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Money, clients & other evils

BEHIND THE BUSINESS: “Dogpatch Studios” Page 24 TRENDS OF NOW: “Mobile = Professional?” Page 26 MEDIASOCIOPATH: “The Social Media Dictionary” Page 28 YOU ARE HERE: “Portland, OR” Page 32 CLIENT FILE: “Victoria’s Secret and Beyond” Page 34


DEVELOPMENT: “16 Beaver Studio” Page 36


Gear, Demos and Geek Love

BREAKING IN: “Kris Graves” Page 38

PEOPLE IN MOTION: “ARC Video World” Page 41 GEAR & GADGETS 1.0: “Six Little Pleasures...” Page 44 THE BIG IDEA: “Blurb, The Documentarian” Page 46 TREND IN MOTION: “The Mysterious New World of 3D” Page 50 MOTION ON THE MOVE: “Vimeo Goes Pro” Page 52

GEAR & GADGETS 2.0: “Size Matters...” Page 54 SICK APP: “8mm, Film of the Future” Page 56



WHAT’S IN YOUR CLOSET?: “Vincent Laforet” Page 53

the tumultuous lives of photographers

PHOTO PRO-FILE: “Pier 24” Page 58 HISTORY: “Prince by Jeff Katz” Page 60

FINE ART: “How to Start a Photo Collection” Page 70

EDITOR’S PICK: “Tsuda Nao” Page 63

ETIQUETTE: “Working with Friends” Page 71

TECHNIQUE: “Tim Flach on Shooting Animals” Page 64

CAPTURE THIS 2.0: “Wireless Capture” Page 72

CREW PRO-FILE: “RedPenny Casting” Page 66

RETOUCH 2.0: “The Principles of Depth (Part 1 of 4)” Page 73

DAWN OF THE INDUSTRY: “Skip Cohen (part II)” Page 68

VIDEOGRAPHY: “The 180-Degrees Rule” Page 74

CREW HIGHLIGHT: “Rene Garza, Fashion Stylist“ Page 69



Inspiration & Information for emerging photographers

TIPS: “Kids Portraits” Page 77 WE HEART THIS: “LensSkins-Camera Stickers” Page 79 ASPIRE: “KT Merry, Photographer” Page 80

CAPTURE THIS 1.0: “Organize Chaos” Page 85

GET SMART: “Skip’s Summer School” Page 82

TRADE SHOW: “Photoshop World 2011” Page 86

PHOTO CONCEPT: “Youngkyu Park” Page 83

iTECH LITE: “Off Camera Flash Outdoors” Page 88

THE EXPERIMENT: “Ivan Otis on Light Painting” Page 84

RE-TOUCH 1.0: “How to Treat Skin Redness” Page 89




ARTS & ENTERTAINMENT EVENT: “ADC Young Guns Competition” Page 132 FASHION: “Alexander McQueen at The Met” Page 135 GALLERY: “Pete Souza” Page 136 BOOKS: “Wedding Books” Page 138 VIDEO PICKS: “Vimeo’s Andrea Allen” Page 139 MOVIES FOR PHOTOGRAPHERS: “Woody Allen in Europe” Page 140



COVER AND LAST PAGE Shot by Lisa Wiseman


MASTHEAD FALL 2011 EDITORS IN CHIEF Alexandra Niki, Aurelie Jezequel

CREATIVE DIRECTORS Alexandra Niki, Aurelie Jezequel


COPY EDITORS Matthew Borkowski, Isaac Lopez, Anthony Rivas, Jessica Yu

DESIGN Thiago Al贸, Harold Hull-Ambers, Saki Hashimoto, Jack Liakas, Angel Ortiz, Trevor Ray, Emil Rivera

SUBSCRIPTIONS: $32 in the U.S., US$50 in Canada, and US$60 globally. For subscription inquiries, please email SPECIAL THANKS TO: John Champlin/ LUx-SF, Mark Chin, Landon Garza and Patrick Liotta. We welcome letters and comments. Please send any correspondence to The entire content of this magazine are 漏2011, REMAG Inc. and may not be reproduced, downloaded, republished, or transferred in any form or by any means, without written permission from the publisher. All rights reserved.


For more info, please visit our website:

Matthew Borkowski, Seth Caplan, Sam Cornwall, Tim Flach, Julie Glassberg, Kris Graves, Jeff Katz, Vincent Laforet, Tamar Levine, KT Merry, Lindsay McCrum, Anne Mourier, Youngkyu Park, Jesse Rieser, Adam Sherwin, Pete Souza, Nao Tsuda, Elizabeth Weinberg, Lisa Wiseman


CONTRIBUTING WRITERS Aimee Baldridge, Sophia Betz, Matthew Borkowski, Sam Chapin, Kimberly Chun, Skip Cohen, Sam Cornwall, Jonny Davenport, Charlie Fish, Alec Kerr, Isaac Lopez, David Mindich, Matthew Morton, Casey Neistat, Alex Niki, Anthony Rivas, Amber Schadewald, Feifei Sun, Joe Sutton, Kenny Ulloa, Lewis Van Arnam, Jessica Yu

CONTRIBUTING ILLUSTRATORS Thiago Al贸, Katherine Lo, Angel Ortiz, Emil Rivera

INTERNS Kimberly Chen, Marion Damiens, Chloe Gastine, Dorianne Kotcherga, Guillaume Mac茅, Caleb Olson, Camilo Villareal



ADVERTISING Alexandra Niki Adam Sherwin

Author of 6 books on photography, Skip Cohen has been a fixture in the photographic industry for 41 years. He’s served as President of Hasselblad, Rangefinder/WPPI and in 2009 founded Marketing Essentials International (www.mei500. com). Involved in numerous boards and charities, he’s been referred to as photography’s Energizer Rabbit!

Jonny Davenport is a photogeek and lifelong hack. You can find him on twitter, with zero followers @jonnydavenport.

Lisa Wiseman’s photography explores transitions, in-between spaces, and liminal moments. She was honored as one of PDN’s 30 in 2009 and her clients include Wired, NYLONGuys and Newsweek. She lives in San Francisco and her motto is “treat creativity like breathing”. You can view her work at

Stephan Sagmiller is an award winning retoucher, educator and founder of CYAN JACK, a highend digital retouching studio. He is often shortlisted as a leading retoucher in New York for his work with Sony Records, NARS, Apple, Virgin Mobile, Interview and W Magazine, among others. For more info visit


I’m not sure exactly how I got here, but I find myself walking the halls of my old high school again. But it’s not for some high school reunion; I don’t know anyone here. All the people are strangers and I feel increasingly out of place as I travel into the deeper arteries of the old building. Something is off. There’s lots of chatter, people moving quickly, lights going up, women with caked-on make-up getting dressed, and noise, lots of noise. I make my way to the auditorium, where my old tech booth used to be. Somewhere familiar, somewhere I spent hours after school. By now I’ve pieced together that I am at a photo shoot. All these people are prepping for a high production shoot with sets, extras, tons of gear, and an army of PAs. Then there’s me, wandering off from the bustle into my old world in the school auditorium. I walk down the aisles, touching the edges of the benches as I think of my high school days and the late nights working on school plays and productions. Nostalgia fades when the feeling of another presence in the room jolts me back to present day. I look up to a man sitting on the benches. Our eyes meet and I walk over. We sit and talk as if we’ve known each other for years. We talk about having escaped the madness of the photo shoot and how glad we are to have found each other here. It was only a second after our eyes met that I knew who he was. We hold hands and he puts his head on my lap as we continue into what seems to be love at first sight. Nobody would ever believe me, but it’s Brad Pitt. Suddenly someone pounds on the door. A violent ramming, then a gunshot unlocks our sanctuary. In come eight men wearing black suits, all carrying automatic weapons—AK47s and the like. Brad jumps up and throws the bench down. I hit the floor and my face presses against the gray school carpet. Shots flying. I feel bullets speeding through the benches and past my head. Brad pulls me up and we run. We run past the rows of benches, dodging bullets left and right. We duck into the tech booth, squeeze out of the roof trap, jump down and run out of the room. We make it out alive. I take off, having left Brad at his car. I may never see him again; I’m shaken and scared. Hopeful it was just a dream… but no such luck. Now, in paranoia and wandering the streets, I dare not go to anyone’s house. I feel I’m being followed. I head toward the office. In a daze, I sit down in front of my laptop and open In-Design and wrap what is the most epic issue of Resource Magazine to date. We’ve reinvented the wheel and have created a new and improved Resource. One to whet your palette of photographic fantasies and satisfy your desire for gear, techniques and technology. Professionals share their greatest tricks and revel their unscripted opinions; pages are filled with inspiring images… And look for more to come in the next issues: the Resource revolution has only begun. Send us feedbacks, comments, and ideas. Resource is here to reflect your life and answer your questions.

You’re welcome.

Alex and Aurelie

OCTOBER 27th & 28th, 2011 THE PROFESSIONAL PHOTOGRAPHY EVENT OF THE YEAR Register for all event update notifications at Visit Shoot NYC to see these great new products and more.

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Experience the latest technology with Hasselblad’s live hands-on shooting gallery, learn about the H4D camera solutions and meet your industry peers.

HEADLINES “From pop culture to industry news, a subjective selection of recent events.”


By Matt Morton I Photo by Bryan Adams/ Amy Winehouse defined retro-soul music—the way she lived, the way she loved and the way she performed. Her God-given vocal talent claimed worldwide fame upon the release of her first album, Frank in 2003. Amy’s eclectic musical taste, ranging from Motown to Frank Sinatra, to jazz to hardcore rap, exemplified her style and highlighted her artistic brilliance. At age 23, she took the stage at Joe’s Pub in downtown NYC for her debut performance in the U.S. Already a certified celebrity in her native England, the R&B vocalist tore through the songs from her album Back to Black (2007) that had made her a pop icon in the U.K. Amy’s tart, jazzy voice and voluptuous stage presence left a staggering first impression on the crowd. She established herself as one of the most admired, yet controversial, young singers of the decade. As soon as Winehouse appeared on the international pop scene, her talents became overshadowed by scandal. Her tendency to scratch the surface of self-destruction with drug and alcohol abuse, and public violence attracted constant, worsening media attention. Soon enough, her career

had spiraled out of control and her condition became so irreparable that she was unable to carryout her performance at some of her concerts. Ultimately, she was incapable of triumphing over her addictions. According to her father, despite her attempts to rehabilitate, she was unable to withstand the effects of her detox medicine and died from a seizure in her sleep. When the news of Winehouse’s passing spread, her fans, family and friends shook their heads with despair and disappointment. Fans, reporters and photographers alike have stories describing Winehouse’s true heartedness and fun-loving character. In an interview with Bryan Adams, when asked to describe his experiences photographing her, he responded, “I shot her five times—for i-D Magazine, Harper’s Bazaar and Zoo Magazine, and twice for the Fred Perry clothing campaigns. I will say one thing, she was fiercely loyal to the people around her, the good and the bad.” He recalled Amy’s dubiousness about wearing highfashion clothing during her shoots: “I remember having to talk her into wearing Armani and Dolce & Gabanna for the fashion shoot, but in true

HEADLINES: “From pop culture to industry news, a subjective selection of recent events.” Page 11


“From pop culture to industry news, a subjective selection of recent events.”

Amy Winehouse Cont’ Amy-style, once she was in it, she made it hers. Amy was shy [about fashion] but was sure as sure could be about her hair and makeup.” Adams and Winehouse hit it off well on and off set. A common ground was formed from their similar musical taste. “She was into The Shirelles, Phil Spector and Motown, so we always got along well musically during shoots.” Adams’ images showcased the singer’s true beauty during the four years he photographed her. Despite the events that occurred in her personal life, Adams’ photos always remained a constant depiction of her glamour. After knowing her personally, the photographer was appalled by the media’s efforts to broadcast such tainted images of her even after her death. Numerous photographers worked with Winehouse throughout her career, from Max Vadukul (Rolling Stone) to Hedi Slimane (V Magazine). She has appeared in at least thirteen different publications, such as Look Magazine, Vogue, Vanity Fair and more. One of her first photo shoot dates back from 2004 with Rob Verhorst. The seven-year period depicted by her

photos clearly shows Winehouse’s morphing process from an innocent star to a rough-around-the-edges musician who fed her audience the humanity they were looking for. In Steve Kandell’s article in Spin Magazine (with photos by Terry Richardson), he mentions a time after one of Amy’s shows; an obnoxious fan insisted on taking a picture of her in front of a beer truck. Despite the insult, Amy remained “unfailingly polite,” and agreed. She was not one to take offense at public opinion, and would certainly never let it get in the way of her love for performing. She lived her life with stride and without shame—no one was going to change that. Amy Winehouse stood out from the rest of the female, pop culture singers. Not because of her tumultuous lifestyle, but because she didn’t hide it. She knew she was talented—with 2.7 million albums sold in the U.K. alone and 5 Grammy Awards, she had proven to the world what she was capable of. There is something to admire about a public figure with such a natural talent when all she cared about was her freedom to display it.


Poaching? Cheating? Defamation on the Internet? This isn’t a preview for the latest and most “real” reality TV show, but rather the ongoing feud between two of the country’s top studio bosses: Federico Pignatelli of Pier 59 Studios and Milk Studios’ head, Mazdack Rassi. All of this seemingly started in February 2011 when Pignatelli filed a lawsuit in California (where both studios have locations) against Rassi and Milk employees. The suit alleges that employees at Milk had taken part in some less than appropriate behavior, including the poaching of Pignatelli’s clients and staff, and the tampering of Pier 59’s Google Maps listing information. Perhaps the most shocking accusation made in the suit is that Rassi himself coerced a former Pier 59 employee into filing a sexual harassment case against Pignatelli.

Since this initial dispute, the studio war has raged on. During the months after the suit had been filed, Pignatelli appeared to carry the battle onward by bragging to Page Six of The New York Post about his own poaching of Milk’s studio manager, booking director, and equipment manager. Rassi and Milk have remained fairly tight-lipped throughout this whole ordeal, apparently trying to take the high road until the suit is settled. Regardless of the outcome, one question should be posed to Pignatelli and Rassi: why can’t we all just get along? After all, it was less than two years ago that these two giants partnered up to raise money for underprivileged youth at their Battle of the Champions: Pier 59 vs. Milk Studios charity event.

Matt Borkowski:

By Matt Borkowski


As society moves from one standard of communication to another, Condé Nast sits poised to remain a constant in the world of publishing and in the city of New York for years to come. The publishing giant, whose roster includes magazines such as Vogue, Vanity Fair, GQ, and The New Yorker, has created a lot of noise in the past few months with two major developments. In May, Condé Nast announced their commitment to move their global headquarters from its current location in Times Square to the new World Trade Center (WTC), and in July they stated their intent to reinvent digital publishing by partnering with graphics and analytics powerhouse, Adobe.

Matt Borkowski:

By signing a twenty-five year lease with the Port Authority of New York and New Jersey, Condé Nast is set to occupy roughly a third of the new One World Trade Center building, dubbed “Freedom Tower.” The move is bold, especially considering how well the company was received in their current neighborhood. Condé Nast moved to Times Square in 1999, when the surrounding area was in the middle of a renaissance of sorts, with high-end retailers and commercial developers flocking to the once seedy underbelly of “tourist New York.” New York and New Jersey officials, including Governors Andrew Cuomo and Chris Christie, see the move as an extremely positive sign that Lower Manhattan has revitalized after the devastating attacks of 9/11 and is open for business once again.

Seemingly in stride with Condé Nast’s forward-thinking relocation, the company has partnered with software titan Adobe to define and set new industry standards for digital publishing. After a somewhat underwhelming initial response to the iPad’s version of GQ, Condé has seen an acute shift in their subscribers’ desire to consume content “on the go.” The company noted that in a six-week period following the implementation of “in-app” purchases for their publications, they had gained over 240,000 new digital subscribers, while 136,000 current print subscribers had opted to either add or switch to the digital editions. Enter Adobe. The Silicon Valley-based tech powerhouse spent time with Condé Nast researching and studying consumer behavior in relation to digital publishing and tablet PC use. Scott McDonald, senior vice president of research and insights at Condé Nast had this to say: “Though it’s still early, our data suggests that reading behaviors with digital edition seem to closely follow those associated with printed magazines.” The results of their studies seem to have begun to pay dividends, as Condé Nast and Adobe plan to implement their new metrics into their digital editions beginning in this fall. With their data in hand, a solid partner in Adobe, and a new lease signed in New York, Condé Nast has seemingly done everything that they can to remain a publishing forerunner in a world where digital is the new king.


Hasselblad, one of the most renowned photographic brands of all time, has been sold to hedge fund Ventizz Capital Partners AG this past summer. The purchase is Hasselblad’s second buyout in less than a decade, and brings the company’s ownership back to Europe after eight years of partnership with Hong-Kong’s Shriro group (who still retains distribution rights in the Asia-Pacific region). Hasselblad has long been a pioneer in the medium format environment. However this ownership change brings several new intriguing possibilities for the future of the Swedish camera manufacturer. According to their press release, Ventizz sees the purchase as an opportunity to

increase Hasselblad’s market share worldwide, while providing additional capital to grow the brand and “appeal to a wider circle of ambitious photographers.” “We have seen the demand for Hasselblad cameras continue to grow in Asia, as well as in Europe and North America, where there is increased interest in top-quality cameras,” says Dr. Helmut Vorndran, Ventizz’ Managing Partner and CEO. Exactly what this means for Hasselblad is a bit unclear. While it’s highly unlikely that we’ll be seeing a micro 4/3 ‘Blad anytime soon, this could signal their intent to enter the DSLR market, or to even outsource products to other manufacturers. This is a strategy

HEADLINES: “From pop culture to industry news, a subjective selection of recent events.” Page 13


“From pop culture to industry news, a subjective selection of recent events.”

Hasselblad Cont’ that proved successful for German competitor (and my camera manufacturer) Leica when they partnered with Panasonic several years ago. Panasonic gets the advantage of using Leica glass in their compact and DSLR lines, and Leica has an immediate production liaison in Panasonic to be able to release their own compact cameras with lower overhead. With their extra capital from this partnership, Leica has been able to continue their own innovations, and last year the company released their hybrid DSLR-Medium Format S2 model to rave reviews. It seems highly

logical that this strategy is one that both Ventizz and Hasselblad have taken note of, and could be part of their own future, as well. Only time will tell how this most recent acquisition of Hasselblad will pan out, but with their recent release of the new H4D-200MS, a camera boasting an unheard-of 200 megapixels, it seems that the Swedish legend is ready to add another prestigious chapter to its already impressive history.


Over the last fourteen years, besides trying to figure out how to pronounce his last name (I’m still not sure), the world has witnessed Steve Jobs take Apple Inc. from the verge of nothingness to the height of success. By now, everyone and their grandmother know that in late August, Jobs submitted his long-time-coming resignation letter. When Jobs co-founded the company in 1976, he was neither an engineer nor a computer programmer. In fact, he had no college education, but was an auditor in some classes, one of which was calligraphy. He incorporated his interest in calligraphy into the first Apple computers, making them the first computers ever to have an aesthetically pleasing typography. “If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts,” Jobs said in his 2005 Stanford commencement speech. “And since Windows just copied the Mac, it’s likely that no personal computer would have them.” Indeed, Jobs was instrumental in the progression of computers during the 1980s as he helped with the creation of the graphical user interface, aka. your computer’s operating system, as well as the mouse, which came on the 1984 Macintosh. After these first successes, Jobs left Apple to start NeXT computers and soon after, bought The Graphics Group, which would become Pixar. In 1996, Apple bought NeXT and Jobs returned to the company, first as an adviser, then as its interim CEO and finally as its full-time CEO. While at Pixar and NeXt, he learned that he had to bring content and technology together and that he would have to go beyond computers to do so. As Apple’s chief visionary, Jobs changed the way their computers looked, declaring during a meeting in 1998 that, “the products suck—there’s no sex in them.” After this, iMacs were produced in multiple colors, computers were built to integrate post-PC devices such as cameras, mp3 players, etc., and when the iPod and iTunes were launched, Apple went from being a computer company to being a media company—Jobs even changed the company’s name from Apple Computers Inc. to Apple Inc. Jobs played a key part in the opening of retail stores, the iPhone, iPad, iBooks, and every other product Apple has put out, including some flops such as their social network, Ping. Although Jobs is out, chances are that Apple will be fine. Tim Cook, its COO, and Jobs’ right hand man, has taken over as CEO; although he doesn’t have the same visionary prowess as Jobs, he is still able to clear the same hurdles that running a company like Apple requires. He has filled in during Jobs’ three medical leaves of absences; during the late

90s, he reconfigured the way Apple manufactures products—by reducing inventory to virtually nothing and producing on an on-demand basis— which greatly helped Apple return to profitability. Cook’s ability, along with a well-laid roadmap for Apple’s creative team and engineers, not to mention Jobs still acting as Chairman of the Board, pretty much guarantees that for the company, it will be business as usual.









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“The skinny on what’s happening in the world of Resource, straight from our Brooklyn headquarters.”

QUARTERLY POLL: POLL WHICH PHOTOGRAPHER DO YOU ADMIRE MOST? We asked and you responded. Resource will conduct a quarterly poll on our facebook page. Want to tell us what you think? Then join our page and answer our poll.


This quarter we asked, “Which photographer do you admire most?” And this is what our readers answered:























PRESS: CB 2 CATALOG By Chloe Gastine For a long time now, we’ve been spotting our magazine in Crate & Barrel’s catalogs. Guess our cool design looks good next to CB2’s wares. Thank you to the anonymous prop stylist who chose Resource to dress up her/his sets!



