiss/Canon 35mm/2.0 ZE 22 18 65 Carl Zeiss/Canon 50mm/1.4 ZE 18 15 50 Carl Zeiss/Canon 50mm/2.0 Makro ZE 30 26 65 Carl Zeiss/Canon 85mm/1.4 ZE 28 24 65 Carl Zeiss/Canon 100mm/2.0 Makro ZE 38 33 65 Carl Zeiss CP.2 Compact Prime Set (28-35-50-85mm) 225 200 400

54% 60% 46% 54% 58% 65% 66% 72% 64% 70% 54% 60% 57% 63% 42% 49% 44% 50%

NIKON CAMERAS Nikon D3X Kit Nikon D3S Kit Nikon D3 Kit Nikon D700 Kit

42% 45% 51% 54%

NIKON LENSES Nikon 24-70mm/2.8G ED-IF AF-S Nikon 70-200mm/2.8 VR Nikon 70-200mm/2.8 VR II MEMORY CARDS Sandisk Extreme IV 16GB Compact Flash Card Sandisk Extreme 32GB Compact Flash Card

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HD VIDEO CAMERAS & ADAPTERS Sony PMW-EX3 HD Video Camera Sony PMW-EX1 HD Video Camera Panasonic AG-HVX 200AP HD Video Camera Letus 35 Elite DOF Adapter Letus 1/2” Relay Lens For Sony EX3 COMPUTERS & MONITORS Apple Mac Pro 8-Core Super Loaded Apple Mac Book Pro 15” Apple LED Cinema Display 24” Apple Cinema Display 30” Eizo CG243W 24” Monitor HASSELBLAD H SYSTEM Hasselblad H2 Body H Series 35mm F3.5 H Series 50mm F3.5 H Series 100mm F2.8 H Series 120 Macro F4 H Series 150mm F3.2 H Series 210mm F4 H Series 50-110mm F3.5-4.5 PHASE ONE DIGITAL BACKS Phase One P65+ for H or V Mount Phase One P45+ H-Mount Phase One P40+ H-Mount Phase One P30+ H-Mount


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PROFOTO STROBES Profoto Pro8a Air 2400 W/S Kit Profoto Pro7a 2400 W/S Kit Profoto Acute2R 2400 W/S Kit Profoto Acute2R 1200 W/S Kit Profoto Pro7b2 1200 W/S Kit Profoto Acute 600B W/S Kit Profoto D1 Air 1000 W/S Kit Profoto D1 Air 500 W/S Kit

85 55 40 35 75 55 35 25

80 125 32% 36% 50 85 35% 41% 35 55 27% 36% 30 45 22% 33% 70 110 32% 36% 50 75 27% 33% 30 50 30% 40% 20 35 29% 43%

HDSLR SUPPORT SYSTEMS Red Rock Micro DSLR Cinema Bundle Red Rock Micro Eyespy Pull Focus Rig Redrock Micro Event Kit Zacuto Z-Finder

75 55 45 15

65 45 40 13

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PICKING UP or DROPPING OFF? Call us from your vehicle and we’ll load and unload your order at our street level entrance. It’s FREE.

32% 47% 38% 48%

Experience the full VIDEO MONITORS Marshall V-LCD70P 7” Monitor Panasonic BT LH1710 17” Monitor Blackmagic HDMI to SDI Converter MOBILITY Porta-Jib Steadicam Merlin Steadicam Pilot Indie-Dolly MICS Sennheiser Lavalier Mic Set Sennheiser ME-66 Shot Gun Mic CONTINUOUS LIGHTS Litepanels 1x1 Bi-Color Litepanels Mini Plus Litepanels Micro Lite Panel Joker 400W HMI Bug Kit Kobold 400W Par HMI Kit Kobold 200W Par HMI Kit 4x4 Kino Fixture Arri Compact Fresnel 1200W HMI Arri 650w Fresnel Tungsten Fixture


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Our goal is for you to have a great rental experience. Our staff of specialists are always willing and able to answer your questions and provide hands-on demonstrations. We are committed to delivering the highest quality standards in products and technical support, at rates that make sense. We continuously invest in new technology and regularly upgrade our inventory with the latest models in order to keep pace with the constant shift of the media marketplace, so you don’t have to. We are proud to state that we have become the leading source in the pro digital field, carrying the largest inventory of HDSLR cameras, lenses and accessories in the US, at the lowest rates in the industry. We invite you to visit our newly renovated 6th floor rental department and demonstration space. There’s plenty of room to open, check and test your equipment orders. We also offer a free pick-up and drop-off service to and from your vehicle at our ground-level entrance.

All prices are in USD and subject to change without notice.

To view our complete list of products or download the Price Port, please visit us at


42 W 18 ST 6FL NYC 10011

T 212- 627- 8487

iPhone App “ARC Rental”


ALBERT WATSON Once considered the “least-known great photographer in the world,” Albert prolific career, spanning four decades, ensures his place among the ranks of Richard Avedon, Irving Penn and Victor Skrebneski. Characterized by his singular vision to produce masterful image after masterful image, his body of work evolved organically over time, comprising landscape, portraiture, fashion, glamour and still lifes, and not necessarily in that order. Mention his name now and you’re sure to hear professed declarations of admiration for—and countless anecdotes about—the Scottish-born, mild-mannered but ferociously focused Watson.


By Charlie Fish I Photos courtesy of the artist



when the photographer was a virtual unknown to the outside, mainstream world. Those in fashion and magazine publishing knew his name, of course, because up until 1994 Watson was mostly labeled a fashion photographer. His virtuosic fashion images made him a perpetual go-to for such magazines as Vogue, for which the photographer has done over 250 covers. Naomi Campbell and Kate Moss are just two names among the list that includes the model elite from the mid-to-late 70s (when Watson’s career took off like a rocket) until today. But to continue to call him a fashion photographer would belie the amazing range the photographer is renowned for.

To date, he’s won a Grammy for his work on the Mason Profitt album “Come and Gone,” a Lucie Award, and three ANDYs for his advertising work. His celebrity portraits include David Lynch, Jeff Koons, Mike Tyson, Scarlett Johansson, Andy Warhol, Alfred Hitchcock, Uma Thurman and Bill Clinton. He was personally picked as the Royal Photographer for Prince Andrew and Sarah Ferguson’s wedding, and the then Crown Prince of Morocco commissioned him to document the country for thirty days, resulting in a series of images that would later become one of Watson’s photography books, Maroc. As if that weren’t enough, he’s shot countless movie posters for such monumental blockbusters like Kill Bill, Memoirs of a Geisha and The Da Vinci Code. Adding confusion to what label he should carry, Watson’s still life and landscape work has rendered him a preeminent fine art photographer. Then there’s the fact that he’s directed and produced some 650 TV commercials. To say he’s had an inexhaustible, far-reaching career is an understatement, to say the very least. “A lot of times, why people had a lot of problems with what I was and what I was doing was because they like categorization of what [one does]. To exaggerate it extremely, if Jim Smith is known for photographing fire hydrants and you suddenly see a dramatic shot of a fire hydrant you’d say, ‘I bet that’s Jim Smith because he shoots fire hydrants,’” explained Watson during our interview in his new TriBeCa studio. “I was at the opposite end of that. In a way I remained a pure photographer, whereas a lot of people specialized in one particular aspect of photography,” he concluded. Having sold his Washington Street space nearly two years ago, the photographer and his staff have relocated to a 3,000 square foot, ground-floor space on Laight Street. It’s adorned with large prints of his work, most of which, he pointed out, are leftovers from previous exhibitions or duplicates. Among the images are portraits of David Bowie (“He wanted artistic, surrealistic pictures”), and Christy Turlington (“What I liked when I began working with her was the ‘broken neck’ aspect of [the image]. Graphically, the shape is interesting”) alongside a jarring image of a monkey holding a gun (“It’s an intellectual solution to an idea versus a visual one”) and a neon God sign he photographed outside Vegas (“I saw it and I had to pull over”).


, and the world was finally able to see that images of Tupac, for example, and still lifes of the Apollo 14 space outfits could coexist in one volume. With the book, whose name references Watson’s blindness in one eye, the photographer was able to prove to the world at large (and to a new generation of admirers) that all of his images, no matter how disparate they may seem at first glance, have a rhyme and reason. And there is, indeed, a singular vision behind his themes. To better understand how a lush landscape shot, a billowing fashion image, or a black and white photograph of a car has any coherence in Watson’s world, you’d first have to know how Watson arrived at photography. You’d need to grasp the dedication and discipline with which the photographer approaches each shot.