PRESS: RANGEFINDERONLINE.COM By Chloe Gastine RETV’s Executive Producer, Adam Sherwin, was contacted by Alice B. Miller to share part of his knowledge about the video industry. He gave her his tips to optimize the success and the marketing impact of a video on the Net. The result is a perfect little guide for anyone who needs to use video production as a real communication weapon—that is to say, a looot of people! Thank you Alice and Rangefinder for thinking of us! See more at

EVENT: Summer Rooftop Events Summer in the city is not complete without an outdoor movie night (or two!). With that in mind, we decided to throw our own party. The recipe was simple: go to a cool rooftop (Loft 33 in Chelsea and Factory Studio in Williamsburg); bring a picnic and friends; drink some sangria; watch the sunset, and revel in the creativity of fellow image-makers. Thanks to everybody who made it out this year. We hope to continue the tradition next summer and to see you then! Photos by the Resource crew



David Rohde, the subject of a story in our Spring 2011 issue entitled “The Perils of Being a War Correspondent”, contacted the editors after publication and said he was repeatedly misquoted by the writer, Heather Simons, in the piece. According to Rohde, he never said dozens of statements that Simons attributed to him in the story. The piece was Heather Simons’ re-interpretation of Rohde’s story and does not include Rohde’s actual statements. The editors regret any errors.

RE:SOURCED: “The skinny on what’s happening in the world of Resource, straight from our Brooklyn headquarters.” Page 17

“A briefing of the latest news, notes, and nonsense in the photo industry.”

THE NEWS: retouching debacles.

FUTURE: Apple's Mother Ship Lands

By Sam Chapin

in Cupertino By Adam Sherwin

Photoshop has brought with it a new era of photography—one that remains unclear in many ways. The question of what images can and can’t be modified has a vague answer that changes depending on circumstance and who you talk to. For the most part, the consensus is that commercial photos allow room for airbrushing, whereas news-related, “real life” photos do not. You cannot alter the truth, unless it’s to make women look sexier. Two examples of photo manipulation gone awry have recently made headlines. At the end of July, L’Oreal ran ads in the UK for different make-up foundations, one featuring actress Julia Roberts and the other with model Christy Turlington. The British Advertising Standards Authority found both visuals guilty of the heinous crime of over-airbrushing and decided to ban them. L’Oreal admitted that the photos were retouched, but swore that the altered photos were accurate demonstrations of the products’ effects. When asked for the original photos, however, they were unable to comply, as Ms. Roberts’ contract stipulates that no un-airbrushed photos of her shall ever see the light of day. The other recent photoshopping mishap took place in the news world. In Argentina, freelance photographer Miguel Tovar was on assignment, covering the Copa America soccer tournament. He submitted a series of photographs of children playing soccer to The AP. In one photo, a large dust cloud loomed in the center, just above the bottom edge. Upon closer inspection, The AP gathered that Tovar had created and placed it there in order to hide his shadow. Tovar was hastily terminated, and all of the photographs that he had ever taken for The AP were erased from their database. So the question is, where’s the line? When is Photoshop aiding a photo, and when is it turning it into a lie? Should an ad campaign be banned because, in someone’s opinion, the images are overly unrealistic? If some airbrushing is allowed, who is to say when it’s too much? And should covering a shadow really warrant termination? Is it really any different than erasing someone’s crow’s feet, or enhancing the contents of a woman’s brassiere? Maybe it is. With the rise of pop culture, photography has been split into two very distinct entities: news and documentation (which cover world events, sports, weather, etc..), and entertainment (to which advertising belongs). In order for these worlds to remain separate, the news must be told with the utmost accuracy and honesty, while commercial and artistic works are free to get as unrealistic as they want to be. A journalistic photo has to show what the world really is, not what we wish it could be.

With the departure of Steve Jobs and the passing of the proverbial torch to Tim Cook, Apple’s new CEO, the computer powerhouse looks to the future and what it may hold. If Apple’s new proposed campus in Cupertino is any indication, we can expect nothing less than the greatness we’ve come to count on from Apple. The 2.8 million sq. ft. Foster and Partners designed structure is slated to break ground in 2012 and open for business sometime in 2015. The massive “spaceship-like building,” as described by Jobs himself, has the potential to be the most environmentally friendly, forwardthinking office building in the world. With room for 13,000 employees and plenty of green space, as well as a 1,000 seat auditorium, corporate fitness center, a cafeteria capable of feeding 3,000 people at a time and a mind-boggling 300,00 sq. ft. solely dedicated to R&D, this architectural masterpiece is light-years away from the garage in Jobs’ parents house where he and Steve Wozniak built the first Apple computers.

INTERWEB: TOO HIP TO BE SQUARE By Adam Sherwin The crew over at Hipstamatic is always up to something. Whether it’s a cool contest, an awesome event, or releasing a new “HipstaPak” for their astounding collection of in app lens, film and virtual camera case purchases, they never disappoint. Their most recently released “HipstaPak” is called Wicker Park, named after the vanguard of music and art on Chicago’s trendy west side. It consists of the Lucas AB2 lens, which, as they describe it, “is like shooting through a tall glass of PBR.” It includes the Jolly Rainbo 2x Flash (a great low light aide in any bar) and the Damen Camera case, designed with inspiration from reclaimed wood paneling from the Chicago Transit Authority. We can’t wait to get out and start shooting!

OTHER MAGSTUFF: David Chang's culinary prowess turned artsy foodie magazine. By Adam Sherwin

While the title may suggest some strange and wonderful menu item from Chang’s Momofuku chain of restaurants in NYC, Lucky Peach is actually a new contemporary food quarterly. Published by McSweeney’s, Chang teamed up with writer Peter Meehan and Zero Point Zero Production—Emmy award-winning producers of Anthony Bourdain: No Reservations. Each issue will focus on a single topic, starting with the art of ramen. Recipes, travel diaries, interviews, art and photography will all contribute to tell the story of culinary adventures and tasty discoveries. If you’ve completely given up on reading the printed page and gone 100% digital, you can always hold out for the iPad app being produced by Zero Point Zero. In addition to featuring the magazine’s content, the app will also have hours of video. Regardless if on paper or your iPad, just try not to drool on yourself, please.

BLOG: YOU ARE WHAT YOU EAT Photo by Mark Menjivar

For three years, photographer Mark Menjivar has been traveling around the United States exploring various food issues. For his series, “You Are What You Eat,” Menjivar photographs the interior of refrigerators of the poor, rich, Republicans, Democrats, vegetarians, etc. The refrigerators, photographed “as is,” reveal our personal responsibility to our health and our community. These portraits show “how we care for our bodies. How we care for others. And how we care for the land.” See more at

TRIVIA: "PHOTOGRAPHY" The word photography derives from the Greek words phÐs (genitive: phÐtós) light, and gráphein (to write). The word was coined by Sir John Herschel in 1839. Guess everything arcs back to ancient Greece (via England).

SHOOTTALK: ”A briefing of the latest news, notes, and nonsense in the photo industry.” Page 19

EDITOR'S PICK: ONLINE VIDEO-Alex If you’re really going to ask me why I love this video...well, I’d tell you it’s obvious. The animation is great, the kids are absorbed into the most profound depths of their imagination and although terribly violent, the kids look like they’re having a great time making this. Overall, very well done. IS TROPICAL- The Greeks Directed by MEGAFORCE Label : KITSUNE Animation : SEVEN Production : EL NINO Producer : Jules DIENG AE : Gianni MANNO /Francois PELLAE Sound design : Laurent D’HERBECOURT / Tranquille Le Chat

EDITOR'S PICK: ONLINE VIDEO-Aurelie So, The Tree of Life is not technically an online video since it’s a movie you can see in theaters. Nevertheless, it is the video piece that has the most affected me recently. It’s less a traditional movie with a linear narrative and more a sort of a zen meditation exercise—and visually stunning in every frame.

The Tree Of Life Director & Writer: Terrence Malik Cast: Brad Pitt, Sean Penn, Jessica Chastain Director of Photography: Emmanuel Lubezki

GOOGLED: The ugliest photo ever Our curiousity got the better of us. We Googled “The Ugliest Photo Ever” and the first site that came up in the search was: GRIMM’S UGLY PICTURES:

11 things i want:

ADAM FROM RETV'S FILM CAmera wish list BRAND: Deardorff MODEL: 8x10 Field Camera

BIG BROTHER: Google and the photograph By Isaac Lopez Those clever sons of guns at Google have done it again. In June, they introduced a brand new “photo search” feature. Here’s how it works: you upload an image in the search field, whether it be from the web or from your own computer. Google will then determine what the image is and give you your web results, just as if you were searching with text. Cool, right? One word of advice: please don’t take a picture of the Google homepage and try to search it. There haven’t been any recorded cases of anyone making it out of that alive.


BRAND: Hasselblad MODEL: 501cm


BRAND: Nikon MODEL: 28ti

BRAND: Pentax MODEL: 67

Speaking of Google, the website has put up dozens of interesting and humorous screen grabs from Google Street View, the feature contained in Google Maps that lets you see a 360° panoramic photograph of an address or intersection of your choice. The photographs are taken from the Google Street View car, a vehicle that has a pole with nine cameras attached to it. The screen grabs on the aptly-named show, among other things, a man carrying a rifle, a bunch of kids giving the Street View car the middle finger, and a couple of very scantily-clad women on a desolate roadside just… standing there. (Surely, they’re just there to give directions to lost motorists. Surely.)

BRAND: Rollei MODEL: 3.5F


BRAND: Linhof MODEL: Technika 70

BRAND: Zone VI MODEL: 4x5 Field Camera

BRAND: Graphex MODEL: 4x5 Speed Graphic

WE LOVE: Frankly Scarlet... I do give a damn. As we sit with bated breath waiting for Canon’s big camera announcement on November 3rd, RED CEO, Jim Jannard, thought he would steal a little of Canon’s thunder by making a few announcements of his own, on exactly the same day. Coincidence? We think not. Jannard says RED will disclose the improvements they made to their long-awaited Scarlet camera. While Jannard remains tight-lipped about the details, he further wet our appetites for RED’s elusive Scarlet, which we’ve been hearing about (and waiting for) for three years, by saying; “Once the announcement is made, the camera will be ready to ship.” Finally! Now, I’m sorry, Canon what were you saying?

SHOOTTALK: ”A briefing of the latest news, notes, and nonsense in the photo industry.” Page 21

QUOTE: AVEDON “If a day goes by without my doing something related to photography, it’s as though I’ve neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible.” - Richard Avedon

EYE SPY A SITE: Photo blogs WE love to follow

By Adam Sherwin

WEBSITE: FOR WHAT: If you’re trying to keep up with the cool must-have gadgets and geek gear this should definitely be a stop on your daily blog tour. Engadget has a team of pros who can give you up-to-date info and inside scoop on the hottest tech toys out there. We love how they are always taking apart expensive gear to show us what’s inside.

WEBSITE: FOR WHAT: This is a photographic journey inside the world of Wired. Ever wonder what cool photographers read? Wired reveals some of its best content in photographic format, with everything from technology to interviews and photo essays. Each presented in classic Wired form.

WEBSITE: FOR WHAT: Skip Cohen and Scott Bourne, two photo industry legends, say this is a site dedicated to the emerging photographer, but as a pro with 15+ years experience I can honestly say I’ve gone back to it time and time again because of its great content. There’s info here for every level of photographer.

WEBSITE: FOR WHAT: Unprecedented access makes Rob Haggart’s photo blog one of my must-read. He has great interviews with industry power players and supplies us with valuable information on topics such as copyright law, business etiquette for photographers and content that any pro would find valuable. Two of my favorite sections are “The Daily Edit” and “This Week in Photography Books.”

WEBSITE: FOR WHAT: Besides having a killer collection of Photoshop plug-ins that I use personally, Mike Wong of On One software has a great blog. The blog is full of tips, tricks and valuable industry chatter. It’s like having a buddy who knows the bouncer at the front door of the bar when there’s a line-up around the block; Mike gets you in.

WEBSITE: FOR WHAT: One word: inspiration. A friend told me once that I should get inspiration from anything but other photographs. A book, a walk, a movie, or a conversation with a friend. While I agree that inspiration can come in many different forms, as a visual person I love nothing more than looking a beautiful photos to get my juices flowing.

DID YOU KNOW?: THE VENTI CUP-o-CCINO The world’s largest coffee pot is located in Davidson, Saskatchewan, Canada. It measures 24 feet tall, is made of sheet metal and could hold 150,000 8 ounce cups of coffee—which is on average what the Resource team consumes during crunch time.

AN EDITOR’S DIARY By the Tiny Editor in Your head

September 2nd, 2011 Sitting on the train on my way to this studio. It’s a typical shoot day, but shoot days are always more exciting. It’s like letting the dogs out. Normally we’re all stuck in the office fantasizing about the glamour of being on set. Actually, that’s not me, I know better by now, but all my assistants and other minions think how every breath of existence is sweeter when on set. So, as everyone from the office scuffles to the studio with their “slightly nicer” work attire, laptops and Starbucks coffees in hand, we start what will be one of many photo shoots. Now, it’s no rumor, I claim responsibility of being the troubled soul who hired this photographer. But this charming young photographer was only charming when he was sitting in my office showing me his work. My staff and I arrived at the studio right on time, but the photographer was not there. Forty-five minutes late and I nearly took a tripod to his head. He strolls in with no absolutely no sense of urgency and takes another two hours to set up his lights (this is a still life set). As the hours pass, the day becomes more of a grueling hell than a photo shoot. This diva has been yelling and ranting all day to his crew only to cover up things that he’s screwed up. I have to stop writing and go kick this dick off my set. September 3rd, 2011 Like I was saying, had there been poison readily available, I’m sure the fed up caterer would have served up a special dish to that bulged-veined photographer yapping insults about the chicken cutlets being overcooked and the coffee not being served in a ceramic cup. Jail time didn’t seem worth it to whack that Markus Klinko wannabe. We’ve all been there, and we’ve all hated it: being on

set with a photographer who treats his crew (and clients) like shit. So, thank you Darwinian evolution for putting on the endangered species list the abusive, loud-mouthed, obnoxious photographer divas we all dread working with. There’s just not enough room in this competitive market for those who can’t play well with others. Photography is turning into a democracy: the better (and more amicable) you are, the more jobs you get. People are nice, and not just nice but equal (for the most part). For once in a very long time, being on set is not a scary thing. It’s really a surprise these bitter, imbeciles that call themselves photographers were not knocked off the radar sooner. Over the years, art directors have been told their layouts are “shit” and thrown out the window, producers were scolded like two-year olds for not making the sun brighter, and prop stylists were asked to provide “clear dirt” and “sets with no foreground.” And frankly, over the years everyone has gotten sick of being yelled at by these self-proclaimed “Gods.” A photo shoot is stressful-enough, we don’t need the added insult to injury, thank you very much. For many, the honest solution to this may have been to resort to Quaaludes for breakfast and blunts for lunch, just to get through the day. Not anymore; now we band together and say, “Get the fuck off our set.” The photography capital of the world is here, New York City; the center of the photo world and home to some of the biggest names— Steven Klein, Annie Leibovitz, Terry Richardson, Albert Watson, just to name a few. It is no wonder photographers from all corners of the Earth have drifted this way, bright eyed and bushy-tailed, with aspirations to be the next Avedon. But, my advice to the newbies, times have changed and you should go with this new flow. We truly are a new and improved breed of professionals who get along, have real conversations and just don’t act like douchebags.

GOOGLED: MOST EXPENSIVE PHOTOGRAPH The top result was a Wikipedia entry that listed a number of photographs from everyone you’ve heard of before. However, the top entry, Cindy Sherman’s Untitled #96 was sold this past May at Christie’s New York for an impressive $3,890,500. If you want to see the rest of the list, go to:

SHOOTTALK: ”A briefing of the latest news, notes, and nonsense in the photo industry.” Page 23

“Studio, Clients, Money, Marketing and Other Necessary Evils.”


“All the old pornos were shot here, so if the walls could speak, they would moan…” Dogpatch Studios - First FLoor

Behind The Business: DOGPATCH STUDIOS By Kimberly Chun I Photos courtesy of Dogpatch Studios

Behind the greige exterior, Dogpatch Studios in San Francisco is more than an impressive print, film, location, and event space—the spot can

also claim a place in pop culture legend, according to owner Terry Heffernan. Long before the veteran photographer bought the space, back when it went by the name Studio A and was known as the biggest studio in town, the sprawling warehouse was the epicenter of a cinematic sexual revolution, as the notorious Mitchell brothers filmed scenes for the world’s first pornographic feature-length movie, 1972’s Behind the Green Door. “All the old pornos were shot here,” declares Heffernan, while showing off the studios on a sparkling, sunlit, fog-free day. “So if these walls could speak, they would moan.” Since the photographer had his way with the space, those walls have been singing more sophisticated, albeit eclectic, tunes. Heffernan preserved the gorgeous, original weathered-wood 30-foot barrel ceiling over the central 8,500-square-foot first-floor space, while adding retractable skylights, a heavyweight 1800 amp-3 phase power infrastructure and, as Heffernan puts it, “enough Wi-Fi [to power] most small cities.” He worked with architect Michael Guthrie to create three 140- and 2,500-square-foot studios on the second and third floors that boast bamboo flooring and massive windows. The top floor’s 22’ x 15’ glass wall faces north to a deck and jaw-dropping views of the city, the Bay Bridge, and the rapidly-changing China Basin neighborhood anchored by AT&T Park. “We’re standing in my retirement plan,” says Heffernan, who has worked in print and film for more than twenty-five years and has shot everything from food for Minute Maid and Raley’s to historical treasures like Georgia O’Keeffe’s camping gear and collectibles from the National Baseball Hall of Fame’s Major League. At Dogpatch, he’s had seen clients such as Apple, the Gap, and Williams-Sonoma come through to shoot campaigns, and the studio has been home to David LaChapelle, Eric Almas, and Andy Anderson.

$ Tell me about the origins of Dogpatch Studios. I’ve always had a studio. The lease on my first studio in San Francisco in SoMa was up. The son of the landlord came to me and said, “I want to knock this down and build apartments and build retail downstairs, and of course, I want to keep you as a tenant.” I said, “Thanks,” and started looking for space.

Dogpatch Studios:

I came out here—this was Stage A, and it had always been a photofilm studio. I used to rent it when I needed a ground-floor facility. It was probably the biggest space in town at the time. I came to realize that events would be a great way to supplement my income. I’ve not turned any work down because of events or turned any events down because of my photo work—with three spaces and control of my schedule more or less, I can make it happen.

It’s a beautiful space—are those recycled beams on the ceiling? This is the original structure—the barrel roof went all the way to Tennessee Street. This is very normal for buildings that were

built in San Francisco in probably the ‘30s and ‘40s. Most of what gets shot down here is liquid strobe or artificial lighting, but it’s nice to not have to work in a cave. I gutted the building, sandblasted everything, and upgraded the power and the entire infrastructure, [including] all the bathrooms. The only things that are original are the walls and the floor. I literally had to take the ceiling joists off the ceiling to bring it up to current earthquake proofing [standards]. The beauty of this building and the beauty of Dogpatch in and of itself is, if you look around this neighborhood, you’ll see a lot of pre-1906 earthquake structures alive and well, and that’s because we’re on rock.

What was your ultimate goal with the renovation? I wanted a classic north light daylight studio—just for the quality of light and the aesthetics and the simplicity and the north-facing view to the city. I knew if I came up high enough and looked north I was going to get a great view.

What year was the building built?

I don’t know. I do know that one time I saw a guy walking through

my corridor—he was all suited up, an older gentleman—and I said, “Can I help you?” He said, “Yeah, I sold this building; it used to be the Gallo Salame factory. It’s a very unusual building because there’s no support columns in the ground floor.” And I said, “You’re absolutely right.” You can drive in here—Cadillac has launched products here, and we’ve done car shoots.

How did you get into event production? I built this Taj Mahal to photography to service Heffernan Films, because when I’m doing print and film I can fill the building, but there are a lot of days in a week, and there are a lot of weeks in a month, and there are a lot of months in a year. The first party I ever threw here was for my clients when I first [opened the studio]. We were working with Melons Catering, and their account executive came in and said, “What a great event space!” I said, “What do you mean? What does ‘event’ mean?” I’m dumb, but I’m not stupid. People want to shoot here and want to rent the space. They love the space—it’s got good wabi-sabi.

How do clients hear about the studio? I work with APA—they do a lot of events here—so the photo community is certainly aware of the facility. I also work with ASMP as far as hosting their meetings or events. As far as events are concerned, I’ve done several co-ops with various caterers or event planners. We’ve done Friday barbecues—we try to network as much as we can. We’re the anti-hotel here—we tend to draw people who are more creative, who want to have events or weddings that are not cookie-cutter, because, really, an event is no different than a photo or film shoot. You plan for it and have to have the right elements for it, so I don’t think there was a huge learning curve for me. Having a photo and film background and understanding production and what it takes from a blank room to a finished commercial or campaign is no different than having someone like Johnnie Walker here. They’re going to get a clean, empty, well-maintained facility that allows them to have a scotch tasting for six or seven thousand people over an eight- or nine-day period.

BUSINESS: BEHIND THE BUSINESS-”Dogpatch Studios” Page 25


Street photographer Sion Fullana argues that camera phones serve as the perfect tool for what he does. “In the street, if you ask, ‘May I take your portrait?’ to a stranger, it’s less intimidating for you to approach them with a phone—something everyone has and everyone uses— rather than sticking a big lens in someone’s face,” said Fullana, who has also shot with professional equipment, having his work appear in publications such as American Photo and Time Out New York. “Art is self-defined, and if it’s not being commissioned, then the artist decides what art is,” said Mario Estrada, “director of fun” at Synthetic, the company that brought us the popular Hipstamatic app. As the mobile photography medium gains more steam, the proverbial root of all evil comes to mind. Cash. Moolah. The Benjamins. Is there money to be made in iPhoneography? Perhaps, according to Knox Bronson, co-presenter of the gallery exhibit of iPhoneography, Pixels at an Exhibition and webmaster of the submission-driven site of the same name, devoted to mobile snapshots. “It’s gonna happen,” said Bronson, who notes that the website has been selling prints of submitted photos. “There are artists who are clearly going to make some money, as far as I’m concerned… But it’s still bubbling up from the underground.” Evolution is a tricky thing. Sometimes, we find ourselves being resistant to a new trend or a new way of doing things only because we’ve developed a sense of familiarity to the way things already are. Nobody wants to get used to a new way of doing things—it’s a pain in the ass; we don’t have the time for all of that! But we eventually adapt and accept. As technology continues to advance, so will mobile photography. As this new medium gains acceptance, professional photographers and iPhoneographers will find a way to co-exist and continue to perform their respective crafts. Hell, maybe one day, they can get together for a beer.

Life in the Countryside (3) Majorca (Spain), 2011

Life in the Country Side (1). Majorca (Spain), 2011

Sion Fullana:

However, the rise of mobile photography and mobile photo processing has drawn the ire of some professional photographers who feel that it takes away from the time, effort and expertise they invest in their craft. “It’s kind of, in a sense, made everybody a photographer,” said photographer Mitchell Parsons, who’s had his work pop up in places such as The Ellen DeGeneres Show, Elle Canada and VH1. Adding that he felt digital photography in general has had an adverse impact on the photography industry, he noted that the headshot industry has been particularly hit because of people getting their friends to do it. “People are always looking for the cheapest deal, and free is always better,” said Parsons. “It’s taken a lot of business away from people for whom that was their bread and butter.”

On the other hand, from an artistic point of view, Parsons was quick to defend iPhoneography (yes, that’s an actual term now). “For artistic shots, I’ve seen some fantastic images coming out from people who are not even close to being photographers. They never thought about it, they’re just taking pictures with their iPhones.”

Mitchell Parsons:

Oh, the camera phone.

Remember when they first came out and how impressed everyone was with the fact that you could take pictures with a cell phone, ignoring the fact that the pictures themselves pretty much had the quality of a supermarket surveillance camera? Yet, as the years went by, camera phone technology got better and better. Now we’ve got phones with eight-megapixel cameras, built-in flash and even optical zoom. Combine that craziness with the advent of the smartphone, and suddenly you’re able to not only take high-quality photographs, but, with apps like Hipstamatic, Camera+ and Adobe Photoshop Express for iOS, you can also edit and process them on the go. If Alexander Graham Bell were alive today (which would be incredibly freaky because he’d be, like, 200 years old), and saw what became of his telephone, his head would explode.

Pixels at an Exhibition:

By Isaac Lopez I Photos By Sion Fullana

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Dictionary MediaSocioPath: SOCIAL MEDIA DICTIONARY By Jessica Yu

This ever-growing social media landscape can get pretty complicated, so to help you better understand it, we have compiled a social media dictionary for your convenience! But before we start, you should know what social media actually means (if you don’t already):

Social Media This is a term that refers to the use of websites and mobile devices. It allows us to communicate and engage in interactive dialogue through the Internet. This includes Facebook, Twitter, Tumblr, Youtube, and any other website or application you can think of. Put simply, it’s the act of us being socially interactive in the online media world.

Whether you’d like to admit or not, we are living in the generation of social media. We use it, rely on it, breath it, and we love it. Today’s social media has grown so much that every part of it has embedded itself into our soul and some probably even have their own special place in our hearts. Everyone today has a blog, everyone today has a separate online presence that goes well beyond a simple website. With great care to our pages, we try to show our personality thorough these social networks and blogs while also self-promoting our photos and art. There’s no escaping, so why not embrace it?

All Rights Reserved This implies that no one but the original creator can use this content in any way shape or form without written consent from the original creator. It ensures the safety of your work.

Avatar An avatar is your digital representation or username in the virtual world. It is the way you wish to present yourself online. You can think of your profile picture as an avatar. Another example can be your character in World of Warcraft (it’s OK, we know you still secretly play it sometimes). As you know, some links can be extremely long. If you only have a limited amount of space for text, a long link will be impossible to read. is a very useful service that helps shorten URLs so it’s easier to share cool videos or articles with your friends on any social network. To get a shortened

link, go to, paste the original long link into the space provided, and the website does everything for you. The only thing left to do is to copy and paste the now-condensed link into your own text.

Blog At first referred to as a “web log,” a blog is a website where a person basically writes whatever they want. They may wish to discuss current events, photography, art, fashion, news, their own life, and so on. There are blogs about anything you may have an interest in and posts are usually written in an easy-to-read and entertaining format.

Blogger 1. A person who created a blog and maintains it, updating daily or as often as they may wish. 2. A website—owned by Google— that allows you to create a blog. Ex:

Boxee ( If you have a presentation to make, you can’t have people crowded around your little computer screen! Boxee allows users to watch online videos through a TV screen (also useful when you simply want to watch the latest Bollywood hit).

Chat This is simple. A chat is any type of communication with a person over the Internet (i.e.: via AIM, iChat, Facebook, or Skype chat, etc...). These chats are in effect one-on-one written conversations.

original content for use by others as long as the user gives credit to the artist according to the artist’s specifications. It’s an efficient way to make sure your work gets credited for and is not stolen.

Cookie Cookies are both extremely important to some social media sites as well as dangerous. A cookie is a snippet of information that is tucked away in a memory file on your computer. It remembers little things such as you checking the little box that keeps you logged in to Facebook. Every time you go on Facebook, that specific cookie will be triggered and will automatically redirect you to your Facebook news feed. Cookies can be dangerous because it makes us lazy. We tend to let our little memory cookies do all the brainwork, expecting them to remember everything we tell them to. What happens if a cookie was deleted by accident? You end up spending hours trying to remember your password. Not fun.

Delicious (] This has nothing to do with food. Delicious is a free online bookmarking service. It allows you to save websites you find interesting

Comment This should be an obvious one; a comment is your opinion on a particular subject. Comments and the ensuing dialogue are the driving force behind social media. For the most part, we post things online for three reasons: 1) to secretly boast and find a subtle (but not really subtle) way to be pompous jerks who are fishing for compliments, 2) to ask for feedback and actual advice, or 3) to vent our frustration and anger (be careful there).

Creative Commons License Creative Commons License falls between the traditional “all rights reserved” copyright and the public domain “no rights reserved” copyright. Creative Commons allows the creator to distribute

and share them with other people. Anyone with an Internet connection may access all your yummy and delightful saved websites.

Digg ( This social news website lets you find, read, and vote on the articles you “digg” the most. The articles with the most votes appear on the site homepage, purposefully driving traffic to the original site.

Direct Message A direct message is a message sent directly from one Twitter user to another Twitter user over the Twitter network. This is a conversation seen only by these two people or organizations.

Embed Embedding allows you to include content such as a video or photo on a social networking site or blog to share with others without having to go to the original source and away from your web page.

Facebook (] We’re all familiar with Facebook and the corruptive and timekilling influence it has had on us. The social networking site has a mind-numbing effect on millions of users as people check it compulsively, at every hour of the day! Despite how easily addicting and distracting games and stalking people are, Facebook is also a great way to keep in touch with friends, get re-acquainted with old friends and stay socially active and up-to-date on all your interests.

Flashmob A flashmob is a group of people acting or performing in public for entertainment purposes or to bring awareness to a particular cause. After the event is over (often in a matter of minutes), participants go their separate ways and disappear as quickly as they had appeared! The planning for these gatherings is usually managed through social media forums, such as Facebook Events invitations, Tweets, viral emails, and others.

Flickr ( Flickr is another social network where users share their photos online. It can be a useful tool for artists and photographers to self-promote and share the work they’re most proud of. Users can get feedback and link their Flickr page to their Facebook and Twitter accounts to increase exposure.

Forum A forum is a part of any website where people communicate and throw around ideas, ask questions, and provide answers. It is a message board of online discussions about anything you are curious about or interested in. The options and opinions are endless!

Google + The jury is still out on whether or not this is the new Facebook. A lot of people welcomed the alternative but enthusiasm quickly cooled off when it became clear it will take a while for Google + to really get enough members to make it a relevant social network that can compete with Facebook.

Google Analytics Is a free service and a great tool to better refine and keep track of the traffic on your website. Google Analytics analyzes your site traffic, telling you who saw what, when they saw it, where they live, how long they spent on your page, what they had for breakfast, and when to expect their next bowel movement… Well, not all those things, but it is the industry standard when it comes to measuring web traffic.

Hashtag A hashtag is used when tweeting; it is a way of categorizing what you are saying and connecting with likeminded people. To create a hashtag, place the number sign (#) in front of your phrase, thus tagging it. These clickable tags will bring you to other tweets with the same or similar hashtags. For example, if you put #photography, it will bring you to other photography-related tweets and people who are interested in or have tweeted about it.

BUSINESS: MEDIASOCIOPATH-”Social Media Dictionary” Page 29

MediaSocioPath: SOCIAL MEDIA DICTIONARY Hootsuite ( Hootsuite is a social media management tool. The website offers a dashboard that covers all your social networks’ information and activity. With Hootsuite, you can see your tweets, timeline, and mentions all on one page. The website also allows you to preschedule tweets and posts and to manage your Facebook as well as any other networks you have.

HTML HTML stands for hypertext markup language. It is the basic programming language used to build web pages. HTML provides you the content with the structure to create your own webpage.

Hyperlink When clicked on, a hyperlink brings you directly to another document or the relevant document you were interested in. The hypertext is the text containing the hyperlink.

and live video feed onto the Internet. Kyte users have the options to produce, distribute, engage, analyze, and monetize the videos they upload.

“Like” With just a click of a button, your Facebook friends will know your approval of their status, comment or whatever else they may have posted. “Liking” something is a quick and easy way of commenting without actually writing anything. Many users abuse the “Like” button, which has become just another one of Facebook’s addicting little features.

Instant Messaging

Kyte ( An interactive video experience, Kyte is an online and mobile video application where users can host videos and stream both recorded

Myspace ( A once-incredibly popular social network, which pretty much died

This is mainly a professional social networking site (key word here is professional—no vacation photo or update about your on/ off relationship, please). LinkedIn connects you with people in different fields and companies while allowing users to create recommendations and make business and industry relevant connections. Users profiles include their job and experiences, along with updates on their professional career.

Lurker Such a funny word! A lurker is a person who reads every single discussion board, everything on a newsgroup and forum, but rarely ever participates in discussions. A lurker can also be categorized as a creeper… or potential stalker?... Just kidding! You guys are great!

Mention A mention is a Tweeting technique used when replying to a fellow Tweeter, directly talking to said

multiple episodes from a single source on various subjects. It was the popularity of Apple’s iPod that brought us the term “podcast” as many iPod users found non-streaming downloads to be an ever-increasing and reliable source for information on the web.

Public Domain A public domain license allows anyone to use, copy or distribute the creator’s work.

Quantcast Quantcast is a media measurement and web analytics service that allows its users to view audience statistics for millions of websites. Based on usage in the USA, Quantcast is voluntarily inserted into a user’s website via HTML code and then analyzes data of the people viewing your site.

Link Building As a website owner, you want your site to prosper, i.e. you want people to stumble onto your page, see your work, love it, and actively search for it. Link Building is the process of developing strategies to have other sites produce a link bringing them to your own site.

LinkedIn (

Similar to chat, instant messaging allows you to communicate with two or more people instantly in real time. With IM applications such as AIM, iChat, and Skype, users have the option to talk through text, live voice, or video chat.

Tweeter, or when you are saying something that is relevant to that person. It is a way of immediately mentioning the person you are Tweeting about. To create a mention, you place the “@” sign before the person’s Twitter name. Ex: @ ResourceMag

when Facebook took off—unless, of course, you’re promoting your band or escort service. Then MySpace is right up your alley.

News Reader (RSS) A News Reader is basically a fast and efficient way to gain information. It allows you to accumulate articles and other information conveniently in one place using RSS feeds with a program called an aggregator. Your Facebook newsfeed can be an example of a News Reader as it contains all your friends’ information on one page.

Permalink To put it simply, a permalink is the link to a specific post on a blog or website. The article or post you want people to see is the link you will share!

Podcast A Podcast, also referred to as a webcast or netcast, is a nonstreaming download of an audio or video file from the web. Usually distributed through web syndication, these files often involve

Reddit ( Similar to Digg, Reddit is another social news website with various genres of articles to read and share within its community.

Search Engine Optimization (SEO) The higher your page appears on search results, the more traffic and visitors it will attract, which is a good thing when you are trying to garner a little attention for that new doodad you invented and are trying to sell it to the world. Search Engine Optimization is an Internet marketing strategy and it is the process of enhancing the volume and traffic to your website.

Slideshare (


Slideshare is another online social network, which allows you to share presentations, slideshows, and other documents. Members of Slideshare can “favorite” presentations and insert their favorite presentations on their social networks to share.

Technorati is a real time search engine for user-created content on the web, including blogs. Technorati has become the standard by which most users on the web measure the popularity and success of blogs. It has become a definitive benchmark to follow what web users are talking about. Currently, indexes over a million blogs (will be more by the time you read this).

Skype ( Skype is one of many Instant Messaging applications where you can talk to your friends through text, audio, or video chat. With Skype, no matter where your friend lives (two blocks away or on another continent), you both have the ability to talk and see each other thanks to the magic of the Internet and your computer (or mobile device).

TweetDeck ( A TweetDeck is an application that helps to manage all your social networks at once. It is similar to Hootsuite, except it is downloaded and not accessible via a website.

TweetUp A TweetUp is a gathering of Twitter users joined by a common interest or cause, or who just want to network and interact face to face. Such meetings are often planned via Twitter itself or other social media outlets.

Twitter (

StumbleUpon ( If you’re looking to waste several hours in a day and reasons to procrastinate, this addictive website is here to help. StumbleUpon searches the web for things based on your interests. It roams across the Internet and unearths cool new information, new websites, and new articles for your viewing pleasure.

Tag Cloud A tag cloud consists of tags that tell you the contents of a particular website or blog. Tag clouds are used to describe what the website consists of and where you can find it. By clicking on a tag cloud, you will be redirected to the relevant pages.

Twitter is a website/ mobile application that allows its users to update 140-character-long messages or statuses. As a Tweeter, you can follow friends, celebrities, businesses, and many more. Anyone can post updates about new events, share websites, and communicate with others. Some journalists even use Twitter to update their followers during live events.

Twitter Search This is the search engine on Twitter that allows you to search up any Tweets, other Twitter users, and many other things on Twitter in real time. The searches are constantly being updated.

Tumblr (

short, you can share everything you love, hate or have an opinion on with the rest of the world. Whether or not they follow your blog is up to them.

UStream ( Ustream is a live interactive broadcast platform where users can stream online videos at anytime with the convenience of the Internet.

Widget A widget is essentially a small and nearly insignificant application that can be used within a webpage to help get the bigger picture across. Widgets appear as on-screen tools. The little icons on your iPhone that represent applications are widgets.

Viddler ( A popular video sharing site, Viddler lets you upload videos, stream other online videos, and can help you build your brand. They make sure your videos show properly and are fit for any device or new technology.

Vimeo ( Another popular video sharing website. Users upload their own videos, have them hosted and shared online for other viewers. Vimeo videos are considered more creative and artistic than what you can find on average on the web; a lot of professional photographers and videographers post their work there.

Web Analytics This is the standard by which we collect and measure data for analysis on web usage. Analytics help website creators understand their visitors and in turn, optimizes the website for a better user experience. Analytics are also a powerful tool used by businesses to do market research, help analyze the success of advertising, and promotional campaigns.

Wikipedia ( Wikipedia is an online encyclopedia that anyone can edit. The website allows you to easily create and edit all types of interlinked web pages through your web browser. While useful in nature, the ability for anyone to add information on a given subject makes it a fact checkers nightmare.

WordPress WordPress helps you create and manage your blog. It contains easy-to-use blogging tools so that you can simply and clearly post and share your knowledge on your webpage. WordPress helps you set your blog using a simple format.

YouTube ( YouTube is the largest video sharing website in the world. People can upload and view videos of just about anything. Some YouTube users will post videos from concerts, random happenings in their daily life, hilarious events and, all too often, cute kittens and laughing babies.

Tumblr is a free blogging service that lets its users share their content. Tumblr users can post pictures, music, videos, writing, quotes, links to other work—in

BUSINESS: MEDIASOCIOPATH-”Social Media Dictionary” Page 31

You Are Here: PORTLAND, OR By Jonny Davenport

Welcome to PDX

. Land of strong beers, good coffee, a plethora of strip clubs and rain. We may not be the center of the fashion world or have paparazzi stalking us on every corner, but we’ve got a style of our own. Beyond the bottom of the cup, empty pint glasses and well-worn dollar bills, we’ve got world-class creative talents in this city we call home. Look over on Belmont and you’ll find the action-sports mecca and creative think-tank agency, Nemo Design, co-founded by Trevor Graves, one of the original snowboard photographers who turned the world onto the sport. The super cool Perfect Photo Suite software you’ve been using to streamline your workflow and make those mural-sized prints—engineered right here in the studios of onOne Software. That Old Spice

commercial you couldn’t stop watching because you kept looking at your man then back at YouTube—birthed at Wieden+Kennedy in the Pearl. Shit, SNL funny man Fred Armisen is making the rest of the world laugh at us based on our forward-thinking culture. But chances are you won’t see any of us in the show—we’re busy working. Planning shoots. Hiring talent. Building sets. Renting gear. Working on post-production. You now find yourself here for work. What comes next? Read on to find talents and must do’s while you are here. Look these people up. Make connections. And enjoy a homegrown Portland IPA.


These are some of the local peeps who can envision, concept, create and deliver. These are working pros in our photo community who pay their bills by making others and their clients look good. Whether they are rigging your sets, styling your threads or lighting your way, these are the people who make it all happen. And I’ve got nothing but mad respect for them.


Lincoln Barbour Andy Batt Christy Chaloux David Emmite Jim Golden Susan Seubert


Jeremy Kelty Matt H. King Caleb Plowman


Chris Low Jeff T. Smith The kingpin of photo and video assistants. Justin Tunis Patrick Wheaton


Michelle Boucher Michele Greco Heather Hanrahan Kari Rowe Producer/ Photographer RESOURCEMAGONLINE


Casey Boyd Allison Jones Todd Templeman

EQUIPMENT RENTALS: Clutch Camera Gearhead Grip and Electric Pro Photo Supply


Cine Rent West Picture This Sandbox Studio


Blue Moon Camera and Machine Pro Photo Supply


Revolution Imaging and Design


Blue Sky Gallery Bridgeport Brewery Newspace Center for Photography Screen Door Restaurant onOne Software Powell’s Books


From where to get a new camera to where to go for the wrap diner party, Portland has much to offer.

Blue Sky Gallery: Portland’s longest running photo co-op gallery, Blue Sky offers monthly photo exhibits that bring new talents as well as established ones to their home in the North Park Blocks. Dedicated to exhibiting photography for over thirty-five years.

Blue Moon Camera: It’s not just any day when you can go into a camera store and see an 8x10 Gowlandflex or vintage Rolleiflex Bay-3 close-up filters. Jake and his crew deliver classic, vintage film cameras and process both C-41/R-A4 and B&W. (I scored an amazing collection of

‘80s mag American Photographer here amongst other cool odds ‘n’ ends.)

Clutch Camera: Looking for a sprinter loaded chock full of C-Stands? A fleet of Bron packs and a Phase back? Clutch has you covered. Justin and Greg threw up the C-flag four years ago and have quickly established their rental house as the choice for pros.

Newspace Center for Photography: This non-profit shares its love for photography through its workshops, gallery and learning facilities.

Powell’s Books: Photography Section (4th floor)

Powell’s is the largest independent bookstore in the country, and boasts one of the most comprehensive photography book selections. First editions and collectibles can be found in the rare book room. Whatever you may be seeking out, bypass the chain stores and step into the pillar to which other bookstores strive.

Pro Photo Supply: You’ve just landed and found out the case of Fuji-roid you had shipped isn’t at the business center of your hotel and has now gone MIA. There’s only one place to call and it’s Pro Photo Supply. Ask for Rob Layman; he runs the professional account side of the biz. Cameras? Film? Inkjet supplies? Computers? Rental? They stock it all. They’ve got more Canon and Nikon gear than any other house

in town. And of course, Profoto is the house brand in rental.

Screen Door Restaurant; When a big-name photog comes into town, we go here. I guarantee you’ll be saying, “This is the best fried chicken I have ever had in my life!” The praline-bacon for brunch will slay your taste buds into a newfound heaven. Plan on waiting, but you’ll be a better person after consuming their fresh and organic fares.

great photographers have great teams.

© 2005 DC Chavez

Find your team at

Chapters: atlanta Charlotte, nC ColoraDo los angeles MiDwest new York northwest san Diego san FranCisCo washington, DC

Client File: VICTORIA’S SECRET AND BEYOND By Lewis Van Arnam I Photo courtesy of Larry Lobaugh

RESTRICTED INFORMATION CLIENT NAME: Larry Lobaugh POSITION: Creative Director / Art Director / Photo Art Director / Editor CLAIM TO FAME: Former Victoria’’s Secret Creative Director YEARS IN THE BUSINESS: 28 LOOKING FOR IN A PHOTOGRAPHER: Innovative, forward thinking and driven, no matter age or experience. These are the photographers I look to work with. DEAL BREAKER FOR HIRING: Lack of vision, dedication. FINDS PHOTOGRAPHERS IN: Blogs, magazines, but most potent, word of mouth. CHARGED WITH:

You might say that Larry and Victoria’s Secret grew up together, as they shared mutually formative years. But the lingerie juggernaut wasn’t the first job for this Ohio kid. By the time VS came calling, Larry had already seven years of luxury brand experience at Saks Fifth Avenue, along with a couple of highly successful freelance stints. Although he always had New York in his crosshairs, his journey started at the Art Institute of Pittsburgh, which led him to a graphic design position in Chicago. The ambition was evident, but how does one get to New York? How about arriving to attend a memorial for John Lennon and never leaving? It sounds unbelievable, but it’s true. Hit NYC, meet the right people, find the path to golden opportunities, and most of all… deliver! We must never lose sight of the fact that serendipity can present an open door, but ultimately one must have the talent and vision to walk through it. Larry ran through every door, hurdled every obstacle, and continues running to this day. Larry invested sixteen years of his life in Victoria’s Secret. Forget the internal politics of a mega-corporation with $5 billion in annual sales. Forget the pressure from within to produce the next success that tops the last. Larry’s biggest challenge was managing superstar talent and the ego cocktail that comes with mixing A+-listers. Assembling just the right team and getting the best from all was his specialty, and the results are a matter of public record. But VS not only hired superstars, it created them. At a time when supermodels were giving way to Hollywood celebrities, VS took a lead role in

Larry Lobaugh: Lewis Van Arnam:

This is a story about living your dream. Larry Lobaugh was a skinny high school kid in Niles, Ohio, when he discovered his propensity for the arts. Following a path steeped in happenstance and good fortune—as we have become accustomed to seeing in so many success stories throughout our industry—he became the Creative Director for one of the most successful brands in history: Victoria’s Secret. David Byrne’s ever-applicable lyrics may come to mind, “And you may ask yourself: how did I get here?”