Watson’s first inklings in the professional world were more analytical than one would expect of the visionary image-maker. He first utilized his understanding of mathematics for a job with the Ministry of Defense in London as a computer operator. When that ended a year later, he nurtured his chemistry skills in a chocolate factory in Scotland. before returning to school to focus on Mathematics. It was during that time that Watson decided to take an art class one day a week. “I wasn’t sure at that point if I wanted to do mathematics at the university or if I wanted to go to Art College. In the end, I don’t know why I [chose Art College]. I don’t have a good answer. I fell into the right side of things,” he recalled.

After gaining a solid foundation in graphic design for four years—a move he credits until this day as being largely influential in his everyday work— Watson then pursued filmmaking and directing at the Royal College of Arts in London. By this time, he was already dabbling in photography but had by no means perfected his craft. It was these two disciplines, graphic design and cinema, that went on to shape the body of work that Watson would ultimately create. “Obviously a lot of graphics and photography are hand-in-hand,” said Watson, before explaining that every picture he’s taken is likely a “combination of three things: graphics, film or the two things together—filmatic graphics, if there is such a thing.”



Inspired by his wife Elizabeth, Watson decided to turn his attention full time toward photography and moved to Los Angeles. His early challenges proved to be exercises in resiliency. “What I found very frustrating in the beginning was I would do a shot on Monday that I would think was the greatest photograph ever taken. On Tuesday it didn’t look quite as good and on Wednesday I would throw it out,” he explained. Hampered by a lack of technical experience, Watson added that he “realized early on that the use of lighting and being able to light things were a primary requirement.” With the utmost dedication to his new craft, the photographer went about teaching himself the ins and outs of lighting by “doing a lot of homework and by trial and error. You never conquer [technical aspects] completely. But if you conquered a lot of them, it’s actually like having a key to more doors you can open.” Watson’s dedication was something he felt was simply required of a photographer. Perhaps he was motivated to become so proficient because of his partial sight impairment, but in telling a story about his father, who was a boxer before he was sent to the Navy, Watson revealed where some of his hardworking ethos came from. “My father was a perfect example of somebody who would spend the entire Sunday, from 7:30 in the morning till 6:00 at night, working on his car because he loved working


on his car,” he began. “But then he would take the car for a run with my mother for [only] half an hour.” He advises emerging photographers to develop their skills, but warns about becoming too fixated on technicalities: “If a picture is blurred, people then sometimes can excuse that as just, ‘Oh, I love it blurred.’ I think that’s fine, but I think it’s much nicer to have the choice to either blur a picture or make it sharp; you should be in control of that, not the elements. However, one of the traps for photographers [is becoming] overly concerned with the technical aspects. A technically good photograph that has no creative in it is just worthless.” Knowing more about what drives Watson, it’s easier to recognize the greatness behind such images of his as Hitchcock holding a dead goose, or of Mick Jagger’s face double-exposed with a leopard’s. Greater still is Watson’s ability to weave in and out the different facets of the industry, and his reluctance to, essentially, stay put. That he accomplished such prowess with a visual impairment doesn’t strike Watson as odd in the least. Born with blindness in his right eye, his lack of vision “just is,” he explained. “I don’t know any other way. The only thing I can say is that if I could see through my day working away, doing what I do, going to the movies, or having a cup of coffee, whatever it is, I have no awareness that I have any impairment. If somebody mentions it to me, and I look straight ahead and concentrate on my vision, [then I realize it.]” As to whether it affects his photography at all, Watson asserted, “No. And I’ll tell you why. You perceive through a viewfinder with one eye.” Watson has indelibly left a mark in the world of photography, whether it’s been through his successful fashion photography career or through establishing his name in the fine art world. To call him a jack-of-all-trades in the field of photography, however, would then imply that he is master of none. Undoubtedly, his technical prowess (remarked upon by many whom worked alongside him) and creative vision make him a remarkable artist. When turned loose upon the world, his skills and vision served only to capture, like an anthropologist with a director’s eye, those arresting moments in time that evoked a cinematic feel, both within the photographer and the viewer.



Recently labeled one of the twenty most influential photographers of all time, Albert Watson’s body of work defies categorization and is critically acclaimed worldwide. Nearly every interview of the past decade asks when he’d slow down, to which Watson replied that he was still full of energy. His hectic days, which he diaries in full detail, have repeatedly involved travel, shooting for various clients, meetings and promotional appearances—sometimes in the same 24-hour span. Now nearly seventy years old, Watson admits he doesn’t have to keep up the rapid-fire pace he abided by fifteen years ago. Without provocation and perhaps sensing my own curiosity, he addressed the question of slowing down. “Our shooting schedule was impossible sometimes, with weekends and all the travel. I’m glad I did it. The funny thing is, sometimes people say, ‘Do you not do it anymore because you’re getting older?’ The truth is once you do twenty-five years of [shooting] the Paris collections four times a year, do you want to do a twenty-sixth year of that? At some point, you did it, and then other people can do it.” Still, expecting Watson to slow down would be a mistake. He’s simply (as he has done so expertly in the past) transitioning into the next project. With two new books slated to come out in October, along with a gallery show, we can rest assured Watson’s imagery will continue to awe and inspire. Additionally, while he still shoots “the odd job here and there, if it’s interesting enough,” Watson’s energies are now directed more toward his latest monumental project, a feature film— his first—in the noir genre. “I’m not against light and fluffy,” he asserted, “It’s just more appropriate for me to do something stronger.” In explaining his fever-pitch work habits and alluding, perhaps, to the motivation behind establishing such a long-lasting, tangible and extraordinary legacy, Watson talks about time, particularly the time we have while alive. “Nobody really gets more than 365 days multiplied by 100, and a third of that you spend in bed,” he explained before concluding, “You [only] have that chunk of time allotted.”

UFO: Unified Fashion Objectives and Strip Search are out October 30th.

Sometimes working on a photo shoot can be the most incredible thing. You get to meet the occasional celebrity, you travel a lot, and you do what you love. But putting the shoot together is often a bitch. The logistics of getting everything and everyone can drive you insane. Right now I’m on my way to the good ol’ West Coast, Los Angeles to be exact. I have to say, the East-Coaster in me really isn’t looking forward to their god-awful traffic and Botox-laden Barbie and Ken populace. But I’ve done my research, and aside from those minor inconveniences, I think I’ve figured out a stress-free, easy, no-hassle way to get everything I have to get done, done.

Before traveling anywhere, the first thing you want to think of is where to stay. Luckily, Los Angeles is filled with chic hotels that are able to accommodate crews of hard-working, party-going, hip, artistes like us. The majority of them are also conveniently located in the Hollywood and West Hollywood areas. When deciding on a hotel, there is a number of factors that you need to consider: if you are shooting on the beach, you might want a beachfront hotel. What about a hotel with a really nice bar/lounge where you can entertain your client (and get a drink after a long shoot day)? Price is also an important element in the equation. Sometimes, the cheapest accommodations available is the way to go. No matter what, proximity to wherever you will be shooting is key.

Hotels Chamberlain 1000 Westmount Dr. – W. Hollywood, CA 90069 310.657.7400 Chateau Marmont Hotel 8221 Sunset Blvd - Hollywood, CA 90046 323.656.1010 Four Seasons Beverly Hills 300 South Doheny Dr. - Los Angeles, CA 90048 310.273.2222 Hollywood Roosevelt 7000 Hollywood Blvd - Los Angeles, CA 90028 323.466.7000 L’Ermitage 9291 Burton Way - Beverly Hills, CA 90210 310.278.3344

Mondrian Hotel 8440 Sunset Blvd. - West Hollywood, CA 90069 323.650.8999 Shutters on the Beach 1 Pico Blvd - Santa Monica, CA 90405 310.458.0030 Sunset Tower Hotel 8358 Sunset Blvd - West Hollywood, CA 90069 323.654.7100

The Standard Downtown L.A. 550 S. Flower St. - Los Angeles, CA 90071 213.892.8080 The Standard West Hollywood 8300 West Sunset Blvd. - Los Angeles, CA 90069 323.650.9090 Thompson Beverly Hills 9360 Wilshire Blvd. - Beverly Hills, CA 90212 310.273.1400

The Chateau Marmont 8221 Sunset Blvd - Hollywood, CA 90046 323.656.1010

Viceroy Santa Monica 1819 Ocean Ave. - Santa Monica, CA 90401 310.260.7500

The London West Hollywood 1020 N San Vincente Blvd - West Hollywood, CA 90069 310.854.1111

W Hotel Los Angeles, Westwood 930 Hilgard Ave. - Los Angeles, CA 90024 310.208.8765

Car Rentals I’ve finally landed at Los Angeles International Airport (LAX for short) and I’m figuring out whether or not I should take a cab or call for a shuttle to the car rental offices. This is important to know because the pick up locations are often located a short distance from the airport terminals. Either the airport will provide free shuttle service, or the companies have phone links near the baggage claim area and will send a shuttle to pick you up. No matter what company you plan on renting from, their shuttle will pick you up under the purple “Car Rental Shuttles” signs on the lower/ arrival level islands outside of baggage claim. Keep in mind that if you have equipment with you, you are better off taking a cab. There are a number of car rental companies at LAX. They have cargo vans for your equipment as well as any other car you might want for cruising around.