MISSION: Hit NYC, meet the right people, find the path to golden opportunities, and most of all… deliver! discovering the next super looks. Larry was there, and although he didn’t do any of it alone, his influences were present and potent. Victoria’s Secret started in 1977 in San Francisco as a unique concept store by entrepreneur Roy Raymond. He envisioned an environment where a man could buy lingerie for his wife or girlfriend, in unassuming comfort. Obviously, the idea had caught on by the time The Limited purchased the brand—including six stores and a forty-two pages catalog—in 1982. As the exposure widened, so did the appeal. If the merchandise resonated with men, women were sure going to purchase it! By the early ‘90s, when Larry arrived, the brand was beginning to explode.

But the early years were lean, by Larry’s account. The staff was minimal and he often found himself in faraway places with little or no support. Those experiences and the learning curve that accompanied them were truly special. In hindsight, Larry knows this was the training ground that laid the cornerstone of his tenure at VS. The transitions were quick though, and the mega-brand was soon in full swing. Supermodels with seven-digit contracts, world-class photographers, trips to exotic corners of the globe (OK, I know globes don’t have corners…)—all to create iconic campaigns. Larry had the proverbial tiger by the tail. In 1995 VS began producing

its own fashion shows, which successfully ramped up the hype. The sudden exposure of a live event and the television coverage that followed gave an added dimension to the already-famous VS models. Given the chance to walk, act and speak, they catapulted off the printed page and achieved celebrity status. Continued success at VS over the next twelve years brought new lines, and expanded merchandising as the mother brand gave birth to a family of spin offs. Swimwear, sleepwear, eveningwear, fragrance, cosmetics, Pink, the Angels, etc… all combined to create exponential growth, taking the company to dizzying heights. Larry was rockin’ and rollin’ with

seemingly no end in sight, when 2008 happened. Wall Street’s greed finally managed to flush our economy down the monetary toilet. Even though the love affair ended in 2009, Larry’s legacy has been set. He is proud that VS is still strong and of all he accomplished there. He had a wild ride on a corporate juggernaut, but in a snap he is a freelancer again, echoing his arrival from his small Ohio hometown. But there’s no Groundhog Day redundancy in this story. Larry has assembled a new studio where he is developing his own brand, built on fresh thinking, his vast experience and, best of all, no restrictions. As he aptly points out, the operative word in freelance is “free.”

Words and Photo by Sam Cornwall

Going downtown

for a shoot is standard for New York photographers, but 16 Beaver Studio beckons you past your regular haunts. Head past Chelsea, past SoHo, past Chinatown and Wall Street, all the way down to Bowling Green. One block over from the Charging Bull statue, you’ll find 16 Beaver Studio on the top floor of an old building in the Financial District, a lone creative island amid a sea of finance.

The 1,800 square foot studio faces north and west and boasts of two large skylights. The new wood flooring and sparse furniture highlight the open space layout. The full kitchen is set for food shoots or event caterers. The cyc, lovingly built by your three hosts, is 15’x15’, and daylight or blackout ready.

of love. They opened for business unofficially last fall and their early shoots, including TV commercials, went off without a hitch. Although most of the construction was complete by then, there was still no cyc. After a little research, the boys decided to simply build it themselves.

Berry, Peter and Tim all hail form Hamburg in Germany. While they had never met back home, they eventually crossed paths in New York. Sometime after 9/11, they joined an artist collective that met on the fourth floor of 16 Beaver St. The draw of cheap rent and the camaraderie of like-minded artists kept them involved until last year when the sixth floor freed up and they decided to open their own space.

They are now officially open and welcoming both still and video shoots (with plans to include music shows!). They are centrally located to any downtown location you may want to shoot at. Need a studio environment for the first shot and then the Statue of Liberty in the background for the second set up? They’ll accommodate that. Shooting Wall Street III- Gekko’s Revenge with a crew fifty deep and need a base camp to work out off? They’ll help you with that too.

After months of negotiations with the landlord, they started demolition. They did most of the construction themselves inbetween their shooting schedules —making 16 Beaver a true labor

When you stop by and check out the scene (and space), be sure to snap an Instagram of that bull, otherwise, no one will believe that you found the next hot photo collective in the Financial District.

16 Beaver Studio:

As you step out of the elevator, you are greeted by conversations covering a wide variety of topics—and a few languages. The founders, Berry Behrendt, Peter Lueders and Tim Petersen, all photographers, made good on their intentions—16 Beaver isn’t so much a studio, as it is a gathering place for photographers, artists and musicians. A buzz of activity centers around the office where numerous friends, old and new, are constantly coming and going. In fact, Tim says visitors are so frequent that he prefers to work from home when under tight deadlines!

A photo studio thrives in Wall Street’s shadow.

Sam Cornwall: www.samcornwall

Development: 16 BEAVER STUDIO






DALLAS We re talking about renting cameras, lighting, grip, and studio space for still and motion productions. When you re on assignment in the heart of the country it s reassuring to know that there s a place you can turn to for reliable equipment and studio space. ProGear in Chicago and Bolt Productions in Dallas offer a full selection of the finest photographic still and DSLR video equipment, technical support, and studio rental space. Whether you re shooting in those cities or anywhere else between the Rockies and the Smokies, the Great Lakes and the Gulf of Mexico, ProGear and Bolt Productions have teamed up to ensure that your shoot goes smoothly. We have what you need and will get it to you on time, every time. | 214.234.8423 1346 Chemical St. Dallas, TX 75207 | 312.376.3770 1740 W. Carroll Ave. Chicago, IL 60612

Still & Motion Equipment Rentals, Studio Rentals, Sales, and Tech Services

Breaking In: KRIS GRAVES By Aimee Baldridge I Photo by Kris Graves

“Just fill your day with things to do. Don’t waste any time.” -Kris Graves In this economy, you might think a person would have to be some kind of superhero to open a successful photography gallery as a young newcomer to the New York art world. And you’d probably be right. We asked twenty-eight-year-old Kris Graves, collections photographer at New York City’s Guggenheim Museum by day and co-owner of +Kris Graves Projects gallery by night, how he accomplished this amazing feat.

Gallerist and Photographer Kris Graves

How did you get started in photography? I started photographing in high school, around 11th grade. I went to SUNY Purchase—a State University of New York—in 2000 and graduated in 2004. I received a Bachelor of Fine Arts in Visual Arts. I went back to Long Island, where I’m from, and started working for my dad’s manufacturing company. I decided to start a website during that time named, which was an online gallery of about thirty-five photographers and artists, people I’d known from Purchase and after Purchase.

Kris Graves:,

After about two years, I started to organize some group shows in Chelsea. I had in total six group shows that lasted two or three weeks, each with fifteen to twenty artists, featuring a lot of photography-based art. I did a few shows in Queens and I did ten group shows in ten weeks at a little café in Harlem around Christmas of 2006. During all this, I worked in a studio in Chelsea that photographed artwork. In the fall of 2009, I was talking to my cousin, Gravelle Pierre, who now runs the gallery with me. He wanted an office space and I wanted a gallery space, but I didn’t have enough money. He said he could have an office in the back of the space, so we opened a little gallery in Brooklyn. We’ve had it for two years. It’s done well, we’ve had a nice time, and we’re hoping to move to Chelsea this year.

What was the impetus for putting together all of those shows, before you even opened a gallery? Just keeping people together, and keeping people working. If people knew I was having a show, they would continue to make work. There was no other reason. It wasn’t for money or anything.

You wear a lot of different hats. What is your typical day like? I work 9 to 5 at the Guggenheim— sometimes more, sometimes slightly less. I photograph artwork

for publications and anyone who needs it. I also shoot for special projects and events. I shoot store items. Anything they need, I shoot. Then I spend time on my computer at home, maybe four to six hours every day, working with artists or talking to collectors. I don’t handle the money—my business partner handles all the finances— I just worry about my artists and the collectors. A few days a week I’m usually at galleries, either for openings or just to see things. I’m at museums probably once a month. I look at old work of mine almost every day, just thinking about ideas. I have a few blogs and I also run the blog for the gallery, for which I have about five other writers as well.

I have a lot of vacation days, so I travel a lot. That’s when I do my own photography; I usually don’t shoot in New York.

It doesn’t seem like you opened your gallery during an ideal time, in terms of the economy. Were finances not much of a consideration? We didn’t spend much of our own money on the first shows that we did. We opened the gallery about a month and a half after the economy crashed. Gravelle was going to have an office whether or not we had a gallery, and he knew an office would cost as much as a gallery would. We thought it was a good time to open because galleries were very cheap to rent.

Did you get any particularly good advice when you were getting started? “Don’t open a gallery.” That was good advice. I think that’s probably the advice I’d give people who want to open a gallery now. I’d tell

them it’s probably not a good idea. Having collectors before you open a gallery is a good idea. If you open a gallery without a collector base, you’re probably going to close. Unless you have hundreds of thousands of dollars to make your gallery important instantly, you’re going to spend three or four years losing money. Then, you may only break even after that. Don’t spend too much money, keep your costs down, and have fun. I think showing what you want to show is important. I hope that whoever wants to do this has an eye for it or has an idea about what they want to show, and that they can communicate their idea to the public, and hopefully the public responds.

Stop sleeping. I think people sleep a lot and it’s totally worthless. Sleep on weekends, and maybe five or six hours a night on weekdays. Just fill your day with things to do. Don’t waste any time.

Did you have a collector base before you opened the gallery? There are people who open galleries and have worked in the art world for twenty or thirty years, so they already have a client base. We didn’t have that so we just started from scratch getting clients. We had great shows and people wanted to buy the work. We didn’t really publicize the shows that much, but we got reviews here and there. Our artists aren’t super well known, but they’re known enough that we have some people at the openings who tell other good people about future openings. You just really try to have the best show possible and hopefully get lucky.

What are your collectors like? They’re young. We have new collectors—our price range is not for the super-collector type. Our collectors are not people who are going to Sotheby’s or Christie’s auctions. Our collectors are people who have day jobs and work. They’re normal people who love art.

Why do you do all this? What do you love about it that drives you to do it? I wish I knew why I like to torture myself. I could just do my day job, go home and do nothing, or focus on my own photography. I can’t tell you why I think about other people’s work. But I do care about the people I represent. I want them to live on past their death. I would love to be collected in museums and have my artists be collected in museums. That’s kind of why I do it, for the longevity of art. I love art. I love seeing new shit. So that’s probably what I love about all of it. I don’t deal with artists whose work I don’t like, so I’m always seeing beautiful art that I like. It makes me better. It makes me think about art—and my own art—so it’s a great thing.

The “Breaking In” series asks successful young professionals in photo-related fields about what it took to get into their line of work, what it’s like to make a living doing what they do, and how they made the transition from student days to working life. You can find more “Breaking In” articles and a wealth of other resources for photography students, educators, and emerging pros at


BUSINESS: BREAKING IN-”Kris Graves” Page 39














- all images must go to the bleed - no text should go past the margin

A Dedicated Digital Cinema Department Comes to Adorama Rental Company—a Q&A By Sophia Betz I Photos by Adam Sherwin While photography and filmmaking are and always will be two very different beasts, the rapidly growing overlap between still shooters and videographers is undeniable. The rise of the HDSLR and the narrowing gap between still and video technologies have not only expanded our ability to create, but also placed sometimes-daunting expectations on our technical prowess.

Resource got to sit down with digital cinema specialist Daniel Gurzi, ARC’s new Director of Digital Cinema. We asked Daniel how ARC is working to bring photographers and videographers the highest quality equipment, expertise and individual attention to help them use today’s video technology to its fullest potential. Because as we all know, even the best equipment is only as good as the photographer on the other side.



Digital camera with an Angenieux Optimo 15-40 T2.8 zoom lens with Arri mattebox and follow focus. Up top is a TV Logic 5.6” monitor. The camera is rigged to send out a 1080/23.98PsF signal to an AJA Ki Pro Mini for 10-bit 4:2:2 recording in ProRes to CF cards.

“Products, gear, reviews, demos, and


cutting edge techno geek love.”




“I feel that anybody can use this cinema gear. 5D users, 7D users, stills people, film people— it’s an easy transition.”

We’re jumping right into RED, Arri and an array of lenses and accessories to match. We’re getting the services and calibration gear to prep everything the right way. At the end of the day, every box we open here is like Christmas; we get a new lens, we get a new camera—the excitement is felt in all the departments and we try to pass that on to our clients.

A lot of the time, people just want to play with the gear; not everybody who walks through the door is going to be a top-level videographer who knows how to deal with this equipment. Are you going to provide training? We’re shifting things around to make room for this new line of products. It’s a different way of thinking. Our phone operators and managers are being retrained to handle this new department. The entire way we prep jobs is being changed. When stills shooters come in, they usually grab a camera, put a lens on, take a shot, and they’re out the door. Digital cinema guys on the other hand are here six hours prepping every single piece of equipment. So, it’s

I think everyone in New York knows that Adorama has limited checkout space. How are you going to handle this? The space is a major issue here. From the first day I walked in, I said, “The elevator’s not even big enough to take out an Alexa package in one trip!” We’ve been putting a lot of thought into this. We’re expanding our checkout space as much as possible. I’m really pushing for an adequate client prep space because I know how important it is. Ultimately, we’re going to redesign the space based on what customers need and on what we need in order to correctly prep the gear and keep the quality control high.

I think this is a long time coming. I feel that anybody can use this stuff. 5D users, 7D users, stills people, film people—it’s an easy transition. The workflows are so simple now that in an afternoon we can teach you how to use everything. We can show you the benefits of using a big package, a big rig, how to put it on your shoulder and how to use it on a tripod. We can show you how to slim it down if you’re just going to shoot it on your arm and cradle it. If you’re doing crash cams or little car shots, it might be better to use a 5D. But if you have a studio setup, let’s see what a RED looks like—let’s go big.

But just because you guys have the equipment, it doesn’t mean people should sell their 5D Mark II and rent a RED. These large cameras aren’t right for every situation. I’m of the belief that no one camera is better than another camera. Every camera has its own set of pros and cons. We’re seeing TV shows and feature films shot with 5D’s and 7D’s and they look stunning. I’ve also seen amazing work done on the RED and Alexa. There are benefits to those cameras when you’re using multiple cameras or different kinds of lighting scenarios. If you’re comfortable shooting with what you’re shooting with now, there’s no need to rush into any of this. We’re still gearing up ourselves. We need some time, you need some time, but we can all start the process here and now. We can start by answering your questions. The expertise is here and we’re ready to share it with you.


Digital Cinema 4K camera with a Zeiss Compact Prime 2 and an Arri Mattebox. This rental package includes a Red Monitor, EVF, and SSD drives for Red Raw recording.

Adam Sherwin:

Tell us a little bit about the gear and some of the services you offer.

Do you feel like this shift to motion is a continued trend in the industry, that this is something we’re going to see grow more and more? Is this something that we as photographers and as lowerend HDSLR users need to move to?


Adorama has been in the rental game for years, renting all types of still photography and video gear. However, the desire from our clients is for us to go bigger. In response, we’re bringing a ton of experience—through myself and others—to get Adorama Rentals more in touch with the film industry and to manage cameras our clients want to do big picture stuff with—TV shows, documentaries, feature films, and potentially 3D as well.

a shift. We’re really thinking about this entire department with a new frame of mind. It’s everything, from going into post services so that we can bring those people in on workflows before you leave, to having camera experts answer, “What do these buttons do, how do I set up the user interface, how do I use this camera?” We’re going to give you as much expertise as we can to prep the camera, and teach you how to use it and get a quality, finished piece. Anything we don’t know, we’re going to find out for you and we’re going to know before you leave.


Tell us a little bit about your position and what it means to Adorama.

Your Vision “Apricot” by Ben Briand


By Matt Borkowski and Adam Sherwin

SIX LITTLE PLEASURES FOR YOUR POCKET: For Under $100 dollars “...and they say little fish can’t swim in this big fish world.” -anonymous



For those in need of a tripod, fork, knife, spatula, and unicycle all at once, this little gadget is a must-have for your toolbox (OK, that description might be a bit of an exaggeration, but not by much). According to Gerber, the Steady Multi-Tool will feature a pair of legs and a tripod screw, in addition to the standard knife, bottle opener, and other accoutrements that come stock with their current line of multi-tools. Look for this product to hit shelves sometime next year for an expected price of $65.


Expected Price $65.00



Have you ever tried capturing a tumultuous moment on your iPhone or Android’s video camera, only to realize upon reviewing it, that the video looks like it was shot by a two-year-old? Here’s your saving grace (and also possibly your most “geeked out” accessory for your smartphone). The folks at Glidecam bring you their latest creation, the iMount. Designed to be used in conjunction with their current line of hand-held stabilizers, the iMount allows you to pull off some pretty slick shots, all the while maintaining the balance and focus of your smartphone’s camera. According to Glidecam’s press release, the iMount/ HD-1000 combination works so well that you’ll be able to create “... incredibly smooth and graceful shots even while going to extremes like running up and down stairs or traveling over rugged terrain.” At a reasonable price of $49 (mount only), this is a cool buy for yourself or for that smartphone addict in your life. Expected Price: $49.00




As any iPhone 4’s user can tell you, one of the device’s best features is its five-megapixel camera. With the amount of third-party applications geared toward photography and video enthusiasts alike, it was only a matter of time before a lens kit (of sorts) would be released. Now, you can purchase the OlloClip, which adds fisheye, macro, and super-wide angle lenses to the iPhone’s built-in prime. By simply attaching the snug fitting housing onto the corner of your iPhone 4, you’ve immediately got access to an interchangeable lens mount. Changing lenses is as easy as unscrewing them from the housing, and the resulting photos are, in our opinion, shockingly good. The perspective and focal length change a bit while using the video recording application, so it might take a while to properly compensate for using the OlloClip while filming, but don’t let it deter you. The video results are just as good as their photo counterparts. $69.95


For Under $1500 dollars 4.

6. 5.

Price $699.99

The Sony Alpha NEX-7 may not be on shelves yet but photo enthusiasts all over the world are patiently awaiting it’s much publicized release, which is now looking like some time in November. This mirrorless camera with interchangeable lenses has the capabilities of a larger HDSLR camera in a smaller, travel friendly, package. With the same 24MP APS-C CMOS sensor and 2.4 dot OLED EVF as the recently announced Sony A77 flagship HDSLR. The NEX7 features a magnesium alloy body that shoots 1080p60 video with an expanded NEX interface and controls, ISO ranges from 100-16000 and includes built in flash and hot shoe. Body Only – $1199.99 w. 18-55mm lens $1349.99



Olympus recently announced a new addition to the PEN Micro Four Thirds family, the PEN E-PL3. This camera is the newest introduction to their “lite” line of digital compacts and the little brother of the more robust PEN E-P3. Checking out at $200 less than its’ big brother, the E-PL3 comes standard with the same 14-42 MM f3.5/5.6 kit lens, 3” touch screen display and an external, tilt-able flash. With a 12.3-megapixel Live MOS Image Sensor, an ISO range of 200- 12,800 and a reengineered autofocus system the The E-PL3 also captures 1080i60 video complete with Dolby Digital sound recording. The E-PL3 is a great camera for enthusiasts or pros looking for a new point and shoot.





At first glance the Pico Flex Table Dolly looks like a recycled inline skate. Upon further inspection, you’ll find a refined piece of equipment suitable for raising the level of production for any HDSLR, point-and-shoot or iPhone video enthusiast. The Pico Flex can shoot in straight lines or in circles while taking up minimal space. It’s also small and light enough to fit in any camera bag. The Pico Flex is made from aluminum, is 3.5” wide and weighs just 3lbs. It comes with 3 screw mounts and can be purchased on for $65 (or $90 with the optional 11” friction arm). Additional arms and counter balance weights are also available through the site. Price: $65 and up

TECH: GEAR AND GADGETS 1.0-”Six Little Pleasures For Your Pocket” Page 45


THE DOCUMENTARIAN Blurb founder Eileen Gittins has always had an interest in documenting life around her through photography—and is advocating the world at large to follow suit. By Joe Sutton I Images courtesy of Blurb

An early Internet pioneer, Eileen Gittins began her company, Blurb, to enable herself and other photographers to release and distribute work on their own terms—in this case, the self-publishing of books—and she is now embracing the world of Web 2.0 as Blurb’s new territory. While Blurb’s publishing allows you to display standalone visual works such as a portfolio, photo essay or a souvenir memory book in a compelling way, Blurb Mobile presents not just a new way to share images, but it also represents a shift in focus for the company as it embraces social media, all things digital, and the rising dominance of images on the Web. The new service fits well alongside increasingly popular photo sharing sites like Instagram and Tumblr, which have taken over the online experience. “I believe images are the new lingua franca,” Gittins said about the development, “and that they can be supplemented by voice and text as opposed to the opposite, which is text supplemented by images, which is how we used to live.”


“How do we become a more visual story culture?” -Eileen Gittins, Blurb’s founder

Just before the launch, Gittins unveiled the app to members of the media in New York. The preview happened during the Arab Spring, which was reported on by some of her contacts. “When we showed this [to them], they expressed this would have been awesome to have in the field. Can you imagine if they had [the app] three weeks before, to be able to hold up [their cell phone] and capture sound and video, taking still images and the ambient sound?” Gittins recalled. She was surprised to hear such unintended but brilliant use of the new tool, and felt that Blurb Mobile could be more than the standard narcissistic or self-promotional social app. The service can also be used in non-world altering situations and be especially useful to people in the photo production industry. If you are scouting a location for a photo shoot, Blurb Mobile is a simple way to record various spots alongside your ideas via comments or video, easily communicating to clients where to move next on the fly. Those on fashion shoots may use it to inventory accessories and garments and assess with others what will be needed for a particular shot. The app is an effective step up from multimedia messaging on a standard cell phone, and the possibilities are endless for any industry that works with visuals. For the average user, Blurb Mobile is all about the sharing of stories and experiences through multimedia. Users submit a group of photos called “stories;” you can select, edit and order images into one cohesive story with a narrative arc. From there, these stories are then broadcasted to your Facebook friends or Twitter followers (should you choose to give them access). This new way to communicate with friends somewhat evokes the photo slideshows

that were so prevalent in Gittins’ childhood home, raised under the roof of a hobbyist photographer. In fact, a great deal of what Blurb has become grew naturally from many aspects of Gittins’ past. Gittin’s father encouraged her to take photos while visiting family in England. He gave the twelve year old an old Kodak 35mm Retina camera, and passed along a few tips on photography basics such as aperture, shutter speeds and exposure. “This was a real camera,” Gittins said. “Not a Brownie or Instamatic camera. Like, a real camera, and the idea that I might break it terrified me!” Thankfully she didn’t, and soon enough Gittins had completed her first roll of film, including one photo she was especially proud of: an image of rowers at Cambridge, artfully framed by the foliage of a tree from under which Gittins took the photo. “While not a great photograph, … that picture was a ‘professional’ photograph; it wasn’t a snapshot,” Gittins thought. Her father praised and critiqued the components of the photos she sent home, and upon seeing the photo of the rowers, discussed the concept of framing with her. “He told me about not centering things in the frame; to not become static; that having things moving out of the frame was OK—that was my first photography lesson, by mail, in the late 1960s, when I was twelve and staying with my English family.” Gittins took to studying journalism at U of C Berkeley, “sort of documenting the world around me,” Gittins said. At her job on the school magazine’s editorial staff, something clicked. Observing the way images supplemented the copy, Gittins discovered not just the beauty, but also the narrative power of photographs, which touched her interest as a lifelong avid reader who previously found

narrative dominated by text. The epiphany was enough for Gittins to make an inspired decision: she would study photography. But this posed a problem because, while Berkley was a good school, it wasn’t then a hot place to study photography. Gittins turned her attention to San Francisco State, which had the likes of Catherine Wagner and Jack Walcott, among other luminaries, in its faculty. While focusing on acceptance to San Francisco State, Gittins began going to a community darkroom to

hone her printing skills. “I became a fiend. Forget buying records and music and clothes—I’m just buying paper,” she said. Her diligence paid off as she eventually secured a job at the darkroom teaching photo basics, passing along the skill set she had casually learned from her father. While at San Francisco State, Gittins continued her work in the darkroom, and over time began teaching classes on how to print in addition to her class on how to use

TECH: THE BIG IDEA-”The Documentarian” Page 47




“So there I was finishing up my Bachelor’s in photography, working, teaching classes, printing like a mad woman, just educating myself,” Gittins said, “and then comes the day I graduate from college and I’m thinking, ‘Well, who’s going to hire me?’” She spent the next nine months doing whatever jobs she could—art direction, studio work, and other background tasks. But Gittins soon set her eyes on Kodak, an employer that seemed like a photographer’s paradise. She had a friend who worked there and received free paper and film from the company. “As an employee you could walk into any store and pull out your employee card and get bricks of paper and film, and to me that was better than rent money,” Gittins said. She stalked the company for a year, and in the late ‘80s, she snagged a job as a sales representative. The perks of working at Kodak allowed Gittins to continue her

photography on the side, no longer needing to worry about the cost of supplies. Kodak not only supplied the paper and film needed for shooting but also ample opportunity for new photographic subjects. As Kodak’s manager of digital imaging systems in Europe, Gittins lived in London and travelled from country to country on a weekly basis—a photographer’s dream, a bounty of cultures and opportunity. As Gittins climbed the corporate ladder, her increasingly demanding positions negatively affected the amount of time she could devote to her personal work. Around 1990 she was sent back by Kodak to the States, specifically to Rochester, NY, where the company was founded. Gittins knew she didn’t want to settle there; she decided to leave the company where she’d been so successful and hit the road, working to build a new digital imaging system for Eastman Pharmaceutical in Seattle. Then, in California, she played a vital role in new Internet startups, where she flexed her executive prowess and gained experience as CEO. In 2001, Gittins found herself lost after the terrorist attacks and the dot-com bubble burst. She thought, “Wow, what am I going to do next?” Like any creative,

Gittins took to honing her talent as catharsis, and she began seriously photographing again. “I had a huge network of people that I was really tight with,” Gittins said, “and they were all interesting. So I thought, ‘I wonder if I can create a photo essay here, a portrait of Web 1.0 pioneers, entrepreneurs who really shaped the Web as we know it.’” She didn’t know it at the time, but this project would lead her to her future startup, Blurb. “What happened was that I ended up with a body of work that was not only images but also stories, because I had spent a whole day with [each subject].” Planning to gift her subjects a book of the stories, but finding no printer that would let her to print less than a thousand copies, Gittins decided to start a company that would. Blurb launched in May of 2006, and has since allowed many to publish their own, bookstore-quality books. Today, Blurb seems strangely divided between the print and digital worlds, though Gittins says the two may happily coexist. By allowing them to live side-by-side, Blurb keeps all possible publishing options available to its customers. Despite the vast differences between Blurb Mobile and Blurb’s books—the same dichotomy of

print versus digital—Gittins says that Blurb Mobile is perfectly in line with the company’s vision. “The whole message here has been, ‘How do we become a more visual story culture?’ That’s really the mission of this company: becoming a visually-driven story culture.” This focus in storytelling is one of the many facets of Blurb that speaks to Gittins’ many personal interests while growing up: Eileen Gittins the photographer, Eileen Gittins the journalism student, and Eileen Gittins the self-professed tech geek (she was the first person she knew who bought an IBM PC in 1983). Each has something to gain from Blurb’s mission and features. “It’s like all those things together just created this opportunity on a deeply personal level,” Gittins said. “This is the culmination for me.” So Blurb continues to innovate and to change the language of the Internet and society at large—one that emphasizes visuals and strives to more organically convey experience than the now standard 140-character tweet. It’s a language instantly recognizable and inventive, familiar but innovative.


a camera. The darkroom expanded its offerings, including workshops and fieldwork in the Baja Desert, for which Gittins served as TA. “This is where I started to get exposed to medium format work, view camera work,” Gittins said of the experience, “just experimenting like crazy,” all the while building a solid portfolio.

DO IT WITH STYLE: Pixbag By Jessica Yu I Photos courtesy of Pixbag Alexandra Wolyniec started Pixbag because didn’t like carrying her bulky and ugly camera bag in addition to her handbag. Unable to find the right bag that would fit her camera and personality, she decided to make one herself. After a lot of measuring and a few prototypes, she finally had a finished product she was happy with. Carrying it around, the bag piqued people’s curiosity. The rising interest and attention lead her to start Pixbag.

Wolyniec sews every single bag by hand with a variety of fabrics from her collection. The made-to-order, custom-tailored, vibrantly dressed camera bags look like a pig plush toy and guarantee envious eyes. $77.00 and Up Available on Etsy:

DO IT FOR FUN: Time-Lapse Camera By Matt Borkowski I Photo courtesy of Time-lapse videos can be a lot of fun to make. Whether showing the progression of your window plants’ growth pattern à la Planet Earth, or simply adding a little bit of spice to your latest and greatest home movie, this style of recording definitely adds a cool edge to whatever you’ve been up to. Considering how many camera manufacturers have incorporated a timelapse feature into their frame rate technology, virtually anybody with a newish DSLR can shoot this kind of video. But if you’re not feeling like busting out the 5D Mark II to make an affable time-lapse of your night of drinking at home with friends, Photojojo has a solution: the dedicated, incredibly portable, tripod mounted Time-Lapse Camera. Complete with a macro setting and a weather resistant body, the aptly (albeit boringly) named product holds up to 2 GB of time-lapse footage, with six frame rate intervals. The Time-Lapse Camera checks in at $149, and with a bevy of time-lapse video applications for mobile phones, everyone is sure to find something to suit their needs. Go out and try it; time-lapse will provide you with an interesting take and, if you are shooting with a DSLR, hours of editing, too! Now just try not to get hurt fixing your camera to the roof of the car for your next big road trip. $149.00 at

TECH: DO IT WITH STYLE/ DO IT FOR FUN-”PixBag/ Time-Lapse Camera” Page 49


THE MYSTERIOUS NEW WORLD OF 3D Reaching out and touching the next step in visual technologies. By Adam Sherwin

“...soon advertisers and artists alike will be able to create moving images in 3D and we’ll be able to interact with them in our everyday life.” For some, it’s the nostalgia of one red lens and one blue lens attached to flimsy paper frames and looking at oddly colored comic strips, and seeing images leap from the page. For others, it’s the recent experience of putting on a pair of cheap, black plastic glasses with polarized lenses and watching, amazed, an entire movie screen come alive from all angles. Well my friends, 3D has changed yet again. The growing trend of 3D imagery has leapt off the pages of comic books and the big screen and can now be found in many of the tech gadgets we use everyday. Everything, from consumer grade video cameras to the TV in our living room, as well as computers and smartphones, is now capable of giving you a 3D experience. With a simple movement across our touch screens or a click of our remotes, we can create and view realistic 3D images. While much of this new 3D gadgetry will probably end up on the technology scrap heap, there are some very promising developments. It might not be the same quality as what is available

to James Cameron, but it’s still interesting to see what manufacturers are doing and what remains affordable enough to produce en masse so that average consumers can get their hands on this technology. While the 3D tradition of anaglyph technology (one red, one blue lens) is dead, it has definitely set the stage. If wearing 3D glasses is an intrinsic part of your 3D experience, you will love the new alternate frame sequencing or passive polarized technologies. The first, AFS tech, makes the glasses do all the work. They have an active shutter and are constructed with LCD lenses and polarization filters. A tiny current is sent to the glasses; it alternates over and over again, making one lens transparent and the other dark, from right eye to left eye and back. All of this happening at roughly 120fps or 60 fps per eye. AFS has quickly become a hit with the gaming set and has been used in such products as NVIDIA’s 3D Vision, which range from home PCs and laptops to an entire pro division that keeps your office living in a 3D dream world (www.nvidia. com). In addition to NVIDIA, there are several companies selling 3D-

ready computer monitors, which cost between $300 and $1,000. 3D laptops will run you anywhere from $500 to $1,000. The biggest downside to this technology is the glasses themselves; they alone cost around $200 a pop. Not bad if you’re a bachelor playing video games alone, but this could easily be a deterrent for an average family, as each user has to have their own glasses. Nevertheless, one great thing about this technology, in general, is its affordability. Current LCD and plasma screen TVs need very little modification beyond a higher re-fresh rate and a sync unit that communicates with the glasses. These models also offer wider viewing angles and normal 2D viewing when the sync unit and glasses are deactivated. I had a good time looking at com for all the newest toys. The site has a ton of great educational info about 3D to help you make the right choice. An AFS-ready TV from Sony, Samsung, LG, Panasonic, Sharp or Mitsubishi will run anywhere from $600 to $1,200 for smaller sets, and $1,500 to $4,000 for larger sets with HD upgrades. These prices should help you keep

a couple of extra dollars in your pocket to spend on that new 3D camera you’ll want to produce your own 3D content. If you’ve seen a 3D movie lately, you’ve had first-hand exposure to the other current favorite, the passive polarized 3D technology. Two images with different polarizations are simultaneously displayed on the screen; they are viewed through a pair of glasses with a different polarized filter for each eye. This difference in polarization creates the 3D effect. No need for sync unit, somewhat more affordable, and the glasses are less bulky and don’t need batteries or charging. Sounds like the way to go, doesn’t it? Hold on a sec. Unfortunately, this technology is not the be-all-to-end-all answer to your 3D viewing problem. While manufacturers like LG and Vizio are making great passive TVs like the 47” LG 47LW5600 ($1,700) or the 65” Vizio XVT3D650SV ($3,190), the polarized image appears blurry when you take the glasses off (you can buy passive 3D glasses for around $15). Not all manufacturers have decided to produce passive polarized products, thus keeping our home viewing solu-

tions relatively limited. The only other way to use passive polarized 3D is with a 3D projector. With starting prices at $4,000 for a decent, lower-end model like the Sony VPL-HW30AES or Sharp XVZ17000, projectors get quickly pricy. The Sony VPLVW90ES ($10,000), LG CF3D ($15,000) or Samsung SP-A8000 ($13,000) will get you in the high-end game but make a serious dent in your kids’ college fund. So, what else is there? One of the most promising new technologies, which allows us to view 3D without glasses, is called autostereoscopic 3D or, as it is often referred to by fellow geeks, “Auto 3D.” Popular versions can already be found in smartphones like the HTC Evo 3D ($550, and

you don’t need to sell your first born for a Sprint contract) or the LG Thrill ($450, without bending over and taking it from AT&T for two years). The same technology is also used in the Sharp LL-1513D computer monitor ($1,500)

Auto 3D technology works by placing a layer, such as a panel system or parallax barrier, between the screen and the viewer. One problem, you have to stay in pretty much one spot, directly in front of the screen, to get the most out of

and a plethora of new TVs from Toshiba, LG, Samsung and Philips. Buyers, be warned! These sets are extremely high-end and remain out of reach for the average consumer. They are still mostly for commercial use and can run upwards of $20K. But if you just happen to have the extra cash lying around, why not.

the effect. A little movement to one side or the other and you’re looking at a blurry mess—similar, I’m sure, to when Luke was looking at the image of Princess Leah projected from R2-D2’s head cam [geek articles need geek references, it puts it all into context]. There’s still some room for improvement here but manufacturers and critics alike feel this is

a very positive development for 3D viewing. Anyway you look at it, 3D is on the rise and here to stay. Cameras are shooting it and we’re watching it, so it’s good old supply and demand. Unfortunately, there is not really an industry standard or perfect solution to the 3D conundrum yet. I’m sure we’ll see many new developments in the near future, good and bad. Either way, I’m personally excited to see what’s next. It’s been a long time since we’ve had huge developments like this in visual technology. We invented the TV, the radio, the personal computer, something called nuclear energy, but the future seems closer than ever now. I think it’s amazing that soon advertisers and artists alike will be able to create moving images in 3D and we’ll interact with them in our everyday life. The only thing left is 4D…. Remember smell-o-vision?

DO IT YOURSELF: 5 Minute Snoot

1 3 5

What you’ll need: 2 toilet paper rolls, 1 scissor, and tape.

Cut the roll into 4 pieces, and then cut 3 times halfway through each piece.

Put the finished pieces in the other roll.

2 4 6

Cut open one roll.

Put them together.

Tape it to your flash. That’s it. Your’re ready to shoot.

TECH: TREND IN MOTION-”The Mysterious New World of 3D” Page 51


VIMEO GOES PRO A Video Solution For Small Businesses

By Sam Chapin I Photos courtesy of Vimeo

Vimeo Pro’s goal is to give the little guys a chance to compete with big companies online.

Vimeo, the video-hosting site for filmmakers, doesn’t ask for much money. They are committed to keeping their site as free from advertisements as possible, which is great for their users, bad for their wallets. To reconcile art and commerce, they recently launched Vimeo Pro. Unlike Vimeo or Vimeo Plus (Vimeo’s more advanced, paid alternative), Vimeo Pro is a separate platform, explicitly designed for commercial use. For about $200 a year, small companies can purchase 50 GB of storage and 250,000 plays. Another $200 will add 100,000 more plays or 50 extra GB of storage. “Until now, quality video hosting has been expensive, confusing and extremely difficult for a small business owner to understand,” said Vimeo’s General Manager, Dae Mallencamp. “Small businesses have fallen between the cracks of free video services and

massive enterprise business solutions.” Vimeo’s goal with launching Pro is to give the little guys a chance to compete with big companies online. Thus far, small businesses have had two ways to host videos on the Internet: on free, low quality video hosting sites, or through a pricey, professional provider. The folks at Vimeo are now offering a third choice, with the moderately priced Vimeo Pro. Although $200 a year is a relatively small chunk of change, it is more than three times the price of Vimeo Plus, Pro’s entertainment equivalent. And with Plus, you get virtually unlimited uploading space, compared with 50 GB with Pro. So, a question that many Vimeo users have posed is, “Why go Pro?” For some small businesses, looking only for an inexpensive place to host their videos, Vimeo Plus

works just fine. There are no advertisements on the site, you can stream high quality videos, and it’s better than sending prospective clients to YouTube. But for businesses that want to be free from the Vimeo name, cut the umbilical cord and make it on their own, Vimeo Pro is the better choice. Along with other benefits, it’s the only platform of the three that offers domain names that the user chooses. Instead of www.vimeo. com/awesomedomainname, it’s just www.awesomedomainname. com, an important difference for businesses that want to be taken seriously. Some complained that there were no monetization options with the service. A business can advertise itself as much as it wants, make as many profile pages as it can, but it can’t make any dough directly from its site. Although it’s true that Vimeo Pro doesn’t allow advertising from outside businesses on their pages, that doesn’t mean you

can’t make your own ads. Vimeo Pro serves as Vimeo’s commercial platform, enabling users to host their own advertisements before and after their videos. The ability to advertise is a necessity for many businesses and makes Vimeo Pro a better choice for them, as this feature is not available with Vimeo Plus. Vimeo Pro is a platform that is meant to boost the cyber reputation of small businesses and maximize their online imprint. Its goal is to allow these businesses to have the same kind of video quality and interface that larger corporations enjoy, without the stratospheric prices and impossible Internet coding. And despite the fact that a business can’t make any money from the site itself, Vimeo Pro seems to set them up nicely. The only thing left to do… is everything else.


VINCENT LAFORET We asked our friend Vincent to reveal some very personal things about the items in his EQ closet. This is what we found. Words and photo by Vincent Laforet How do you select the gear that you have? I do an obsessive amount of research on any piece of equipment that I buy. I combine word of mouth (and give it the most weight) from trusted sources, with press reviews, and blogs and comments on the web (I give those the least weight, but still look there for the negative reviews others may be hiding). By the time I’m ready to purchase something, I generally know more about the product than the product rep does. I started doing this when I was fifteen, well before the Internet— I’d hang around my local camera store and help people out. Now that I look back at that time, I’m surprised the salespeople didn’t kick me out of the store! We all became friends actually; I still stay in touch with one today, eighteen years later, even though the camera store is long-gone.

The oldest item in your closet that still works is:

Leica M6 and Hasselblad X-Pan. I also have a working Graflex camera, if you want to go real old school.

Your point and shoot of choice is:

Canon S95—truth be told, I use my iPhone the most, and my Leica M9 second.

Vincent Laforet:

2. For stills, a Hasselblad H4D for landscapes and portraits.

5 things that you love, that are not in your EQ closet: 1. I miss my saxophone. I used to play it and the piano through college… then life took over.

2. A rebreather to go scuba diving for insane periods of time. 3. A second rebreather for my son to take him along—in about five years when he’s old enough. 4. A time machine so that I don’t have to fly on commercial flights ever again. 5. A barrel of Maker’s Mark; bourbon is my drink of choice.

the 17” MacBook Pro with SSD, and the new 11” MacBook Air right now.

Right now that’s likely the RED Epic in the video world, and my 500mm lens that I use for aerials and almost any shoot when I can.


3. A Canon 800mm because I love to shoot sports and subjects with ridiculously long lenses and take huge risks on getting a special image that no one else has seen. Keep in mind that I shot for fifteen-plus years with a 400mm or 500mm, so I need something with a little more punch than most.

3 pieces of EQ you could not live without: 1. Canon 5D MKII 2. Leica M9 w/ 35mm f2 3. Some type of MacBook—I use

1 piece of EQ that sets you apart from other photographers:

3 items you wish were in your closet: 1. A set of Zeiss Master Primes for

The smallest item in your closet is:

That sounds terribly personal. SD cards, I guess.

The most expensive item in your closet is: A RED Epic Cinema Camera.

3 pieces of lighting EQ in your closet that you use on almost every shoot: 1. Profoto Beauty Dish 2. Lite Panel 1X1 LED Light 3. Not lights but diffusion and

Resource’s favorite thing in Vincent’s closet is the toilet (haha). And the Stones painting is wicked.

gel for lights. It’s all about the small details you add in front of the light to shape, diffuse and color the light.

TECH: WHAT’S IN YOUR CLOSET?-”Vincent Laforet” Page 53


By Matt Borkowski and Adam Sherwin

SIZE MATTERS SO BUCK UP BIG GUY: Things that any Pro will Drool Over “Size matters, don’t let them tell you otherwise.” -anonymous

2. 3.





Nearly five years after the initial announcement of their foray into the world of medium format, Pentax has finally released their new 645D camera. Packing a whopping 40 effective megapixels into the body of a DSLR, Pentax clearly wasn’t skimping, and their efforts aren’t going unnoticed as the 645D was awarded “Camera of the Year” by Camera GP Japan. Beside the huge sensor, other benefits include a dust-proofing system designed to eliminate spotting on photographs, dual SD/SD-HC card slots, and a robust body which can withstand temperatures as low as 14° F. These selling points, in addition to the nicety of being a “built-to-order” production model, make the 645D a very attractive option for photographers looking for a new medium format camera for under $10,000 (body only).