Airport Van Rental / AVR Pick-up/drop off at LAX 877.826.4680

Avis Multiple locations

Beverly Hills Rent-A-Car Multiple locations 310.337.1400 Note: specializes in high-esnd vehicles.

Deluxe Rent-A-Car

Hertz Car Rental Multiple locations

LAX Rent-a-Car/Van Pick-up/drop off at LAX 310.641.7002

LAX Vans Pick-up/drop off at LAX 310.216.7275

Los Angeles Van Rental

Pick-up/drop off at LAX 800.831.5556

Pick-up/drop off at LAX 310.645.2015

Enterprise Rent-a-Car

Sakura Van & Car Rental

Multiple locations 800.261.7331

Pick-up/drop off at LAX 310.645.1515

Day One: 7 a.m.

I’m now on the road to the studio to start setting up. Knowing how to get around this megalopolis is crucial, and the only way you will be able to do it effectively is if you have a copy of The Thomas Guide to L.A. (the best map available in my mind). The freeways and highways and expressways all go by different names and numbers, which can be maddening at times. One nice thing about LA is that many of the studios will offer additional services and rent equipment. It’s always good to have everything under one roof.

Studios (large and small to suit your needs) 5th & Sunset 12322 Exposition Blvd. - Los Angeles, CA 90064 310.979.0212 Note: They have different sized studios. All five are names appropriately: Small, Medium, Large, Xlarge, XXlarge.

Helms Daylight Studio 3221 Hutchison Ave. #E - Los Angeles, CA 90034 310.836.4375 LightBox Studio 7122 Beverly Blvd - Los Angeles, CA 90036 323.933.2080 Lightspace Studio 8755 Washington Blvd. - Culver City, CA 90232 310.280.0082 Magic Light Studios 4935 McConnell Ave #1 - Los Angeles, CA 90066 310.306.3839

Pier 59 Studios West 2415 Michigan Ave. - Santa Monica, CA 90404 310.829.5959 Note: In-house catering, equipment rental and production service are available.

Siren Studio 6063 W. Sunset Blvd. - Hollywood, CA 90028 323.467.3559 Smashbox Studios CULVER CITY: 8549 Higuera St. - Culver City, CA 90232 323.851.5030 GRIFFITH PARK: 4585 Electronics Place - Los Angeles, CA 90039 323.957.9933 WEST HOLLYWOOD: 1011 N. Fuller Ave. - West Hollywood, CA 90046 323.851.5030 Note: These guys go the extra mile and then some. They will give you the studio you want, but if you need equipment, trucks, trailers, motor homes, or even a gallery to view some photos—they have it all.

Note: They have a shooting and working kitchen.

Miauhaus 1201 S. La Brea Ave. - Los Angeles, CA 90019 323.933.6180 Note: They have an art gallery and exhibition space.

Milk Studios 855 N. Cahuenga Blvd. - Los Angeles, CA 90038 323.469.8900 Note: These guys have super large studios. They offer rental equipment as well as in-house catering.

One-take Studio 821 Mateo St. - Los Angeles, CA 90021 213.627.1866

The Focus Studio 4 Rose Ave. - Venice, CA 90291 310.399.9400 Note: They are located on Venice Beach and will help you obtain a permit for a beach shoot.

The Hollywood Loft 6161 Santa Monica Blvd. #400 Los Angeles, CA 90038 323.957.9398 The Studio 6442 Santa Monica Blvd. #202 Los Angeles, CA 90038 323.791.7757 Note: They’ll give you trucks and vans, rentals, and even production services.


The prop stylist came with us from New York. Her circus-style animal cages were too large to be checked in, obviously. So, we made a few calls and found a number of prop companies that could supply us with whatever we would need. Keep in mind, though, that prop houses in LA are far apart. Try to do as much research online as possible to avoid spending hours in traffic going from one place to another.

Prop Houses Air Designs 11900 Wicks St. - Sun Valley, CA 91352 818.768.6639

House of Props

Note: Specialized in 19th-early 20th C. props.

Since we’re going to be at the studio for the whole day we need catering for breakfast and lunch. Some of the studios such as Milk and Pier 59 offer in-house catering services, but if your studio doesn’t, these companies will fill in the gap.

Modernica Props


1117 N. Gower St. Los Angeles, CA 90038 323.463.3166

2118 E. 7th Place Los Angeles, CA 90021 213.683.1963 Note: Specialized in 50-70s furniture.

Modern Props

Note: Specialized in street, restaurant, bar, coffee shop, lighting, warehouse, NASCAR, automotive and vending machines.

5500 W. Jefferson Blvd. Los Angeles, CA 90016 323.934.3000

Global Effects Inc.


7115 Laurel Canyon Blvd. North Hollywood, CA 91605 818.503.9273 Note: Specialized in armors and weapons (real and sci-fi).

Bischoff’s Taxidermy & Animal FX 54 E. Magnolia Blvd - Burbank, CA 91502 818.843.7561 Note: Specialized in taxidermy.

Caravan West Productions 35660 Jayhawker Rd - Agua Dulce, CA 91390 661.268.8300

11617 Dehougne St. North Hollywood, CA 91605 818.764.1231


Bread & Wine 323.896.1557

Camille’s Kitchen 626.791.4081

3630-50 S. Holdrege Ave. Los Angeles, CA 90016 310.839.6363

Flatbush & J

Omega Cinema Props


5857 Santa Monica Blvd. Los Angeles, CA 90038 323.466.8201

RC Vintage 7100 Tujunga Ave. North Hollywood, CA 91605 818.765.7107 Note: Specialized in 20th Americana.

Note: Specialized in western-themed props.

Green Set Inc.

Binks Catering


Food + Lab Catering

Good Food Catering 310.558.7666 Note: They have catered events for large corporations such as Reebok and Bentley— they’ll certainly take care of you.

Rise and Shine Catering 310.649.0906

The Hand Prop Room 5700 Venice Blvd. Los Angeles, CA 90019 323.931.1534

Note: Specialized in plants.

Artists By Timothy Priano At the last minute, our hair stylist came down with a bad case of food poisoning (damn sushi!). I called around the local agencies and found some great talents.

Hair, Makeup, Etc. Artists by Next 323.782.0010

120 El Camino Dr. #112 - Beverly Hills, CA 90212 310.274.0032

Atelier Management

Cloutier Remix 2632 La Cienega Ave. - Los Angeles, CA 90034 310.839.8722

453 S. Spring St. #1036 - Los Angeles, CA 90013 213.488.3560 Exclusive Artists Management 7700 Sunset Blvd #205 - Los Angeles, CA 90046 323.436.7766 Celestine Agency 1548 16th St. - Santa Monica, CA 90404 310.998.1977

OPUS Beauty Frank Reps 1608 Pacific Ave. #206 - Venice, CA 90291 310.450.5200

Margaret Maldonado Agency 8422 Melrose Pl. - Los Angeles, CA 90069 323.556.3455

6442 Santa Monica Blvd #200B - Los Angeles, CA 90038 323.856.8540

The Rex Agency 4446 Ambrose Ave. - Los Angeles, CA 90027 323.664.6494

The Wall Group 518 N. La Cienega Blvd - Los Angeles, CA 90048 310.276.0777

Tracy Mattingly 530 N Larchmont Blvd #4 Los Angeles, CA 90004 323.462.5000

Workgroup Venice Beach 310.246.0446


Day One: 8 p.m.

We finished the shoot about twenty minutes ago and all I want to do is crash. But there is never any rest in the photo business—it’s time to entertain the clients. No late night though: we are shooting on location tomorrow and have an early call time. Reservation is at 9 p.m., which leaves me with barely enough time to drive over to the hotel and freshen up.

Tip: ask the concierge of your hotel to recommend a cool place to go to. He can also get a table more easily than you would.

Restaurants & Lounges XIV Restaurant 8117 Sunset Blvd. Los Angeles, CA 90046 323.656.1414

Bardot 1737 N. Vine St. Hollywood, CA 90028 323.462.1307 Bar Marmont @ The Chateau Marmont 8171 W. Sunset Blvd. Hollywood, CA 90046 323.650.0575

Cinespace 6356 Hollywood Blvd. Hollywood, CA 90028 323.817.3456

Katsuya Hollywood 6300 Hollywood Blvd. Los Angeles, CA 90028 323.871.8777 (other locations available)

Koi 730 N. La Cienega Blvd. Los Angeles, CA 90069 310.659.9449 Matsuhisa Beverly Hills 129 N. La Cienega Blvd Beverly Hills, CA 90211 310.659.9639

Nobu Malibu 3835 Cross Creek Rd #18A Malibu, CA 90265 310.317.9140

Nobu West Hollywood 903 N. La Cienega Blvd Los Angeles, CA 90069 310.657.5711

Rooftop Bar at The Standard 550 S. Flower St. Los Angeles, CA 90071 213.892.8080

Skybar (Rooftop of Mondrian Hotel) 8440 Sunset Blvd. West Hollywood, CA 90069 323.848.6025

Hyde Lounge

Teddy’s @ The Roosevelt

8029 Sunset Blvd. Los Angeles, CA 90046 323.655.8000

7000 Hollywood Blvd. Los Angeles, CA 90028 323.466.7000

J Restaurant & Lounge

The Kress

1119 S. Olive St. Los Angeles, CA 90015 213.746.7746

6608 Hollywood Blvd. Hollywood, CA 90028 323.785.5000

Day Two. 8:30 a.m.

Today’s plans were made long before we got on the plane. We’re shooting on the beach, and while that may sound simple getting a permit usually isn’t. In fact, the process is often long and tedious; but because this is LA, the filming and shooting capital of the world, Film LA inc. ( was created to work with the authorities and facilitate and expedite things. Their work includes surveying the residents, acquiring insurance, and determining our need for a monitor from the company. The website says that if you have a Thomas Guide, you can see the borderline for LA. This is also the border for which Film LA can get you a permit—just a little bonus for buying the book. Of course I’m not the one who went hunting for locations—there are people who do that.

Location File Agencies All Pictures Media Locations 626.243.0456

Amazing Locations 818.993.7606

Ascot Locations 818.843.3210

Cast Locations 323.469.6616

East West Locations inc. 323.769.3550

Image Locations inc. 310.871.8004

Location Scouts

Independent Locations

Ron Abrams



Legend Locations

Alasdair Boyd



Malibu Locations

Glenn Driver



Meyler & Co.

Jesse Lerman



Location Compass / Steve Biemler 310.410.0176 **Location Scouts often keep locations on file at the ready.

Plan-It Locations 818.376.6506 **Location File Companies often offer location scouting services.


For the beach shoot, there was a slew of issues to be resolved. Two major ones were the need for models and the need for a motor home or trailer where they could stay in between shots. There are some independent motor home companies, and studios can also hook you up. As for models, we’re in Los Angeles— not West Bumblef*@k, Middle America They’re crawling everywhere over here.

Modeling Agencies

/ Fashion & Beauty BBA 818.506.8188

Click Models 310.246.0800

Elite Model Management 310.274.9395

Motor Homes, RVs, and Trailer Rentals:

Ford Models

Cinewagon LLC.


818.822. 0786

Models International

Easy Rider Productions, Inc



Next Model Management




Nous Models

Smashbox Studios



Star Waggons Production Trailers 818.367.5946

Wilhelmina Models West Hollywood 323.655.0909 (women) 323.655.6508 (men)

Modeling Agencies

/ Actor & “Real People” Abrams Artist Agency 310.859.0659

CESD 310.475.211

CTG 818.509.0121

Coast to Coast Talent Group 323 845-9200

For this shoot, most of the equipment was brought from New York, but, as usual, we forgot a few pieces. Los Angeles is about as high-profile a city as yocan get, so there’s a plethora of equipment rental places to choose from. We found that the shops range in inventory. Some may have only photo and digital equipment, while others may provide van/truck rentals as well. Studios also often offer on location eq-uipment rental, just ask.

Equipment Rentals B2Pro LA 7095 Hollywood Blvd. #1158 Hollywood,CA 90028 323.960.2424

Black Solid 2873 Rio Lempa Dr. Hacienda Heights, CA 91745 310.916.5539

Calumet Photographic

Edge Grip 4823 W. Pico Blvd. Los Angeles, CA 90019 323.934.3300

Indie Rentals 7022 W. Sunset Blvd Hollywood, CA 90028 323.465.7700

OTMFC 323.227.4700 Note: Their trucks come fully loaded with all the grip and lighting you could dream of.

PIX 217 S. La Brea Ave. Los Angeles, CA 90036 323.936.8488 Samy’s Camera Multiple locations

Smashbox Studios

1044 Cole Ave. Los Angeles, CA 90038 323.462.1468

LIGHT/GRIP: 4585 Electronics Pl. Los Angeles, CA 90039 818.553.2960 PHOTO: 1011 N. Fuller Ave. West Hollywood, CA 90046 323.851.5030 DIGITAL: 1011 N. Fuller Ave. West Hollywood, CA 90046 323.512.2046



1135 N. Highland Ave. Los Angeles, CA 90038 323.466.1238

Castex Rentals

8125 Lankershim Blvd. North Hollywood, CA 91605 818.252.0001 / 323.464.0296

DPI 5225 Wilshire Blvd. #719 Los Angeles, CA 90036 310.597.6448 Note: focuses on all things digital (including digital tech).

5911 Santa Monica Blvd. Hollywood, CA 90038 323.285.5450


The Creative Director decided that we needed one more little thing, the cherry on the sundae if you will: an animal to “interact” with the models and bring the final touch to the image. As the epicenter of the film world, LA has companies all over that train as well as rent animals for shoots. Personally, I’d like a hyena, but I would settle for lions or tigers. I’m asked to find a labrador: BORING!

Day Two. 7 p.m.

Day Two is over. We are are going out for a quick dinner but no one really wants to travel far. A friend of mine is staying at the Viceroy and said that their restaurant was excellent so we’re going to try it out.

Day Three. 8 a.m.


It’s the final day of shooting and this time we wanted a classic perspective of LA. Someone had suggested the Hollywood sign but we wanted something that showed the city at its best without being so generic. We put our scout to work to find places and he came up with the following:

Birds and Animals Unlimited

Hollywood Sign


Mt. Lee, Griffith Park, Los Angeles, CA 90027

Brian McMillan’s Hollywood Animals

Santa Catalina Island

Animal Rentals: A2Z Animals

Avalon, CA 90704


Santa Monica Pier

Jungle Exotics

Ocean Ave. and Colorado Ave. Santa Monica, CA 90401


Venice Beach and Canals

Paws for Effect

Dell Ave between Court A and Court E Venice, CA 90291


Walt Disney Concert Hall

Silver Screen Animals 661.269.0231

Once again, breakfast and lunch are being catered. But the clients would rather eat somewhere local today. There are many restaurants on the beaches where you can get authentic and even renowned food. We heard about these places during our shoot and decided to check one or two out on our lunch break.

Beach Lunch Spots: Chaya Venice 110 Navy St. - Venice, CA 90291 310.396.1179

Gjelina 1429 Abbot Kinney Blvd. - Venice, CA 90291 310.450.1429

James Beach Restaurant 60 N. Venice Blvd. - Venice, CA 90291 310. 823.5396

And you’ve got to try In-N-Out Burger. Love it or hate it, they are a So-Cal institution. Multiple locations

111 S. Grand Ave. Los Angeles, CA 90012 323.850.2000

Day Three. 8 p.m.

Yes! We have finished the shoot and it’s time to celebrate. Drinks, food, and partying ensue. Tonight we’re going out to Hollywood. There are many restaurants in Hollywood as well as lounges that serve excellent food (Refer to restaurants and lounges listing). After dinner, it’s time to party the night away. That is, if your client is young and into parties. After all you wouldn’t take a seventy-yearold man to a club. Just saying—I don’t expect your client to be seventy-years old, but shit happens and you don’t want him to break a hip. Los Angeles is brimming with nightlife and there’s a good chance that you’ll find a bar or club attached to your hotel or at least not too far from where you are staying.