1. PENTAX 645D


Clumsy freelancers and Apple Store Genius Bar employees have something to rejoice about these days. LaCie has introduced an addition to their wildly popular Rugged line of hard drives, the Rugged Mini. These durable drives pack storage sizes of 500 GB (5400 and 7200 RPM speeds) and a 1TB for even more storage. Clad in the line’s signature orange rubber jacket, the Rugged Mini is not only shock- and weightproof, but is also rain resistant (a first for any Rugged drive). The really intriguing feature of this new line is its use of USB 3.0 for data transfer speeds up to 30% faster (or so they say) than FireWire 800. Bear in mind that the use of the USB 3.0 is contingent upon using a backward-compatible USB 2.0 cable, or for Mac users, a PCI express card adapter.

After 4 years of playing catch up, Sony is back in the mid to high end HDSLR game with a vengeance. Sony’s “translucent mirror technology”, included in the A77, means that Sony was able to switch to an electric, not optical, viewfinder that allows for fast autofocusing while maintaining a live view, a great feature to have when shooting 1080p 60 AVCHD video with autofocus on the A77. The lack of a non-moving mirror also allows for 12FPS at full resolution on the A77’s large 24MP APS-C CMOS sensor. With 19 point AF, a 1/8000th top shutter speed, customizable low end/high end ISO from 50 to 25,600 (with multi image combo) and an updated firmware that allows for plethora of in camera FX and customizable functions, the Sony SLT-A77 is going to be tough competition when it ships in October.

$99.00 for 500 GB $149.00 for 1 TB

Body Only - $1399.99 w. 16-50mm lens - $1999.99





Think fast, really fast. No, really fast. Like blink of an eye fast. This is what professionals can look forward to with Promise Technology’s new Pegasus RAID hard drive with built-in Intel’s Thunderbolt. Currently compatible only with Apple computers sporting Thunderbolt I/O structuring, these drives are prepared and designed to do nothing but kick ass and take names. Available in 4 and 6 bay configurations, each with the option of packing individual 1 or 2 TB hard drives in the bays, the drives can be customized to support up to 12 TB of storage, while delivering blazing fast data transfer speeds of up to 10 GB per second. That’s twice the speed of USB 3.0’s benchmarks, and over ten times faster than FireWire 800! The best features about these drives is that they can be used for video pass through while editing (saving you valuable hard drive space), or alternatively, you can daisy chain up to six Pegasus units together for up to 72 TB of storage. That should cover you for a while, no? Prices start at $999.00






The big “A” has set another industry standard by integrating Intel’s Thunderbolt I/O technology and a FaceTime HD camera directly into their new display. For those of you who have been living under a rock, “Thunderbolt” is Intel’s stab at a faster data transfer protocol (e.g. USB, FireWire) and connectivity hub to propel them forward through the launch of USB 3.0. Apple claims that data transfers are up to 20 times faster than USB 2.0 and 12 times faster than their own FireWire 800. Pretty impressive, huh? In addition, the Thunderbolt Display allows multiple devices (e.g. hard drives, video capture devices, or other displays) to be connected using just one cord. This is the wireless age, after all, and the convenience factor of this alone makes this an appealing product to any creative professional. The respectable and workable screen size of 27” gets you a 2560x1440 resolution. The FaceTime HD camera and built-in microphone promise more awkward moments with far-away family members. Additional features include the MagSafe power adapter, audio jacks, FireWire 800, and Ethernet ports. But still no sign of a matte version, so photographers and graphic artists can keep pining for the one feature that they’ve missed since Apple discontinued their older Cinema Displays.


If you’re anything like me, you’re usually strapped for cash yet still pining for an upgrade to your workstation. While the fantasy of purchasing an entirely new desktop or that oh-so shiny and teeny tiny 11” MacBook Air can be appealing, sometimes, a minor tweak to your setup can make a world of difference. SanDisk recently released their newest line of Solid State Drives (SSD), the Ultra SSD, designed to increase your machine’s storage while not breaking the bank in the process. With capacities ranging from 60 GB up to 240 GB, the Ultra SSD’s will give you a little bit more wiggle room for storing your data, while providing you the benefit of a SSD with no moving internal components. Load times and transfer rates on these SSD’s are promised by SanDisk to be roughly around 280 MB per second, which isn’t anything to scoff at. Random testing by a third party suggests that these little guys could have more punch than this initial benchmarks might suggest, clocking one of the drives at a pretty impressive 3 GB per second. $130.00 to $450.00

TECH: GEAR AND GADGETS 2.0-”Size Matters So Buck Up Big Guy” Page 55


8MM VINTAGE VIDEO CAMERA: Film of the Future By Matt Borkowski App for Review: 8mm Vintage Camera Platforms: Apple’s iOS on

iPhone, iPad 2, and iPod Touch


A cheap, fun application that allows you to create your own “vintage” movies right from your mobile device.

Who needs it:

Moms, dads, hipsters, and anybody in between looking for a different feel to their iPhone flicks.

How do you use it: Tap to open.

Use. Repeat, if at all possible.


Adds a cool, grainy, antiqued look to any video you take on the go. Easy to share.

Hates: Not much to hate on here, folks... Just try it!

Final Rating: nnnnn

Up for review in this issue is a neat little application for all of your “i”prefixed Apple mobile devices named—really thoughtfully—8mm Vintage Camera (8mm). We’ll go over some of the things that make this app a winner in our eyes, and also discuss a few things we might suggest to 8mm’s developers, Nexvio, Inc., for its next software update. The overall interface of 8mm is fairly straightforward, and getting started filming with the app is easy. Upon opening 8mm, you’ll be presented with a “camera back” which looks pretty similar to other iPhone image capture and recording applications. Here, you have the ability to refine the look of your videos by choosing your film and lens types, as well as the settings for audio feedback (muted, old-school microphone, or film reel) for the background noise of your movie. Hell, there’s even a frame jitter button to really stress the “vintage” look. Once you’ve selected your settings, you’ll need to determine whether or not you’ll be using the front-facing camera of your “i”-device or its rear-facing camera. Realistically, the quality is the same because of the intentional graininess of the “film,” so for all the high definition junkies out there, you’ll have no added advantage using the higher quality rear-facing cameras of the supported mobile devices. The final setting that is able to be toggled is specific to iPhone 4 users of the app, and that is the choice of whether or not to use that oh-so-bright, built-in flash for fill-lighting.

Using 8mm couldn’t be easier. It’s honestly a matter of tapping the big red button and recording new videos. Have some fun by hitting the frame jitter button during filming; I know I did it like thirty times in a row when I first used the app. You can even convert current videos stored on your device’s “Camera Roll” into 8mm format! After your memories have been captured, you might wonder how to actually make use of the videos. Luckily, there are easy ways to share them built directly into the application. YouTube upload links are available from the “My Reels” section of 8mm, and you also have the ability to save the videos directly to your “Camera Roll.” Hipstamatic and Instagram users should have no problem with the learning curve here. In short: 8mm Vintage Camera is a great application to give a different look to your everyday going-on while recording on your mobile devices. We’d love to see high definition support (if only for exporting purposes) and maybe a few more realistic film types in the next update, but we’re not going to chop Nexvio’s head off for it. Overall, the joy of making your own Super 8s from an iPhone is worth the $1.99 for the application, and we definitely recommend downloading it today!

Matthew Borkowski:

“Images, not words, capture feelings in faces; nothing can ruin the atmosphere as easily as too much light.” —Sven Nykvist, cinematographer

“Dodging and burning our way through the tumultuous daily lives of photographers, their crew and the techniques they use.”



By Amber Schadewald I Photos by Lisa Wiseman

San Francisco’s new and largest photo museum.

“HERE” shows San Francisco through the work of 34 photographers (on view until Dec 16). P Nestled in the shadow of the Bay Bridge, Pier 24 juts out over the gorgeous icy blue waters in a renovated 1930’s warehouse, quietly alluding to what is quite possibly the largest space in the world dedicated to displaying the art of the photograph. The gallery was opened in March 2010 by Andrew Pillara, an investment advisor who discovered his love of “paper and silver nitrate” after seeing a Diane Arbus exhibit at SFMOMA. His interest quickly grew into a personal collection of 2,000-plus pieces, and a search for a space that would allow him to share the images with the public led him to Pier 24, a historic building that had been uninhabited for over three decades. There were holes in the floor and pigeons everywhere, but Pillara saw potential. Working with architect Douglas Bernan, the historic building was redesigned to glorify photographs with dramatic lighting, towering walls and remarkable site lines. Resource spoke with Pier 24 Director Chris McCall to find out more about the gallery’s unique offerings.

Who’s who at Pier 24 and what’s your role as the gallery’s director?

Pillara Foundation Collection. The second examined different artists from Randi and Bob Fisher’s collection, and the third is concentrated on Bay Area photography. What we typically do is show complete bodies of work in one room, like Garry Winogrand’s The Animals, Lee Friedlander’s Little Screens and Larry Clark’s Teenage Lust. We don’t just show a selection, but a complete portfolio.

We’re a mom and pop operation in a non-profit form. The space is primarily run by a team of volunteers, Seth [Curcio, program manager] and myself, meaning we all wear a lot of hats throughout the week. We do a lot of collaborative work with members of the photo community, like Sandy Phillips at SFMOMA and Jim Goldberg at the California College of the Arts.

Is there an educational aspect you are trying to portray by hanging an entire collection?

What were you doing before Pier 24?

First and foremost I am a photographer, mostly portraiture and color photography. I like printing onto different objects, like brownpaper grocery store bags, and I did a lot with Polaroids before they started to disappear. Leading up to the Pier, I was teaching photography at a school here in the Bay Area. I was preparing to open my own gallery when someone suggested I meet with Andrew Pillara. We began talking about options and stayed in touch. A little over a year after meeting him I went over to the space and he offered me the job to run the gallery.

Pier 24:

Lisa Wiseman:

What were the original goals of the gallery?

There has always been an educational goal: to provide a space where classes can bring their students. As an educator myself, I know that students are generally exposed to these photographs only in book form. You don’t get to see prints. Our last exhibition saw over ninety classes, and twenty classes have already come through in the first six weeks of our current show.

Why has the gallery decided to omit labels, titles and artist names from the walls?

We went through a lot of long discussions about this with friends and colleagues of ours. We understand that initially it can be frustrating—usually people have one of two responses: either it really bothers them because we have been programmed to look at work in a certain way, or it excites them because it frees them to look at work and engage [with the

We want to show that these photographers are not just producing one iconic photograph. The process of photography is challenging for people to understand and showing a full collection better expresses how a photographer works for years at a time, editing and sequencing. The photographs are just as important as the process it took to make them.

images] without feeling forced to read a small paragraph. Information is provided for any patron in our gallery guides.

ing through the space because there are no specific markers instructing the way they should be engaged.

Why do you personally prefer the lack of wall text?

The gallery boasts an impressive 28,000 square feet. How does Pier 24 utilize such a large amount of space?

I went to a show at the MET a few years ago and I watched how people engaged with the work, which was a collection of several, very rare, hand-colored prints. One piece in particular had two paragraphs of writing next to it. People would walk up and, without even looking at the photo, spend thirty seconds to a minute reading. Then they would look at the photo for about one second, walk away and start reading about the next piece. By eliminating text in our space, people have to trust their instincts and really spend time looking at and engaging with the photographs.

Have you noticed if people move about Pier 24’s spaces in a different way? Yes. People who wouldn’t usually come together will start talking about the work. They spend more time lingering, talking and mov-

We’ve broken up the space by creating a series of galleries, large and small, some more intimate with [lower] ceilings. It still has a warehouse feel, and the range in room sizes really opens up what type of work we can present. We can accommodate large-scale images without overwhelming our twelve-foot walls; the work doesn’t feel cramped or forced.

How would you categorize the bodies of work shown at Pier 24? Is the gallery inclined to show particular narratives? “Bodies of work” is a good way to categorize what we do. The first show was our collection, the

Andrew Pillara has said that Pier 24 is not a museum or gallery, but an experience. What does this mean to you? It’s the idea of providing a space that is quiet and contemplative. You’re not in a gallery with hundreds of people—you often find yourself in a gallery by yourself. You’re not being watched and there is not a lot of people watching to be done.

Why is this kind of quiet, explorative experience so important today?

We are constantly being bombarded with images, but we’re not often afforded a chance to come into a quiet space, un-mediated by any device. You don’t see people checking their email in our gallery like at other institutions. [You] don’t get this a lot in this day and age. The door shuts at the Pier, people leisurely walk around and look at great artwork. That is the experience of the Pier. It’s set up for you to break away from computers, billboards and cell phones. That experience is created by the way the space is set up and run. It’s hard to capture in words. It’s something you just have to experience to understand.

PRO: PHOTO PRO-FILE-”Pier 24” Page 59




Words by Charlie Fish I Photo by Jeff Katz

Prince, Parade album cover (1986)


Jeff Katz talks to Resource about his first-hand experience working with Prince and the artist’s uncompromising vision. Paint, if you will, a picture. It’s 1986 and Prince has already won numerous awards for Purple Rain and is one of the biggest stars in the world. So when his second film, Under the Cherry Moon, was about to premiere, MTV held a “Win a Date with…” promotion, wherein the winner would attend the premiere in his or her hometown with the star. Executives from Warner Brothers, the media, Prince and The Revolution and the cast and crew of the film descended upon Sheridan, Wyoming, a then-sleepy Western town with a population of about 15,000 people. The winner, Lisa Barber, had the pleasure of accompanying Prince to the only theatre on Main Street for the premiere of his highly anticipated film. Although the film was largely banned, it has since become a cult classic. The soundtrack, on the other hand, was an instant hit: as he did with Purple Rain, Prince recorded an album to go with the movie, titled Parade, which included the enduring megahit “Kiss.” Photographer Jeff Katz had been steadily shooting for Warner Brothers since the early ‘80s, and was hired to be a still photographer for the film. His photos during the filming inevitably produced the cover album for Parade, and Katz remained a go-to photographer for Prince for over a decade. Resource talked to Katz to find out more about their working relationship, the film, and helping Prince realize his vision.

Jeff Katz: ©

Charlie Fish:

An Uncompromising Vision.

Photography and photographers and the business were completely different than now. The big photographers then were as much celebrities in their own right as the actual celebrity. They wanted to capture their vision before they were willing to capture the artist’s vision, which now is the opposite. Prince wasn’t interested, from what I was told, in having his image interpreted other than how he wanted to put it out. His music and his look are completely defined by his own artistry. I had heard that some of the photo sessions he was doing with big photographers weren’t working out successfully. He had a project for one of the bands he was producing, The Family. He wanted to have his vision seen correctly. [Warner Brothers] hooked me up with him to be his assistant. I arranged every facet of the shoot—equipment, mobile homes, permits and catering, and brought every imaginable camera. He showed up and I walked up to him, shook his hand and said, “I’m here to help you get whatever you want.” Prince doesn’t talk a lot, but he would convey what he wanted to

do and I would figure out how to achieve it. I’d set up the camera and he’d look through the camera. I did everything exposure wise, focus wise and lighting wise. I was the director of photography, the camera operator and the producer, and he was the director. It was my job to make the director happy. That shoot proved to be very successful. He liked all the imagery. Fairly soon after that, I got a phone call from his manager that he was shooting Under the Cherry Moon in France, and he would like me to be the still photographer for the movie. I had a phone machine then; I was overjoyed about the opportunity and replayed the message a bunch of times. Of course, [I said] yes.

Under the Cherry Moon.

We shot [the film] in Nice in the fall of ’85. It was just after Labor Day and the crowds had left the South of France. We were based out of La Victorine studio, a storied and legendary European film studio; Truffaut shot a lot of his very famous, iconic films there. I was not only wowed that I was [working] with Prince, but I was wowed that I was at La Victorine studio.

The producers wanted to make sure that all of the best people were available to capture the imagery that Prince wanted. The set designer was Richard Sylbert, an Academy Award winner who’d worked on Rosemary’s Baby. The cinematographer was Michael Ballhaus; he’d done lots of movies with Scorsese. Everybody on this movie were people who had really big track records, every head of every department were people at the top of film industry, whether they were American or European.

A Photo Session.

For the first couple of weeks before principal photography, they were meeting with the actors, getting costumes and trying to figure out the lighting, the styles and how they were going to shoot it. And in the middle of that, I don’t know if Prince was getting bored, but he wanted to shoot something. He wanted to do a big comprehensive photo session of himself. Not only was I hired to be the still unit photographer, but I also brought over all of my Hasselblads, medium-format film and all of my lighting because I was told if there was an opportunity to shoot the movie poster or high-end

portraits, I should have all that gear. So this was that day, and he wanted to shoot in black and white.

The Set.

They gave us this really huge sound stage to be in. I wasn’t given any direction other than to have all my stuff and be available. I had a couple of local assistants there who were proficient enough to help me out. We went to the sound stage, Prince showed up with some hair and makeup people and they put his wardrobe on a rack. I think I showed him a Polaroid of what I was thinking lighting wise and he liked it. He asked everybody to leave. He didn’t want anyone else to come into the room, so it was he and I for a couple hours. The electrician had given me whatever power I needed, and I had all my various lights set up. I had a table that had my Hasselblad and four film backs, and all my film. Prince brought in a little boom box, nothing sophisticated, and he was playing tapes of different kinds of music.

PRO: HISTORY-”Prince” Page 61



The Shoot.

I’d shoot four rolls, he would play music, I would reload the film, I would shoot more rolls, I’d show him Polaroids, he would change outfits. I think the hair and makeup people might’ve come in here and there for touchups, but it was pretty much he and I just shooting endless rolls of films. He had different poses. There wasn’t that much conversation. If I liked what he was doing, I said something, and sometimes that mattered and sometimes it didn’t. I certainly kept shooting anything that he did. He started making all of these types of different gestures, with his hand up and taking his shirt up. It was looking really cool and I was encouraging more of it. Ultimately, I shot however many rolls of film. He kept all the Polaroids. And then I sent everything off to Paris to have proof sheets made. All that stuff was just really great key art. It wasn’t shown to anyone from Warner—the only people at this point were just me and Prince


and whoever processed the film. I didn’t know what it was going to be used for, but ultimately, when this whole package was done, it ended up being [used] for the movie poster, the album cover, the tour book and everything that was needed to go with the project.

On Location.

La Victorine was base camp, but the entire movie was shot on location in beautiful South of France settings. Because some of the locations were spectacular, sometimes I would pull Prince and some of the other actors aside and shoot nice scenic stuff of them. I just shot, shot, shot. All of the approved pictures (after he saw them) were being funneled through the publicist and sent out for various press releases and things. But nothing from that photo session that we did on the sound stage was seen.

Prolific Prince.

Shooting went on for two months. They’d hired an initial director

• • 2. • • • •

3. • • • • •

That’s when he was with his band The Revolution. They came up during the filming. Not only were we filming the movie, but Prince also was recording and finetuning the album that was the soundtrack for the movie. He also shot lots of music videos to support the singles. Prince is one of the most prolific, workaholic, art-producing guys. So even though there was a massive shooting schedule, in between all that, he was shooting music videos, he was recording, and he was mixing. There was never a down moment.

On Working With The Artist.

A day with him is like a month with anybody else. No sleep and hard work. I always took the attitude to

PRINCE’S retrospective

Filmography 1. • •

[Mary Lambert] but Prince decided he wanted to direct the film. That led to a faster paced shooting schedule. We started moving quickly and we went to lots of different locations.

Purple Rain (1984) Stars as The Kid Directed by Albert Magnoli written by Albert Magnoli and William Blinn Based of Prince’s abusive childhood Won an Academy Award and Best Original Song Score

Under the Cherry Moon (1986) Stars as Christopher Tracy Directed by Prince Was released in black and white Won for Worst Actor and Worst Director in the Razzie Awards (1986)

Graffiti Bridge (1990) Stars as The Kid Sequel of Purple Rain Had hit soundtrack Written, directed and stars Prince Horribly rated

make it happen. It was a matter of if it could humanly happen, I could make it happen. I never, ever said no. I worked with Prince from 1984 to 1996. I was with him for every big project from Around the World in a Day to Emancipation. Each album was not just an album—each album was a complete visual look, wardrobe look, and lifestyle look. Everything went hand in hand. It was really incredible to work with someone who had such a defined personal vision. Music is also my passion—jazz and rock and real musicianship—and Prince is an incredible musician. I mean, he’s a guitar virtuoso, he plays all these other instruments, and he writes everything. The buck stopped with him. It’s pretty incredible to be around someone who’s completely genuine and passionate. There was no phony baloney. He dresses like that, he looks like that and he talks like that. Everything you see, that’s the way it is.

Discography 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

For You (1978) Prince (1979) Dirty Mind (1980) Controversy (1981) 1999 (1983) Purple Rain (1984) Around the World in a Day (1985) Parade (1986) The Black Album (1987) Sign ‘O’ the Times (1987) Lovesexy (1988) Batman Soundtrack (1989) Graffiti Bridge Soundtrack (1990) Diamonds and Pearls (1991) The Love Symbol Album (1992) Come (1994) The Gold Experience (1995)

18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34.

Chaos and Disorder (1996) Girl 6 (1996) Emancipation (1996) Crystal Ball (1998) New Power Soul (1998) The Vault: Old Friends 4 Sale (1999) Royal Box (1999) Rave Un2 the Joy Fan tastic The Rainbow Children (2001) One Man Jam (2002) N.E.W.S. (2003) Musicology (2004) 3121 (2006) Happy Feet Soundtrack – One Song (2006) Planet Earth (2007) LOtUSFlOW3R (2009) 20ten (2010)




Photos and Bio courtesy of the artist

Nao Tsuda:

About the artist:

Tokyo-based photographer Nao Tsuda has been exhibiting his landscape photography since 2001, both in Japan and abroad. With a unique point of view toward nature and a focus on the relationship between photography and time, Tsuda brings a new trend in landscape photography. He photographs breathless scenery, such as lakes, mountains, fog, wind and paths of the moon from hardly distinguishable distances or askew angles in an effort to break out and go beyond the limit of photographic expression. In recent years, Tsuda has been actively showing his works at galleries and in solo and group exhibitions at museums. In 2010, Tsuda won the Japanese Minister of Educational Award for New Artist in Fine Arts. His publications include “Kogi” (MONDE BOOKS), “SMOKE LINE”(AKAAKA) and “Coming Closer”(AKAAKA+hiromiyoshii). Tsuda’s latest photography book, “Storm Last Night” (AKAAKA), is a collection of photographs from his trips to Ireland, where people worshipped scenery in ancient times.