Day Four. 12 p.m. Last night was a blur and I now have the most painful hangover. I scheduled my flight out for a day later because I knew that this would happen. Trust me: airplanes and hangovers don’t mix. So I slept in a little today and I’m ready to do some gallery spotting. It’s a nice way to relax on a well-deserved day off.

Fahey/Klein Gallery

Peter Fetterman Gallery

148 N. La Brea Ave. Los Angeles, CA 90036 323.934.2250

Bergamot Station Arts Center 2525 Michigan Ave. Bldg B-3 Santa Monica, CA 90404 310.453.6463

Note: Specialized in fine art photography.

Jan Kesner Gallery

Gagosian Gallery

164 N. La Brea Ave. Los Angeles, CA 90036 323.938.6834

456 N. Camden Dr. Beverly Hills, CA 90210 310.271.9400

MOCA (The Museum Of Contemporary Art)


Apex Fine Art 152 N. La Brea Ave. Los Angeles, CA 90036 323.634.7887

Note: Specialized in fine art photography.

250 South Grand Ave. Los Angeles, CA 90012 213.626.6222

Note: Specialized in fine art photography.

Rose Gallery Bergamot Station Arts Center 2525 Michigan Ave. Bldg B-5 Santa Monica, CA 90404 310.264.8440 Note: Specialized in fine art photography.


Just before I get on a plane there is one more thing that I have to do. I’m sending my book to a few potential clients. Wish me luck!


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hooting in China is intimidating, even for a veteran photographer or producer. The country feels alien on many levels: the language is incomprehensible, its alphabet looming like undecipherable and mysterious signs. The twelve hour difference between New York and Beijing makes the pre-production phase a scheduling nightmare and creates multiple delays. The cultural and etiquette differences can cause misunderstandings on both sides, even with the best intentions in mind. It is true that Shangai offers all the attributes of the modern photo production industry: you can easily find there studios, equipment rental houses, models agencies, and production companies... But shooting in Beijing remains a challenge: as the political capital, things get bureaucratic and sensitive very quickly. The photo industry there is still in its infancy; nothing is really organized—or at least things are far from being organized as we need them to be. No extensive studio, equipment rental or crew. It’s all about who you know and who can hook you up. Locations need be scouted on a per request basis—you will really need a local producer to navigate the bureaucratic maze that your project is sure to get entangled in. All that said, Beijing is a fascinating place as it offers both traditional and modern locations. Sleek, tall, uber-modern hotels tower over small traditional Chinese houses. The Great Wall is only a couple of hours away, and you can still catch glimpses of a quiet life amidst the thriving megalopolis.


THE BEIJING The Opposite House Hotel (featured) The Village, Building 1 - No. 11 Sanlitun Road - Chaoyang District Beijing 100027 Tel +86 10 6417 6688 Beijing Courtel (traditional Chinese house with both an open courtyard and modern amenities): Hotel G (cool boutique hotel): Hotel Kapok: Legendale Hotel (chic and classic): The Emperor (small boutique hotel): All the major chains are also represented and offer multiple properties throughout the city (Marriott, Hyatt etc..).




Bei (in The Opposite House Hotel -featured opposite): Duck de Chine: Green T. House: Hatsune (sushi/Japanese -- other restaurants are available): Wish Restaurant and Lounge:


d. Lounge (featured above): In Salitun Apothecary (featured left): In Salitun Q Bar Beijing: Mesh at The Opposite House Hotel Fubar Peking: More at: Time Out Beijing: City Weekend:


THE BEIJING STUDIOS S Arrow Film Ping Fang village, Qi Jia town, Chang Ping district Beijing 102209 Tel.: +86 (10) 69755693 Fax: +86 (10) 69756266 Mobile: +86 (10) 13801128151

Beijing Photo Space No. 6 Loutaijiuhao Art Center, Wenyuheduan, Tianzhu, Shunyi District Beijing Director: Ben McMillan Cell: + 86 135 0108 0973 Production Manager: Sasha Alderson Cell: + 86 138 1193 0451 Note: they offer productions service and equipment rental. Beijing Time United North Shi Ba Li Dian Cloverleaf Junction South East 4th Ring RD Beijing 100005 Tel.: +86 (10) 67475802 Cell: +86 13901051300 Note: they have in-house equipment. K-King Professional Pictures No.1 Chui Yang Liu South St. East 3rd Ring Rd, Chao Yang Disrict Beijing 100052 Tel.: +86 (10) 67738886 and 67737427 Fax: +86 (10) 67767331 Note: even if it’s not listed on their site, they have a huge studio with heigh ceilings where you could easily shoot a car. They also have equipment.




B&P Model Star Management: www.bpmodel. com Flare Stars: Fresh Models: Fusion China: Long Ten Models: Modellin: ModelLine: + Elite has a Hong Kong Office and some good agencies are in Shangai.


(stylists, hair, make-up..) Tony Studio A premiere salon in Beijing whose stylists have experience working on photo shoots. Rollin Free-lance hair and makeup artist.


THE BEIJING Critical to production in China is working with a great local team. You simply cannot organize a shoot without the help of a producer on the ground. The country might be becoming a commercial superpower but its bureaucracy is still decisively Communist and plagued with red tape. Government agencies are decidedly NOT run the same way they are here and in much of the world. It’s important to remember this because there’s no use in simply throwing money around. Respect of the bureaucracy and its lenghtly timelines and kafkaesque processes is essential. Things have to be done in the correct order and as permitting agencies deem fit. You need to leave plenty of time to do everything correctly and have all the different offices review your project. No permit, no shoot, no exception—or “winging it”. Penalties for not complying with the Chinese government are FAR more severe than in the States—like, um, getting arrested! Local production companies: Contra Asia: Gun-Ho: PCI Productions: Pop Films:

PRODUCTION Gregory Boyd:

A few more pearls of wisdom: — As much as Beijing is developing its own photo production scene, you safer bet is still to bring your crew, models and equipment from the US (or at least Shanghai). No offense to the locals, but nothing gets done in a New York minute… except when working with New Yorkers. — Please note that the most readily available equipment is Broncolor. -— Translators are an essential part of your crew. Make sure to allow budget for them. You should have a minimum of four: one to stay at all time with the photographer, one with the producer, one with the client, and one to help wherever and whenever it’s needed. — The Internet can be unreliable at times and often maddening slow… and you won’t be able to access Google Map (don’t ask). -- A great resource to check out is Production Paradise, which has extensive listings.

Thank you to Quentin Shin and Lavanya Radhakrishnan/Artifex Productions for their precious insight.



Lelabar / Commerce By Ashton Keefe I Photos by Elizabeth Leitzell


his cozy downtown wine bar tucked between the West Village and TriBeCa surprises wine enthusiasts and amateurs alike with an elegant yet casual mood complete with handcrafted food and drink. Suffice to say, this isn’t your typical wine bar. The image of a crowded wine bar in Midtown, packed with after-work business men and the women who chase them, is replaced with a cool neighborhood vibe at LelaBar. This is the perfect place to meet someone for a wine, cheese, and meat dinner. Half locals, half strolling wanderers and a few business people make up the crowd on any given night at the U-shaped bar. The unique layout of the space fosters family-style interactions, reviving an old-world approach of drinking, eating, and sharing. Happy hour specials and select wines provide those on limited budget with affordable handpicked drinks, such as the Riesling Kabinett “Feinherb” Phillips-Eckstein, Mosel, Germany 2008 ($15, happy hour prices/specials vary). Cheese specialties include the La-Tur from Italy, a goat’s milk cheese that’s very tangy and aromatic, as well as the Selles-Sur-Cher from France, rich as cream cheese. Cheese is priced by quantity ordered, starting from $3 a piece. Other specialties include the Watermelon Salad ($10) and selected meats and sausages.

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

Lelabar 422 Hudson St. New York, NY 10014 212.206.0594

Different from other wine bars, Lelabar teaches its customers (without pushing) by offering classes and wine tastings two times a month. Get friendly and talk to a bartender, they might let you to taste new wines, such as a red from Italy, Lacrima, Marotti Campi “Rubico” Lacrima di Morro d’ Alba 2008 ($14), which smelled like a bouquet of roses, yet tasted subtle and warm. Ideal for small parties, a drink after a long shoot day, and a great place to unwind, eat wine-inspired tapas, and indulge in a large balloonglass of wine.

Bar / Lounges -- Based on one alcoholic beverage $ = $6 and under I $$ = $6-$12 I $$$ = $12 and over Ambiance 0 I * I ** I *** I *****


The West Village is all but undiscovered; however, veering from the bounteous selection on Bedford’s restaurant-row onto Commerce Street, one is pleasantly surprised to find the uniquely chic and elegant Commerce Restaurant. The wooden-and-beam studded exterior and former Grange Hall Space accommodates an audience of diners who day trade as writers, dancers, photographers and actors. Spotting the landscape of posh hipsters sipping imaginative cocktails are Wall Street bankers who’ve heard through the grape-vine that this is not only the place to be seen, but to dine well.

Ashton Keefe:

Elizabeth Leitzell:

This once Depression Era speakeasy is now owned by Tony Zazula and Executive Chef Harold Moore (with royalty credits from establishments such as Gotham Bar and Grill and Daniel). The place juxtaposes rustic and elegant food, combining and accomplishing both. Moore’s philosophy is simple; he “cook[s] what people eat.” When in Rome— or a revived speakeasy— order the Sazerac ($13), a concoction of rye, absinthe, and bitters first discovered in New Orleans and rumored to be the country’s first cocktail. For a softer and less hair-on-your-chest drink, the East Side ($13) muddles together refreshing cucumber, mint, and gin, making one feel as if they’re getting tipsy at a spa, rather than a trendy restaurant. The menu is clearly constructed for sharing. Although not family style, the dishes for two invite patrons to share several appetizers plates and then split a larger main course. Favorites include the crispy (and large portioned) Pork Belly with pickled watermelon, frisée, and cracklings ($15); Tomato Ravioli with parmesan, basil, and fresh herbs ($16); and a Hamachi Ceviche with yuzu, tomato, chili ($17), fresh enough to put sushi joints to shame. If seeking an individual size entrée, the Black Sea Bass with spring peas & Meyer lemon ($34) will stun you. The attention to detail by the staff and kitchen is apparent as each dish arrives at the table, properly seasoned, and topped with garden fresh microgreens. The real triumph of the show is the Roast Chicken for Two ($29 per person). The bird is served whole, atop luxurious mashed potatoes and foie gras “sausage” links; after tasting it, you will wish to bathe, dress, and sleep in this decadent entrée. Desserts are simple, and over-priced as in most New York haunts, but there is nothing wrong with cosseting yourself with a Chocolate Soufflé ($10) between sips of a lingering drink. At the point of no return, diners will find themselves fully satiated and basking in the muted sensations of smell, sight, and all things umami, both of savor and experience in this authentic Downtown gem.

Commerce 50 Commerce St. New York, NY 10014 212.524.2301

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

Restaurants -- Based on three-course dinner, one alcoholic bev, and 15% tip $ = 25 and under I $$ = $25-$50 I $$$ = $50-$75 I $$$$ = $75 and over Food / Drinks 0 I * I ** I *** I *****



Pirate Radio By Alec Kerr I Illustration by Emil Rivera

“Years will come, years will go, and politicians will do fuck all to make the world a better place. But all over the world, young men and young women will always dream dreams and put those dreams into song.”- The Count (Philip Seymour Hoffman), Pirate Radio irate Radio isn’t a great movie. It is meandering and feels cobbled together from other films. In fact you can almost imagine a pitch session with some movie execs going like this: “OK, picture this, it is Almost Famous, but on a boat.” The higher up exec thinks about it and shakes his head in disapproval. “What if the boat sinks in the end? Almost Famous meets Titanic.” The exec’s face scrunches up in disgust. Too much of a downer. In one last attempt to sell the film the desperate pitcher pleads, “Well, what if we hire Richard Curtis, the man behind such feel-good fare as Notting Hill and Love, Actually to give it a nice happy ending?” Bingo. Sold. But the movie exec’s gut feeling in this hypothetical scenario was right. The film was a commercial and largely critical flop in both the United Kingdom (where the film was originally titled The Boat That Rocked) and the United States, even after a re-edit and re-titling.

Pirate Radio is about an odd footnote in rock history: in the 1960s, pop and rock music was barely played by BBC radio stations. Pirate radio stations then sprung up off the coast of England where, in international waters, they could play whatever they wanted. Eventually, the British government found a way to shut down these operations. Curtis’ film focuses on the exploits of Radio Rock, a fictionalized version of Caroline Radio, the most infamous pirate radio station. Unlike in the film, Caroline Radio, which was actually broadcasted from two different ships, never sank. Curtis merely uses the sinking as a dramatic device to create a more exciting third act, and it actually works. The sinking sequence, which can’t help but recall similar images from James Cameron’s Titanic, does register emotionally. Where the crew of Titanic were sunk by an iceberg, the crew of Radio Rock run into something far more formidable: Kenneth Branagh, who represents the British government. When Branagh is informed that the crew of the ship might die, he simply replies, “It happens to the best of us.” Even the iceberg wasn’t that cold. The film, much like Almost Famous, is a coming-of-age story with Carl (Tom Sturridge) being sent by his mother, Charlotte (Emma Thompson), to Radio Rock to get sorted after being expelled from school. This coming-of-age plot isn’t essential to telling the story of pirate radio. It is merely a narrative template in which to get the story across.

Coming-of-age tales and nostalgia go together like peanut butter and jelly. Think about it. American Graffiti was made in 1973 and looked back at 1962, Dazed and Confused was made in 1993 and was set in 1976 and Stand By Me, perhaps the all-time greatest coming-of-age movie was made in 1986 and went all the way back to 1959. The reason for this is obvious: the filmmakers spent their formative years in the time periods of these movies and reflect on their younger years (and self). Curtis was ten in 1966, the year Pirate Radio is set, so while it is quite possible he listened to Radio Caroline, this movie is far less personal than Cameron Crowe’s Almost Famous. This is basically why Almost Famous is a better film. Crowe was sharing a fictionalized version of his experience writing for Rolling Stone Magazine as a teenager. The coming-of-age aspect of that film was its whole reason to exist. In Pirate Radio, Curtis is not telling a personal tale and you can feel the difference. But is it even fair to make the comparison to Almost Famous? Is it merely the presence of Philip Seymour Hoffman, who is basically reprising his performance as Lester Bangs, that recalls Almost Famous? It is quite possible Hoffman was cast simply because he would create that connection with audiences. It is a clear example of typecasting, but, given the relative failure of the film, it may have simply made audiences hold the film to a higher standard. It is a shame because, flaws aside, it is a movie with many small pleasures. Yes, it is a formula film, but sometimes that is just fine if the characters are enjoyable. The film deserves that credit, almost in spite of itself. By the end, it has built up a lot of goodwill for its eccentric characters.

Release Date: November 13, 2009 Director: Richard Curtis Cinematography: Danny Cohen, Martin Kenzie, Mark Silk, Jeremy Braben Writer: Richard Curtis Cast: Michael Hadley, Philip Seymour Hoffman, Kenneth Branagh, Producer: Richard Curtis

Emil Rivera :




The Lights Will Inspire You By Sabrina Grasso I Review by Dylan Kahler


Sabrina Grasso’s opening spread sets the stage with a portrait of the iconic Lady Liberty rendered in a mosaic of colored squares. Anyone who has taken the free ferry ride to Staten Island will immediately crack a smile at Grasso’s snarky “advice”. The remaining pages explore a delightful variety of themes (‘How to feel like an American girl’, ‘How to feel rich in NY’, ‘How to spot a tourist’, ‘How to become a hipster’, etc...), all which are brought to life in surprisingly simple pixel portraits. The illustration style allows for little in the way of details but cuts right to the core of the idea and communicates far more than one might think at the surface. It’s easy to imagine the author, fresh in the big city, exploring and experiencing its ups and downs.

Grasso’s style, humor, and insight will make you want to re-read the book as soon as you’re done. It may also make you take a brand new look at the greatest city in the world! To buy the book, go to:

Dylan Kahler:

ew York City often feels foreign even to its own residents. It’s no small wonder then that a simple little book about the city written and designed by a French girl may “open big your eyes wide,” whether you’re an occasional visitor or make your home in one of the five boroughs.