Why I like it, by EDITOR, AlexANDRA Niki:

When I first saw Nao Tsuda’s work I was at a friend’s house in Connecticut. She had his photo of the moon peeking out from behind the trees hanging on her wall. I immediately asked about the artist, looked up his name and his work, and fell in love with his style. Being an editor of a photo magazine, I see lots of work on a daily basis, but there was something special here. Tsuda captures serenity with incredible simplicity. His approach is comparable to the skill that a soba noodle master obtains after years of practicing the art of making homemade soba noodles. They say a photo is worth a thousand words, but I found that Tsuda’s photos are worth endless subtle thoughts.

PRO: EDITOR’S PICK-”Nao Tsuda” Page 63


Where are you from?

I was born in London, England, where I currently live.

How did you get started as a photographer? I trained as a fine artist in the 1980s, with a focus on painting. I couldn’t have anticipated how this would be so useful to what I do today. The first roll of film I took in school involved looking

at animals in terms of shapes. I eventually turned to photography full time and found my way through corporate, architectural, studio and design work. I learned how to light in a studio, which was useful when I had to light on location. Experiencing different forms of photography helped me learn how to be flexible and confident, and influenced how I approach the craft today.

What draws you toward shooting animals?

When I photograph animals, there is a sense of wonderment about the complexity of nature, and I am often reminded and excited by that with my subject matters. I am in awe of nature, but while my subject may be an animal, I am also exploring things [that have] to do with what it is to be human. I am aware that the viewer may have already seen a [particular]

subject and that others have covered it. Part of my challenge is to de-familiarize the subject. I need to make people see the world as a little strange again, with fresh eyes and new insight. Perhaps I shoot animals as I do because I see so many people shooting wildlife images, doing documentary work. I am more interested in how we, humans, are involved in this subject—how we are anthropocentric, inevitably putting ourselves at the center of

Tim Flach:

Words and Photo by Tim Flach

“I need to make people see the world as a little strange again, with fresh eyes and new insight.”- Tim Flach

any understanding of animals. We also respond to them by imposing our behaviors onto theirs, and see them as we see ourselves.

Do you work with animal wranglers?

I work with animal wranglers as well as owners. This Puli, which is a Hungarian herding dog, was a difficult subject to track down. I knew we needed a dog that had a long show coat that could jump on command like an agility dog. We managed to track a dog down—Andy—across the Atlantic in Denver, Colorado. He was six years old, which meant he had a fully developed show coat but he also liked to compete in agility trials and had the correct training for jumping on command.

Please tell us about the composition and lighting of this photo. I edge-lit the dog to give form and define his shape in the air. I used the lights subtlety to draw the eye away from the edge of the dog.

What equipment did you use?

had the owner calling the dog with the camera positioned between the owner’s legs.

How many shots did you take?

It’s probably assumed that I shoot a lot of images when I am doing that kind of picture, but because I am using a Hasselblad and I don’t have a flash system that recharges within a second, anything that happens has to be a “chosen” moment. There is something about trying to get a particular fraction of a second and not just rattling off images by pushing your finger on a trigger. In the majority of cases when I do fast moving animals or birds, I am working in single shot mode. I am picking my moment—maybe that’s my homage to Cartier-Bresson and his “Decisive Moment!”

Do you work a lot in postproduction?

When it comes to my own books, I do all the [retouching] myself. I don’t pass it off to my assistant. The reason is that I believe

fundamentally that if I am going to grow, and evolve in making images, then I must take the skill sets with me. I don’t want to find a weak link sometime in the future when I no longer have that great retoucher I used to have. I don’t over-process images—the authenticity of the image always remains—but Photoshop helps me craft the image and lead people to what I find interesting and surprising and want to share.

How do you deal with the challenges presented in lighting and shooting a moving subject?

For freezing the behavior of animals in the studio, my top tip is a high-speed studio flash system from Broncolor. It has the shortest flash duration on the market and ultra quick recycling times. I use nothing else for my studio work. Measured at T0.1, Broncolor is three times faster than the competition measured at tT0.5. This shot was captured at 1/3000 sec.

Is there a characteristic that you always want to elicit from an image of an animal?

I like to use photography as a way of extending people’s experiences. You can have signs in the image that have a potential to take people somewhere else. You may not understand everything that is there, but you can have a sense for it. So, I might have an image of a neck of a horse; at one level it is a horse, in another people might see it more as a mountain. Having heard people discuss it, I see they can find other associations. Photographs have this potential for layering many interpretations and ambiguity, which makes photography very special. But its ultimate strength is in that something existed at some point in front of the lens. If that ingredient is maintained and respected, then you have the potential for people to find a lot of connections out of that original moment that you may never have anticipated.

I used a Hasselblad H3DII-39 because of the image quality produced with a larger CCD chip. This allowed me to capture every last hair on the dog as he jumped toward the camera. To achieve sufficient depth of field to give the impression that everything held focus, I used a 100mm lens at f18, which gave the correct balance between depth of field and optimum optics.

Did you use any special techniques?

To get this action, we used an agility jump with a black bar and rubber matting. To achieve the eye contact straight to camera, I had my assistant release Andy then move out of frame whilst I

PRO: TECHNIQUE-”Time Flach on Shooting Animals” Page 65



Redpenny Casting

By Isaac Lopez I Photo by Seth Caplan

Suzanne Stack on the art of casting the perfect talent.

P How did you come aboard RedPenny?

I’m originally from New York, I moved back here from San Francisco about four years ago. I had worked with a producer many, many years ago who’s based in New York. He and I had kept in touch, so I let him know I was back. Long story short, he told me about this idea he had to start a casting agency. He didn’t want to run it, he didn’t have time to run it, but having produced for so long, he knew what was missing in other casting agencies. He had formed it; the only thing he was missing was somebody to run it. So he asked me to run it.

Let’s say

you’re in charge of producing an ad. You’ve dedicated all of your time and energy to it. You’ve sacrificed sleep, your social life and a drug-free lifestyle for it (hey now, I’m just talking about caffeine. Crack is wack, kids.). And now, it seems like all of that hard work is paying off and the wheels are about to be set in motion for the big shoot. Photographer? Check. Location? Check. Talent? …Talent? His agency just called: the guy broke his leg trying to do parkour! Don’t have a panic attack, now. Take a nice, deep breath and chill out, because your job is about to be saved. RedPenny is a New York-based casting agency that won’t just throw a bunch of people at you who happen to loosely fit your casting specs. RedPenny will find you the person you need. Just as you’re tirelessly—borderline obsessively¬—making sure your shoot goes off without a hitch, RedPenny is also tirelessly—borderline obsessively—working to make sure you’re getting the right person for your ad, whether it be for print, the web or television. That kind of drive and dedication can be attributed to RedPenny’s Casting Director, Suzanne Stack, and her team. Stack, a former advertiser herself, is all about perfection¬—whether it be the talent she’s pursuing for a client, the presentation of RedPenny’s website or their iPad app, which lets you view the casting from wherever you are in an organized, easy-to-view manner (they’re the first casting agency to even have an app!). Resource caught up with Stack recently at RedPenny’s NoHo office, where she told us about her methods of finding talent, some of their most challenging casting requests and what exactly makes RedPenny different from other casting agencies.

Tell me about your prior experience before joining RedPenny.

I was running my own casting agency for over fifteen years. Before that, I was at a series of ad agencies. As I was ready to walk away [from the business] —I was like, “OK, I’m done with advertising, I’m ready to do something different now” —old friends called me and asked me to help them start their own agency. So I went for it, and I worked with them for four years. Then I was like, “OK, now I’m REALLY done.” A photographer friend asked me to find some people for a shoot, and then


I would say Puma, for sure. Puma Social was huge—we cast twentythree people [for it]. And the Amtrak [campaign] was a big one. They ran the ads as full-page ads and double-page spreads. RedPenny is relatively new—I started in February—so there hasn’t been as many as there will be in the next year.

Seth Caplan:

What are some of RedPenny’s most popular, most successful campaigns?

another photographer asked me to find some people for a shoot. I think it was because they didn’t have a budget that they never mentioned the word “casting.” They were like, “We need you to help us find some people.” So I did it, and being naïve about this, I was like, “Well, they didn’t call it anything. I guess there’s no word for it.” I just kept saying, “That was so much fun. Whatever that’s called, I wanna do that again!” Finally, one of my photographer friends took pity on me and said, “Um, that’s called casting. You can do that for a living.” And I was like, “You gotta be kidding me.” It was the best news I had heard, ever.

How do you go about finding talent for your clients? The first thing I do is I ask the client for a layout—that might seem kind of obvious, but sometimes they don’t send us one. Maybe it’s


because of my [ad] agency background, but I really need to see the whole picture before I can wrap my mind around it. Once I see what they’re doing, then I know if I need an actor, if I need a model, or if I need a real person. If I need an actor or a model, I’ll go to acting agencies and modeling agencies. If I need real people, then I go into what I call “detective mode.” Where would this kind of person be? Now, some things are pretty straightforward. If it’s a commercial fisherman, you go down to the dock. If it’s a surfer, you go to the beach. And you learn pretty quickly that timing is everything. There’s been so many times when I’ve shown up somewhere and people’ve said, “Oh, you should’ve been here two weeks ago / two minutes ago / two days ago.” So it’s not just figuring out where they are, but what time they’re there.

Casey Neistat on Overnight Videographers

What were some of the most difficult casting requests RedPenny has received?

This was a job awarded on the Friday of Memorial Day weekend. They said “Find us kayakers, they need to be [ages] twenty to thirty, all ethnicities.” And because the client was Nike and it was for shoes, they needed to fit the prototype shoe, which was for men [size] nine. Another one was [finding] opera singers. But either they weren’t interested, they were busy, or they were on the other side of the world performing. Then it becomes challenging. And I love stuff like that! It makes it much more fun and interesting.

What sets RedPenny apart from other casting studios?

It’s really important to RedPenny that our staff is very peoplecentric, which seems obvious, but

By Casey Neistat When I opened my first HDSLR (it was a T2i, I still can’t afford the 5D), clicked it into movie mode and filmed my brother eating Chinese food, my reaction was quick and confident: “Holy fuck, this looks like a real movie.”

Casey Neistat:

It is incredible what can be done with that camera. My friend Lena Dunham shot her movie Tiny Furniture on an HDSLR and it looked incredible. I saw it in a theater and it looked incredible! That camera made it possible for her and countless other filmmakers to shoot their movie with a budget that otherwise would’ve been impossible. It’s a blessing. Maybe a miracle.

Cinematographer Casey Neistat explains the difference between dabbling in video and being the next Orson Welles.

it’s not always the case. I’ve sent my real people to castings at other agencies on the West Coast and here in New York before I was with RedPenny, and I would ask them how the casting went—not to dig for information, but just because I wanted them to feel comfortable so they would go to the next casting I sent them to. I learned through their feedback that the castings that I direct are friendlier and kinder, gentler. What also really sets RedPenny apart is the technology. I take it for granted, but I have to remind myself that the clients don’t; they’re really wowed. The casting website that the clients get when the casting is posted—we pulled out all the stops. The presentation is really fantastic. The lighting [of the photos] is dead on and always consistent. [The site’s navigation] is really user-friendly. Anybody can figure it out. Clients are telling us all the time it’s the best they’ve ever seen.

Type “5D test” into Vimeo and you’ll find about seven thousand videos. All equally pretty. All equally boring. Now I’m no cynic, and I also have nothing against beauty. But I love well-told stories. That’s what I love about movies. The best told story makes the best movie. Just like knowing Final Cut doesn’t make you an editor, knowing how to use a camera doesn’t make you a cinematog-

rapher. These things are tools— tools to help filmmakers tell their stories. You can’t build a house without a hammer and you can’t make a movie without a camera. The HDSLR is the best hammer to come along in a long time, but if the person swinging it doesn’t know how to build a house, well then, they’re just hammering nails.

Casey Neistat was born and raised in Ledyard, Connecticut, a farming town turned Foxwoods Casino town. His mother bought a VHS camera from Sears on credit in 1989 and was generous in letting the kids use it. Casey moved to New York City in 2001 to make movies with his brother Van. The two worked together exclusively on the production of their 2008 self-titled HBO series, The Neistat Brothers. In 2011, Casey won an Independent Spirit Award for his work as producer on the film Daddy Long Legs. Casey currently lives and works in New York City.

PRO: CREW PRO-FILE-”RedPenny Casting” Page 67




By Skip Cohen I Illustration by Angel Ortiz

An Autobiographical Tale: The Trials and Triumphs of Industry Leader Skip Cohen

So here I am, sitting in this little lobby which at

best might hold four people. I’m a little nervous as the receptionist slides back the window. “Can I help you?” she asks peering out of an opening not much bigger than a Dairy Queen window. OK, so what exactly do you say when you’re the new president of the company? “Can I come in? I’m the new prez.” I guess I just expected the door to open, but no. She hit the panic button, dropped everything—including the phone she was talking on—and ran! This was my introduction to what would become one of the greatest jobs of my career: president of Hasselblad USA. It’s interesting that one of America’s biggest, most respected photo retailers at the time had advised me not to take the job. “Hasselblad is arrogant. You won’t have as much fun as you do at Polaroid!” *Ding* Another life lesson: Listen to everybody who gives you advice. Always be polite and thank them for taking the time to give you feedback. Ponder their comments, and then do whatever the hell your heart tells you to do! I got a lot of credit for changing Hasselblad’s approach to the market and putting them back on the map, but I had little to do with it. I had an amazing staff. It was like a family when siblings fight a little, but we got the job done.

Suddenly, this little company was involved in great advertising and promotions, and business grew. Medium format was hot and, despite what the competition pitched in their ads, there was nothing like Hasselblad’s quality. That reputation helped create some of my most amazing professional experiences. Avedon once cooked me pasta for lunch; Scavullo’s dog tried to bite my leg; we had lunch one day at Penthouse’s founder Bob Gucionne’s before teaching him how to use a Hasselblad. I took a trip to the White House just to hang out with Senator Howard Baker when he was President Reagan’s Chief of Staff. And then there was the Ansel Adams’ legacy that opened so many doors and experiences. Now, here’s networking at its best, before anybody even used the word. I was asked to be on the Board of Fellows for the Center for Creative Photography in Tucson, Arizona, which was founded by Ansel Adams. Richard Avedon was then turning over his archives. It was my first function; I felt like a rookie drafted in the top of the ninth inning of the last game of the World Series. I hadn’t done anything, but still got the trophy, which in this case was winding up in a little all-u-caneat Mexican restaurant and bar with Avedon, Hiro and Norma Stevens, friend and assistant to both. It doesn’t get much better than that! A month or two later at another board meeting in Tucson, Virginia Adams, Ansel’s widow, donated Ansel’s ’77 Cadillac to help raise money for the University’s visiting scholar fund. Ansel and Victor Hasselblad had been good friends—so, what the hell, I decided to buy the car with Hasselblad’s budget. We sold it for charity, raising funds for Photographers + Friends United Against AIDS. Almost every photo magazine gave us a free full ad page for the sale of the car. No-

body had ever done a fund-raiser like this before! Here’s where networking starts kicking in: Helmut Horn, a hotel legend from Chicago bought the car for $25,000. At dinner shortly after, Helmut showed me some of his underwater images. The work was done with a Hasselblad in an underwater housing, and it was spectacular. I made a simple comment, “I always wanted to learn to dive, but was always afraid of the idea.” Two months later, after a barrage of phone calls and being called “chicken” repeatedly, Helmut had me getting my scuba certification. This led to working on updating Hasselblad’s underwater housing, and it sent me on adventures all over the world. By 1998, I was getting bored. One day, two guys trying to start an online photo company walked in and offered me the job of president. To this day, I still can’t tell you if it was a good move or the worst decision I’ve ever made. PhotoAlley. com aimed to create a retail store built on community, and the two founders were brilliant marketers, but they knew nothing about the photo industry. They needed me to “play” president and build a buying office in New Jersey, while they handled all the development work on the West Coast. From a networking viewpoint, the new career path was amazing. It brought Jim O’Neil into my path and he is the finest buyer in the industry. He had us doing twelve to fourteen turns of the inventory a year without a single computer report. PhotoAlley, though it broke the thirty million dollar mark in sales, never made a cent! The concept imploded in 2001 along with the Internet bubble—and my dreams of that shortcut to my own island retreat in the Caribbean. There I was, without a job and standing in the unemployment line… In business when a project fails, you always hear the same rationalization, “But we learned a lot!”

Well, PhotoAlley definitely tested my ability to learn, not just about marketing and the Internet, but also about my own patience. We would have great ideas but pretty regularly heard, “No, we can’t do that!” from the programming guys. Jim used to call them, “Dr. No” because that’s all we ever heard from them. But the experience did teach me that if you look hard enough, you always find a way to do anything, especially with a computer and the Internet. I was out of work for a couple of months—pretty much going nuts on a daily basis—when the owner of Rangefinder, who had been a close friend for many years, offered me a job as president. It’s advice time again and *ding* that life lesson about advice from people reared its head. A very good friend said to me, “Why would you want to go work for a ratty little magazine like that?” By this point


in my career I was a little gutsier so I responded, “It doesn’t have to be a ratty little magazine forever.” Once again, success is all about team building, and the crew at Rangefinder was amazing! I had a fantastic team of senior managers, including Bill Hurter, George Varanakis and Arlene Evans. In fact, most of the staff in the entire company was pretty amazing and together we changed the look of Rangefinder, added in AfterCapture magazine and grew WPPI into what most people consider the best photographic show in the country today. I could write a book about the experiences at Rangefinder, but unless you were there you’d never believe the stories. Even with the daily frustrations of trying to grow a small family owned company, it brought my involvement in the industry to an even greater level of passion,

leading me to start my own consulting company in 2009. I’ve said it hundreds of times at various speaking engagements: “With the exception of modern medicine, there’s no industry that’s given the world more than photography. Photographers capture the full range of human emotion and share those images with the world. Think about what a newspaper or wedding album would be like without photography. From outer space to the bottom of the Grand Canyon, everyday, photographers make it possible for each of us to see another corner of the world. Being in this industry carries a big responsibility and it doesn’t matter where in the process or on which side of the camera you stand—if you’re not having the time of your life, then you’re doing something wrong!”

TITLE: Fashion and Celebrity Stylist / Fashion Editor FutureClaw magazine YEARS IN THE BIZ: Over 10 year experience as a stylist WEBSITE: EMAIL: / CLIENTS: Surface, ELLE, Maserati, Neiman Marcus, Nautica, Aveda… CELEBRITIES: Alicia Keys, John Legend, Christina Ricci, Terrance Howard, Jon Bon Jovi, Naomi Campbell…

BIO: René Garza started in the industry as a fashion designer. Photographers used his

clothing for shoots and later asked him to act as a stylist on set. It became an easy way to get Garza’s creations in magazines and on celebrities. Styling soon began to claim his full attention. After just four months of deciding to become a full time stylist, Garza was working with clients like Aveda and Levi’s. René Garza spent the next few years traveling between New York, Dallas, Los Angeles and wintering in Miami. He is now based in New York full time.

Inspiration: Art, travel, minimalism, geometry, dark gothic and romanticism.

Fashion and Celebrity Stylist, Rene Garza Photo by Clayton Cubitt PRO: DAWN OF THE INDUSTRY-”Skip Cohen Part II” Page 69



How To Start A Photo Collection

By Matt Morton

A new generation of online gallerists offers affordable options to photo lovers everywhere.

The world of fine art photography is being redefined for collectors and artists alike. New digital methods of distribution are creating alternatives to the conventional gallery scene. While galleries harbor a certain prestige (and for some people a dose of quaint nostalgia), we currently live in a time that advocates convenience above all else. In this digital age, mere physical galleries are no longer sufficient for a new breed of art collectors.

sonal works and promote them to the art-buying world. Bridging the gap between galleries and collectors, Luster simultaneously exhibits artists’ work while attracting the public with affordable pricing. The pressure to sell no longer rests on photographers’ shoulders, freeing them to focus on their work. Joshua and Jodie oversee the entire process, from curating the work and marketing each photographer individually, to printing and shipping to the customer. When Luster reaches out to a photographer and they agree to conduct business, the next step is for the artist to submit images for selection. An edition (a fixed number of prints) is then defined. Once Joshua and Jodie have printed the proofs in their studio, and the artist is fully satisfied with them, three prints are then provided free of charge for the artist to keep. The photographer supplies Luster with a brief bio and description about the work along with a signature, ensuring a certificate of authenticity. All prints are produced as archival pigment prints. The in-house printing allows for different print sizes (and therefore, different price points).

Joshua and Jodie Steen are among the vast group of collectors who yearn for simple, convenient access to art. Joshua, Director of Digital Services at Root Capture, works directly with photographers creating capture workflows. He also manages studio shoots for two top-ranking studios in NYC. Jodie, owner of 127 Productions, designs and manages color solutions for photographers, artists and advertising campaigns. They believe photography to be one of the great aesthetic mediums people connect with and respond to–and that everyone deserves the opportunity to own great art. However, access to artists is scarce and the collecting community too often defined by money. With intentions to change things, they formed Luster, an online digital gallery that brings art seekers and illustrious photographers together.

The nitty-gritty is handled by Joshua and Jodie themselves–posting content to the site, marketing it, managing orders, printing, shipping and accounting. Furthermore, Luster offers an interior design consultation for those looking to spruce up their home by adding fine art photography to their walls.

“Luster is an outlet for photographers’ fine art editions–for their true passion,” explained Joshua. “We are not taking away from the gallery scene. Jodie and I are filling a niche for the new collectors, welcoming them to the art collecting world.”Luster is Joshua and Jodie’s way of taking the usually insular art world by the horns. The service provides a means for acclaimed commercial photographers to showcase their per-

Luster is Joshua and Jodie’s labor of love. It’s a product created through their passion for collecting photography combined with their career involvement in digital capture. Their individual expertise complements one another, forming a comprehensive skill set that puts Luster in a unique position to take on the modern challenges of the art trading world.