Professional: 1st Place: Nicole Wolf


2nd Place: Bernie DeChant 3rd Place: Erik Almas Judges Choice: Lucy Helton Michael Confer Stephanie Noritz Stephanie Noritz Bernie DeChant Honorable Mention: Simon Biswas Matt Dayka Peter Murphy Leland Bobbe Sophie Pangrazzi Students:

Professional: 1st Place: Nicole Wolf

1st Place: Susan Nam 2nd Place: Daniel Tedeschi 3rd Place: Scott Mitchell Judges Choice: Susan Nam Scott Mitchell Daniel Tedeschi Susan Nam Daniel Tedeschi

Student: 1st Place: Susan Nam See all the winning images at:

Honorable Mention: Andrew Williams Andrew Fraser Dominic Casserly Melinda Wright Christina Stow



Camera bags By Alec Kerr I Photo by Victor Harshbarger


or the casual photographer with a simple point and shoot it may seem absurd to have a bag that looks more appropriate for a hiking expedition than for housing a camera. But a true photographer understands that sometimes you need to have every lens and accessory at your disposal. Anything less just won’t do.

Kata HB-207 Hiker Backpack $309.90

Tamrac 5588 Expedition 8x Backpack $264.95

Camera bags can be utilitarian and functional, with a designated space for every need, but they can also rock some style. Picking a bag that fits both you and your needs is nearly as important as choosing the camera that the bag will carry, so choose wisely.

Victor Harshbarger:

Tamrac 614 Super Pro 14 Shoulder Bag $359.95

Lowepro Pro Trekker 400 AW Backpack $279.95


MAKE YOUR OWN APP. Powered by Nov8rix

Jill-E Designs Medium Camera Bag $174.95

Adorama Slinger Bag $59.95

Crumpler 3 Million Dollar Home Camera Bag $52.00 Thank you to Adorama for getting us the bags featured here:

Mountainsmith Parallax Pro Backpack $188.95

Kata CC-196 HDV Case $224.90

Domke F-2 Original Camera Bag $145.99

Vanguard Supreme 40F Waterproof & Dustproof Hard Case $109.95

Tenba Roadies: Universal Rolling Photo/Laptop Case $392.00


Lowepro Classified 250 AW Pro Shoulder Bag $169.95


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EAST COAST CHICAGO, IL MODEL AGENCY Agency Galatea* 33 W. Grand, Suite 402 Chicago, IL 60654 312.587.1155 PHOTO EQUIPMENT RENTAL Calumet Photographic* 1111 N. Cherry Ave. Chicago, IL 60642 312.440.4920 Dodd Camera* 2840 W. Armitage Ave.  Chicago, IL 60647 773.227.3633 Helix Camera & Video* 1205 W. Jackson Blvd.  Chicago, IL 60607-2841  312.421.6000 ProGear Rental* 1740 W. Carroll Avenue  Chicago, IL 60612 312.376.3770

PROPS RENTAL Zap Antiques & Props* 3611 S. Loomis Pl. Chicago, IL 60609 773.376.2278 STUDIO RENTAL Blasart Loft* 2219 W. Grand Ave.  Chicago, IL 60622 312.399.4040 Morgan Street Studios* 456 N. Morgan St.  Chicago, IL 60642 312.226.0009 Northlight Studio* 2023 W. Carroll Ave. #C-304  Chicago, IL 60612 773.466.1556 Skylight Studio Rentals* 1956 W. Grand Ave.  Chicago, IL 60622 312.666.4345 Space Stage Studios* 2155 W. Hubbard   Chicago, IL 60612   312.733.8017

MIAMI, FL EDUCATION (workshops, seminars) AD013 Studio* 329 NE 59 Terrace Miami FL 33137 305-640-8758 DIGITAL SERVICES Industrial Color* 650 West Ave. - #1211 Miami Beach, FL 33139 305.695.0001 PHOTO EQUIPMENT Aperture Studios Miami* 385 NE 59th St. Miami, FL 33137 305.759.4327 Worldwide Photo* 5040 Biscayne Blvd Miami, FL 33137-3248 305.756.1744 PROP RENTALS Ace Props* 297 NE 59th Terrace Miami, FL 33137 800.745.9172 / 305.756.0888 STUDIO RENTALS Aperture Studios Miami* 385 NE 59th St. Miami, FL 33137 305.759.4327


Bathouse Miami* 541 Jefferson Ave. Miami Beach FL 33139 305.538.7767

Carousel Studios* 3700 NE First Court Miami, FL 33137 305.576.3686

Little River Studios* 300 NE 71st St. Miami, FL 33138 305.632.1581

Big Time Productions* 550 Washington Ave. Miami Beach FL 33139 305.672.5117

Glass Haus Studios* 8000 Biscayne Blvd Miami FL 33138 305.759.9904

MAPS Studio* 212 Collins Ave. Miami Beach, FL 33139 305.532.7880


MIAMI, FL STUDIO RENTALS (CONT.) One Source Studio* 6440 NE 4th Court Miami, FL 33138 305.751.2556 Photopia Studios* 360 NE 62nd St. Miami FL 33138 305.534.0290 Picture Perfect* 8000 Biscayne Blvd - 2nd Fl Miami FL 33138 305.759.9954 Splashlight Studios* 167 NE 26th St. Miami FL 33137 305.572.0094

NEW YORK, NY ARTIFICIAL FOLIAGE American Foliage & Design Group* 122 W 22nd St. New York, NY 10011 212.741.5555 BACKDROPS Broderson Backdrops* 873 Broadway - #603 New York, NY 10003 212.925.9392 CATERING Green Catering 61 Hester St. New York, NY 10002 212.254.9825 Nova Catering + Events 820 10th Avenue New York, NY 10019 212.977.8900

DIGITAL CAPTURE SERVICES Exposure Capture* 77 Franklin St. New York, NY 10013 212.393.1307 PHOTO EQUIPMENT RENTAL ARC* 42 W 18th St. - 6th Fl. New York, NY 10011 212.627.8487 Calumet* 22 W 22nd St. New York, NY 10010 212.989.8500 800.453.2550 CSI Rental* 133 W 19th St. - Ground Fl. New York, NY 10011 212.243.7368 Foto Care* 41-43 W 22nd St. New York, NY 10010 212.741.2990 212.741.2991 K&M Camera Tribeca* 385 Broadway New York NY 10013 212-523-0954 RGH Lighting* 236 W 30th St. New York, NY 10001 212.647.1114 Scheimpflug* 236 W 30th St. New York, NY 10001 212.244.8300

TREC RENTAL* 435 W 18th St. New York, NY 10011 212.727.1941 PHOTO LABS Duggal* 29 W 23rd St. New York, NY 10010 212.242.7000 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 PRODUCTION COMPANY ajproductionsny, inc. 212.979.7585 www. PROP RENTALS Arenson Prop Center* 396 10th Ave. New York, NY 10001 212.564.8383 Eclectic Encore* 620 W 26th St. - 4th Fl. New York, NY 10001 212.645.8880 Good Light Props* 450 W 31st St. - #9B New York, NY 10001 212.629.3326 Props For Today* 330 W 34th St. - 12th Fl. New York, NY 10001 212.244.9600


Props NYC* 509 W 34th St. - 2nd Fl. New York, NY 10001 212.352.0101 The Prop Company* 111 W 19th St. - 8th Fl. New York, NY 10011 212.691.7767 RENTAL STUDIOS 2 Stops Brighter* 231 W 29th St. - 10th Fl. New York, NY 10001 212.868.5555 20x24 Studio* 75 Murray St. - #3 New York, NY 10017 212.925.1403

320 Studios* 320 W 37th St. New York, NY 10018 212.967.9909

Bathhouse Studios New York* 540 E 11th St. New York, NY 10009 212.388.1111

3rd Ward* 195 Morgan Ave. Brooklyn, NY 11237 718.715.4961

Brooklyn Studios* 211 Meserole Ave. Brooklyn, NY 11222 718.392.1007

723 Washington* 723 Washington St. New York, NY 10014 646.485.0920

Camart Studios* 6 W 20th St. - 4th Fl. New York, NY 10011 212.691.8840

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

Capsule Studio* 873 Broadway - #204 New York, NY 10003 212.777.8027


NEW YORK, NY RENTAL STUDIOS (CONT.) Cinema World Studios* 220 Dupont St. Greenpoint, NY 11222 718.389.9800 Dakota Studios* 78 Fifth Ave. - 8th Fl. New York, NY 10011 212.691.2197 Daylight Studio* 450 W 31st St. - 8th-9th Fl. New York, NY 10001 212.967.2000 Divine Studio* 21 E 4th St. - #605 New York, NY 10003 212.387.9655 Drive-In 24* 443 West 18th Street New York, NY 10011 212.645.2244 Eagles Nest Studio* 259 W 30th St., 13th Fl. New York, NY 10011 212.736.6221 Factory Studios* 79 Lorimer St. - 5th Fl. Brooklyn NY 11206 718.690.3980 www. Fast Ashleys Studios* 95 N. 10th St. Brooklyn, NY 11211 718.782.9300

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

Location 05* 200 Hudson St. - 9th Fl. New York, NY 10013 212.219.2144

Gary’s Loft* 470 Flushing Ave. Brooklyn, NY 11205 718.858.4702

Lumenhouse* 47 Beaver St. Brooklyn, NY 11206 718.942.5395

Go Studios* 245 W 29th St. New York, NY 10001 212.564.4084

Milk/Formula* 450 W. 15th St. New York NY 10011 212.645.2797

Good Light Studio* 450 W 31st St. - #9C New York, NY 10001 212.629.3764

Neo Studios* 628 Broadway - #302 New York, NY 10012 212.533.4195

Greenpoint Studios* 190 West St. - Unit 11 Brooklyn, NY 11222 212.741.6864 Home Studios* 873 Broadway - #301 New York, NY 10003 212.475.4663 Industria Superstudio* 775 Washington St. New York, NY 10014 212.366.1114 Jack Studios* 601 W 26th St. - 12th Fl. New York, NY 10001 212.367.7590 Jewel Street Studio* 94 Jewel St. - Ground Floor Brooklyn, NY 11222 212.967.1029

NoHo Productions* 636 Broadway - 8th Fl. New York, NY 10012 212.228.4068 Picture Ray Studio* 245 W 18th St. New York, NY 10011 212.929.6370 Pier 59 Studios* Chelsea Piers #59 - 2nd Level New York, NY 10011 212.691.5959 Pochron Studios* 96 Van Dyke Street Brooklyn NY 11231 718.237.1332 Primus Studio* 64 Wooster St. - #3E New York, NY 10012 212.966.3803

Pure Space* 601 W 26th St. - #1225 New York, NY 10001 212.937.6041 Ramscale Productions* 55 Bethune St. - Penthouse New York, NY 10014 212.206.6580

L A N O I S S E F O R P Cleveland | Chicago

SaleS | Rental | SeRVICe Lighting the way since 1891

Root Brooklyn* 131 N 14th St. Brooklyn, NY 11211 718.349.2740 Scene Interactive* 601 W 26th St. - #M225 New York, NY 10001 212.243.1017 Shoot Digital* 23 E 4th St. New York, NY 10003 212.353.3330 Shooting Kitchen* 13-17 Laight St. #12 New York, NY 10013 917.262.0816 Shop Studios* 442 W 49th St. New York, NY 10019 212.245.6154 Silver Cup Studios* 42-22 22nd St. Long Island City, NY 11101 718.906.3000

CLEVELAND 2077 East 30th Street Cleveland, OH 44115 216-361-6805 • 800-507-1676

CHICAGO 2840 West Armitage Chicago, IL 60647 773-227-3633

Nation-wide service available


NEW YORK, NY RENTAL STUDIOS (CONT.) Some Studio* 150 W 28th St. - #1602 New York, NY 10001 212.691.7663 Southlight Studio* 214 W 29th St. - #1404 New York, NY 10001 212.465.9466 Splashlight Studios SoHo* 75 Varick St. - 3rd Fl. New York, NY 10013 212.268.7247 Steiner Studios* 15 Washington Ave. Brooklyn, NY 11205 718.858.1600 Studio 225 Chelsea* 225 W 28th St. - #2 New York, NY 10001 917.882.3724 Studio 450* 450 W 31st St. - 12th Fl. New York, NY 10001 212.871.0940 Suite 201* 526 W 26th St. - #201 New York, NY 10001 212.741.0155 Studio 385* 385 Broadway New York, NY 10013 212.523.0954

Sun Studios* 628 Broadway New York, NY 10012 212.387.7777

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

Sun West* 450 W 31st St. - 10th Fl. New York, NY 10001 212.330.9900


Talent Plus Art 162 W 21st St. New York, NY 10011 800.319.7990 Taz Studios* 873 Broadway - #605 New York, NY 10003 212.533.4999 The Space* 425 W 15th St. - 6th Fl. New York, NY 10011 212.929.2442 Tribeca Skyline Studios* 205 Hudson St. - #1201 New York, NY 10013 212.344.1999 Zoom Studios* 20 Vandam St. - 4th Fl. New York, NY 10013 212.243.9663 SURFACE RENTALS Surface Studio* 242 W 30th St. - 12th Fl New York, NY 10001 212.244.6107 WARDROBE RENTALS RRRentals* 245 W 29th St. - #11 New York, NY 10001 212.242.6120

LOS ANGELES, CA PROP RENTALS House of Props* 1117 N. Gower St. Hollywood , CA 90038 323.463.3166 PHOTO LABS A&I Photographic Digital* 933 N Highland Ave Hollywood, CA 90038 323.856.5280 mail@ The Icon* 5450 Wilshire Blvd Los Angeles, CA 90036 323.933.1666 PHOTO EQUIPMENT Calumet* 1135 N. Highland Avenue Los Angeles, CA 90038 323.466.1238 Castex Rentals* 1044 Cole Ave. Hollywood, CA 90038 323.462.1468 Pix* 217 South La Brea Los Angeles Ca. 90036 323.936.8488 STYLISTS AGENCY Cloutier Agency* 1026 Montana Ave. Santa Monica, CA 90403 310.394.8813


RENTAL STUDIOS 5th & Sunset* 12322 Exposition Blvd West Los Angeles, CA 90064 310.979.0212 8443 Studios* 8443 Warner Drive Culver City, CA 90232 310.202.9044 Belle Varado Studio* 2107 Bellevue Ave. Los Angeles, CA 90026 213.413.9611 Lightbox Studio* 7122 Beverly Blvd. - #G Los Angeles, CA 90036 323.933.2080 Miauhaus* 1201 South La Brea Ave. Los Angeles, CA 90019 323.933.6180 Milk LA* 855 N. Cahuenga Blvd Los Angeles, CA 90038 323.469.8900

Pier 59 Studio West* 2415 Michigan Ave. Santa Monica, CA 90404 310.829.5959 Siren Studios* 6063 W. Sunset Blvd Hollywood, CA 90028 323.467.3559 Smashbox Hollywood* 1011 N Fuller Ave. Hollywood, CA 90046 323.851.5030 Smashbox Culver City* 8549 Higuera St. Culver City, CA 90232 323.851.5030 The LA Lofts* 6442 Santa Monica Blvd. Los Angeles, CA 90038 323.462.5880 The Studio* 6442 Santa Monica Blvd - #202 Los Angeles, CA 90038 323.791.7757

SAN FRANCISCO, CA CAMERA EQUIPMENT Calumet* 2001 Bryant St. San Francisco, CA 94110 415.643.9275 Pro Camera Rental & Supply* 1405 Minnesota St.  San Francisco, CA 94107 415.282.6001 PHOTO LAB Dickerman Prints* 3180 17th Street San Francisco, CA 94110 415.252.1300 PROP RENTALS The Prop Co-op* 80 Industrial Way  Brisbane, CA 94005 415.468.7767 STUDIO RENTAL Dogpatch Studios* 991 Tennessee St.  San Francisco, CA 94107 415.641.3017 Left Space* 2055 Bryant St.  San Francisco, CA 94110 415.285.5338


SAN FRANCISCO, CA (CONT.) LUX-SF* 2325 3rd St. #347 SF CA 94107 415.310.2263 Sintak Studio* 2779 16th St. San Francisco, CA 94103 415.255.7734

NATIONAL DIRECTORY Le Book ORGANIZATION APA (Advertsing Photographers of America) PO Box 725146 Atlanta, GA 31139 800.272.6264

ASMP (American Society of Media Photographers) 150 North Second St. Philadelphia, PA 19106 215.451.2767

Profoto 914.347.3300

Production Paradise

PHOTO-SHARING WEBSITE Fotki 866-554-8544

Studio Share 888.321.6974


PHOTO EQUIPMENT Bron Imaging Group 800.456.0203


Hasselblad 800.367.6434

*Distribution sites.

Lens Pro To Go 877.578.4777


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Fall 2010  
Fall 2010