Other unique services can be found in similar form. Negative Collection, Edition One Hundred, Shutter Lounge, Circuit Gallery and others alike all share the similar service of selling fine art photography online. By placing artists’ work within reach, these digital galleries are swaying the art world into a new reality. One by one, each service is opening the floodgates and granting the public easy access to original art.


A single piece of fine art

photography can alter the tone of an entire room. Imagine if owning an original print was as common as owning a ceiling fan or a vase with flowers. Adding something so distinctive and engaging can transform the way people look at art. However, art collecting has always been a world many do not feel prepared to enter. Galleries, by and large, are isolated entities that are only capable of being in one place at a time, often limited to displaying the art of a single photographer. They can be filled to the brim with ostentation and intimidation–scaring away those curious about collecting but unsure of where to start.




By Kenny Ulloa I Illustration by Katherine Lo

It’s easy to be selfish, especially in an industry that so intensely perpetuates it.

Katherine Lo:

Acting recklessly and being undisciplined with money has a cuteness to it when you’re twenty-four, but eventually the cracks start to show and you end up a desperate thirty-something clinging on to that back-in-the-day moment when things and people were “realer.”

PRO: ETIQUETTE-”Working With Friends” Page 71




By Elizabeth Stacy, Freelance Digital Tech

It’s a new, brave, wireless world we live in. You’d better be ready.

and the Art Director wants to use his iPad to see the digital captures instantly. So many questions are probably going through your head then. You’re wondering, where do I start? How do I know which system and app to choose? How do I know which one will work best for what I need? It seems everyone is going wireless so, as digital techs, it’s important to know and understand the possibilities that are available to us. Let’s start with what works best now. The best way to capture and view images wirelessly is to use a manufacturer’s proprietary software and app. These are the most reliable and streamlined for workflow. By using a proprietary app, you will find the setup to be

simple, quick and user-friendlier than with some third party apps. For instance, if you are shooting with Capture One Pro or Hasselblad Phocus, you will want to download their apps. Capture Pilot, part of the Capture One Pro’s system, works incredibly well, and with the software being such an open platform for so many cameras, it is the option most often chosen. Hasselblad’s app, Phocus Mobile, works seamlessly with the integrated Hasselblad system. Both apps open up possibilities for client and techs alike during the shoot; you can zoom into the image for a quick focus check or rate it via your mobile device. We understand not everyone uses one of these two systems, so other options are programs

that do not have a proprietary app for wireless viewing. Air Display, created by Avatron Software, allows your mobile device to act as a second (or third) monitor/ display. What is great about this app is how easy it is to use; it’s just like having a second monitor attached. Open a second viewer in your software and, voilà, there it is on the device. Now, keep in mind there may not be options for rating, scrolling through or zooming in on the images. It all depends on the software you are using. Mocha VNC is very different from Air Display. Instead of acting as a second monitor, it displays the entire computer screen and gives control of the computer to the portable device’s user. Yes, I know you are wondering why use this app if it gives clients control over

your computer, but there are ways to lock this control. So, for an app that works great and provides a “smooth” experience, Mocha VNC may be a good choice. Now that the options are narrowed down to the most reliable and easiest to use apps, the important thing is for you to try them on for size. Testing is the best advice I can give because you will find some apps work for your workflow and others will not—or maybe one app is better for certain situations than others. Every client is different, which creates a new dynamic for every shoot. As long as you are on top of all the possibilities, you will be well prepared for your next encounter with an Art Director.

Elizabeth Stacy:

You’re prepping for a shoot



The principles of Depth- Part 1 of 4

By Stephan Sagmiller, Lead Retoucher at CyanJack Photos by Braden Summers

How I learned to stop worrying and love the bomb.

Photographers are always asking me how to achieve a particular “look,” expecting a simple how-to. But the answer is always more complex

than that. Although I can explain how to process and light for a “Jill Greenberg” feel, the magic is always going to be missing. In terms of technique, I think that’s why so many photographers find their images falling flat. Photographers are much better off if they were to stop worrying about “style” so much. There is no magic bullet that will launch you into photo superstardom; it’s not a new Photoshop filter, it’s not a fifteen-light setup, and it’s definitely not a plug-in. When your focus is held true to the very core of the way that you approach your image and its relationship with content, your unique look will evolve on its own, and that’s something that nobody can ever take from you, because you’ll always be one step ahead. One very important core challenge for photographers is the translation of three-dimensional space to print. We go out into a world full of depth with our cameras, a world that awakens every molecule of our human senses, only to reduce the whole of that experience into a flat surface. The camera is reductive at every turn: it lessens your color palette; it flattens; it warps, distorts and crops. I’m going to show you strategies that will enable you to whip your images back into shape. Once you comprehend these techniques, you’ll have the foresight to push your images in any direction—toward the real, unreal or even surreal. With little effort, you will find your images looking more polished and dynamic.

The 7 Depth cues: * Hue, Saturation, Value * Scale * Perspective * Cast Shadow * Edge sharpness * Overlapping * Texture

Let’s call this strategy the Seven Principles of Depth. These seven concepts will guide you to pre-visualize and control depth and atmosphere in your work. In the next few issues I will demonstrate all seven principles. Today I’ll touch on Hue/ Saturation/ Value (HSV).





: Warm colors usually come forward while cool colors recede, especially for complimentary colors.


Notice how all of the depth cues work in concert with one another to create the illusion of the 3rd dimension.


: Saturated colors come forward and de-saturated colors move backward.

Value : If you ever heard

a press operator talk about separation than you’ll be at home with the use of value to create depth. Notice how the tones in the edge of the hair got highlighted and tones in the dress were darkened to give the figure separation from its background. In general lighter tones will come forward and darker tones will recede. However, this will depend on your figure vs. ground relationship— for example, if most of your image is very light, the rule will invert and dark tones will come forward instead.

A 15 element composite, inspired by Edward Hoppers painting Soir Bleu photographed by Braden Summers.


PRO: THE TECH-”The Principles of Depth Part 1 of 4” Page 73



The 180-degrees rule

By Ross L. Hockrow


How to shoot without loosing sight of your subjects. We’ve heard about it, we pretend to know all about it when the subject comes up... but what the heck does the 180 Rule even mean? As a filmmaker, it comes as second nature, and in about 700 words into the future it will be second nature for you as well. What is the 180 Rule exactly? Close your eyes (well, only if someone is reading to you, otherwise just imagine). Picture a pizza. A perfect circle. Imagine that it is your world whenever you pick up a camera. You can go anywhere and film anything. Now place your subjects in the middle of that pizza. The next step is to, without harming your subjects, saw the pizza in half. Draw an imaginary line down the center. Here is the 180 Rule in a nutshell: you pick one side of that pizza to film from and you stay there. Simple as that. Wait a minute though, there’s more...

(Establish girl on right looking left, chef on left looking right.)

Let’s go deeper into that concept and talk about why this rule even exists. It’s about perspective. The audience is not standing on the set or location with you. They haven’t the slightest clue where the subjects are standing unless you tell them. If I have a “two shot,” meaning a shot with two people in it (see diagram below of picture 1), and I establish one person on the right and one on the left, they will stay there, no matter the shot. Close, medium, wide, with the camera in a helicopter, … just keep your subjects on their respective sides of the frame in every shot. As viewers, we see the screen and associate the framing with things we can’t see. In other words, we assume the position of one subject or the other. “Now I’m confused. I thought the 180 Rule determined where I, with my camera, can stand. What does that have to do with the subjects?” Good question, and it’s a combination of both. By placing your subjects in the proper position of the frame, you’ll never be able to leave the half circle, and by never leaving the half circle you will never film a shot incorrectly. Always remember this diagram when you establish subjects—whether it’s for a wedding, commercial, a short film, or anything where two subjects will interact with each other. Notice how the subjects stay on their respective sides in all three shots. The trick is not to think about what side of the frame the subject is on, but more about who belongs in the negative space. Take image 2 for example. Imagine that shot was a little closer and we could not see the chef’s back—the shot is still correct. That negative space, or the direction the subject is facing, represents the off-camera subject. It’s important for the audience that they can make this connection. To make the rule simpler, think about what side of the frame you establish your subjects on and what direction they are facing. Then you are free to roam from there. What if you’ve been sticking to the rule like a saint, but then an unpredicted magic shot happens? The best view for it is across the pizza line, but the rule is vibrating through your head and you have no clue what to do. Cross the line. Get the shot. There’s a very simple way to break the rule. It’s called “the cat in the window.” Whenever you sense you’ve “crossed the axis,” have no fear. Film a simple b-roll or a cut away shot to slip it in the middle of your scene. Before letting your scene cross the imaginary line, slip in the cat in the window to trick your audience.

(Girl still on right looking left)

(Chef on left looking right.)

If you still don’t understand this, don’t worry. You’re not slow. Just make yourself a pizza and imagine it’s a scene. Think about the three pictures above. It will make sense by the time you finish that first slice.

Ross L. Hockrow is a Washington, DC cinematographer. Hungry (for more knowledge)? Visit and check out CineStories DSLR filmmaking tour. 40 cities, 4 1/2 hours, cheaper than film school.






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RISE “Inspiration, information and tips for emerging photographers.”

TIPS: Kids Portrait



Portraits are one of the most methodical forms of photography, but when your subjects are adorable (though sometimes rambunctious) kids who don’t like to sit still, getting your perfect shot can be a little—or a lot—trickier. Here, Resource spoke to photographer Anne Mourier about some tried and true tips on capturing the little ones. This checklist will come in handy whenever you’re working with kids—be it for a commissioned shoot or just taking pics of your brother’s expanding family.

R RISE: TIPS-”Kids Portrait” Page 77


Kids Portrait Cont’

Alternate Angles.

Play Into The Kid’s Interests.

Go The Natural Route.

Practice Makes Perfect.

Everyone loves close-up shots of a cute kid. But sometimes the most interesting pictures are shot from the back, from above or from another angle not commonly used. And don’t forget to get down on their level—literally. Bend down so you’re at eye-level with your subject for a more intimate feel. You may also try going the abstract route and avoid shooting the kid altogether. Instead, focus on the teddy bear in their hand, their favorite red sneakers full of mud, the pencil they chew while doing homework, or something else that speaks to their personality.

Get the kids engaged in something they love: playing with a doll, painting or drawing, reading a book, eating mac and cheese, playing dress-up, brushing their teeth even if they cannot reach the sink yet... You get the idea. Not only will you get great candid pictures but the images will later remind them of their favorite activities at that age.

When it comes to lighting, use natural light as much as possible, even if you’re indoors. Pose kids next to windows; remove curtains to give the room more light. A soft light coming from the side can add interesting shadows, and backlighting can create fun silhouettes, so explore! If you are photographing outside and the sun is casting too many shadows, compensate by using “fill-flash”—firing the flash on purpose to fill in the shadows.

With any skill, repetition and practice are key, so take plenty of pictures. After all, that’s what seasoned professionals do—they don’t get it right the first time either. Keep your camera handy, not buried somewhere where it’s hard to reach or find. Be ready with extra memory cards and charged batteries. After you’ve snapped away, backup your files meticulously.

Splurge On A 85mm Lens.

It’s A Balancing Act.

Jeff Niki, who’s worked with Richard Avedon and other famed photographers [and father of Editor in Chief, Alex], recommends this lens because it’s the “emotional lens” that captures the heart and spirit of people. Photography is the art of telling a story through images, so pick the lens that’ll give you a deeper insight into the child’s personality.

Use white balance to compensate for the type of light you are using (natural shady light is too cool, tungsten is too warm). Though your eye might not see the difference, the camera is sure to pick up on it—using the correct white balance will help keep skin tones look accurate.

For Speedy Kids, Choose AperturePriority.


The aperture-priority mode will give you control of the depth of field—for example, do you want to see what’s in the background or not? If you are in decent lighting conditions, start with setting your aperture on F4, which will throw the background out of focus (most of the time this is what you want) but keep the whole face in focus (which is definitely what you want). Meanwhile, keep the shutter speed at 1/200 or faster, lest your picture become blurry. Bumping up the ISO can also help in getting sharper, clearer pictures.

Miscellaneous Tips. The best metering mode for portraits is often “spot metering” (single point metering system). If there are very dark or very light areas in the background, the spot metering will help in getting the right exposure where you want it: your subject’s face. Also, selecting the “continuous shooting mode” to take more than one shot at the time can help you catch “that very special moment” without having to constrain children in their movement—which is close to impossible anyway!

Anne Mourier gives photography classes to both parents and kids. More info here:

TIPS: Don’t forget to get down on their level—literally.


Lens Skins- Camera Stickers By Sam Chapin

For many photographers, the camera is an extension of the self: it goes wherever we go and sees whatever we see. But no matter the location or occasion, our cameras never change. They remain cold, black, and boring. Unless you’re using Lens Skins, a removable, high-resolution, vinyl die-cut protection wrap for your lens. Now, if you’re shooting kids, you can be shooting with a camera covered in ladybugs. If you’re shooting wildlife, you can be using a camouflaged camera. Or, if you’re trying to impress your girlfriend’s family, you can show off with a camera seemingly made of solid gold. LensSkins:

By Sam Chapin

Enter as many contests as possible.

But don’t enter if you don’t have the right work.

This is obvious, but important. If you want to win a photography award, you’re going to have to put your work out there. It will go nowhere more than once, and that’s fine. Just keep submitting. The worst that will happen is that more people will see your work.

It’s easy to get off-track and send a beautiful photo that has nothing to do with the contest you are submitting to. File your work in the right category. A beautiful landscape is not going to win an automobile photography contest.


Follow the rules.

Think as a judge.

If the contest asks to submit a photo, then send ONE photo. If you send multiple images, the judges might take off points or even disqualify you altogether. And don’t try to be sneaky: a triptych is not one photo; it’s three, so don’t go there.

Don’t send a photo that you’ve seen before; like a sunrise or a sailboat on the ocean. The judges are getting plenty of those. Be creative. Send a photo that is interesting to you. Odds are, the more original you are the more people will appreciate your work.

Don’t be afraid to promote yourself. If the contest is based on public votes, you have to campaign for them, so to speak. Tell everyone you know to vote, litter Facebook with reminders, email all your contacts, ask your grandma. And if you win, promote yourself all over again.

PS: Don’t forget to read the fine print. If the rules say that the contest has “rights grab,” do not enter. This means that they can use your photograph for their own devices, without your permission.

RISE: WE HEART THIS-”Lens Skins- Camera Stickers” Page 79



KT Merry, Photographer


By Resource Staff | Photos by KT Merry

KT Merry was attracted to the arts

at a young age, drawing, painting, and using her pets as subjects for her “photo shoots.” She eventually won a Photo Scholarship and went to Hallmark Institute of Photography. There, she learned practical and technical knowledge she was able to put to good use assisting fashion photographers in New York and Miami. KT talks to Resource about her decision to move from fashion to wedding photography, what the job entails, and why she loves it.

What attracted you to wedding photography? After four years of assisting and digital teching, I knew that I wanted the creative freedom of being my own art director and the owner of my own business. At that time (almost five years ago), something of a revolution was happening in wedding photography. The industry was attracting younger photographers; the traditional style was giving way to the ‘photojournalistic’ wave, and couples were embracing a new creative freedom when planning their weddings. It was no longer about having a cookie cutter wedding but rather expressing who you were through location, details, fashion, ... I was attracted to the creative freedom, and after shooting a few weddings I was hooked.

How did you start in the business? Once I made my decision to shoot weddings, I launched my business and began second shooting for other wedding photographers. This gave me the practical knowledge I needed; these experiences taught me to be in the right place at the right time, to anticipate events, and which techniques worked for me. All of this without the pressure and responsibility of being the main shooter.

You shoot both real life weddings and wedding editorials. Is your approach different for each? It is the same in the sense that I am always shooting with the end product in mind. With a wedding it may be an album, with an editorial it may be a magazine, but they both require detail shots to set the scene and tell the story, portraits to capture the love and emotion of the day, and landscape or interior shots to give it a place. I shoot a combination of medium format film and digital for both weddings and editorial jobs. I handle all the post-production for the digital images in-house while the film is sent to a lab and later worked back into my edit with the digital images. The main difference with editorials is that I have a team of vendors there to help me create something beautiful to photograph. At a wedding, I have the responsibility to create a beautiful experience for my clients as well as beautiful images. I will always put the couple’s experience first to ensure their day is everything it should be—even if it means not having the opportunity to capture every image I would like.

What are some good questions to ask your wedding clients prior to the big day? I like to get a feel of what they are looking for. I always talk about schedule and let them know that I like to be a part of determining the day’s timing. This ensures that I have proper lighting for key moments and also guarantees enough time is allocated for each event.

Do you stage shots or only document what unfolds? Both. Throughout a wedding day, I take on many different roles: in the bridal suite, I focus on detail shots (shoes, dress, rings, invitation, etc), and shots of the bride getting ready, which are more photojournalistic. For portraits of the bride and groom (alone, together, with the bridal party), I become more of an art director—selecting locations, directing the couple, and helping them relax to capture the emotions of the day. During the ceremony and reception, I juggle composing details and portraits while photojournalistically capturing the day’s events. I am very fortunate to have my husband, Chad, as my second shooter and office manager. He assists me for the details shots, then leaves to shoot the groom while I shoot the bride getting ready. He will then second shoot the ceremony, assist me during portraits (or shoot cocktail hour), do long exposure shots of the reception area while I shoot the details, before we both shoot the reception.

What are some of the golden rules you use? I think it is extremely important to realize a wedding is one of the most significant days in a couple’s life. Though I may shoot quite a few of them, I approach each as if it is the most important wedding I will ever photograph. I take a personal interest in helping my clients enjoy their day and make sure that I am part of that positive experience. Occasionally that will mean carrying a dress or giving instructions on tying a bow tie—I’m happy to help when needed. I also feel that being a professional is crucial. Weddings are a one-time event, and unlike an editorial, you can’t redo a first kiss or first dance. Being prepared with the necessary equipment (and backups), being on time, dressed appropriately, treating other vendors with respect are all imperative.

How do you deliver your images to your wedding clients? First, I send them an online slideshow of selects (using Showit Web), followed by all the images in an online gallery (using Redcart). I also provide them with 4x6 printed proofs and flush mounted leather albums by KISS or Japanese cloth albums by Leather Craftsman.

What are the best and worst parts of your job? My favorite thing is traveling to amazing places to meet incredible people on one of the happiest days of their lives. No two weddings are the same and the unique places and people make for non-stop inspiration. The worst is probably the unpredictability of weddings. Things happen or run late and you have to roll with it. It’s just part of what makes weddings exciting and challenging at the same time. I have become very good at improvising under pressure and learning how to handle stressful situations without it affecting my clients.

KT Merry:

Best advice you can pass on to photographers starting their wedding photography business? When starting off, I think it’s easy to feel that you need to have everything (gear, software, albums) that established photographers have. Try not to get caught up in this (and the debt that often accompanies it). Rather, seek out the experience that you can gain at little cost, such as assisting, second shooting, and doing your own tests. I think too many people try to pass on these invaluable experiences and go straight for what pays. I believe it is important to ‘practice’ and this means shooting what inspires you even if you aren’t being paid. I also think it is important to be inspired by other photographers’ work but to avoid the constant comparison to your own work or where you are as a photographer. Let their work inspire you, but don’t be a copycat, find your own vision and path.

RISE: ASPIRE-”KT Merry, Photographer” Page 81


Skip’s Summer School 2011 By Sam Chapin


To say that Skip Cohen has done it all is a vast understatement. He has worked for upwards of ten different photography companies, many of which serving as president. So when Mr. Cohen invited us out to Las Vegas for his photography conference, how could we say no? It was the second year that he had offered his seminar, playfully titled “Skip’s Summer School,” and it was nothing short of an inspiration for us at Resource. It took place over three days at the beginning of August, a time when we were busy compiling our fall issue, but when we arrived, we were ready to learn. If nobody’s ever told you, Las Vegas is really hot in the summer. When we landed, it was 110 degrees; a temperature none of us were ready for. We sweated our way to the hotel, walked through a giant casino (conveniently located between check-in and the elevator to our rooms), and got ready for our first day of summer school. The seminar focused on three major facets: essential techniques and aesthetics of photography, marketing, and hands-on workshops that taught participants how to get the most out of their equipment, as well as their subjects. To close the first night, Jerry Ghionis, a well-known wedding photographer, gave some advice on how to best capture a moment. He offered some technical suggestions about shooting quickly, but talked mostly of problem solving in high-pressure situations. He stated that unless you have mastered your technique, you will see some great photos slip through your fingers.

The seminar was incredibly inspirational for us all. It reinforced our decision to expand our content to better reflect the diversity inherent in the photo world. We will see you all next year!

Notable speakers: Jules Bianchi Brown, Joy Bianchi Brown, Clay Blackmore, Scott Bourne, Bambi Cantrell, Skip Cohen, Tony Corbell, Bob Davis, Jerry Ghionis, Doug Gordon, Kevin Kubota, Vincent LaForet, Bobbi Lane, Tamara Lackey, Matthew Jordan Smith and Roberto Valenzuela.

Skip’s Summer School:

After three and a half days of inspirational speakers and workshops, Scott Bourne closed the conference by discussing the importance of marketing. Mr. Bourne is an established wildlife photographer, not to mention a social media and marketing wiz. In his talk, he focused mainly on social media, saying that you shouldn’t use platforms like Twitter and Facebook to sell yourself, but rather use them to connect with people. His philosophy seems to be paying off as he has over 100,000 Twitters followers.



Youngkyu Park


Words and Photo by Youngkyu Park

Youngkyu Park:

My first inspiration

is my own imagination, but my work also reveals influences from classical paintings. My goal is to capture the subtle aspects of human nature through my photographic portraiture. I enjoy using large format cameras, which, although labor-intensive and challenging, are worth the additional effort for the refined and studied results they yield. I often ask my subject to drop any expectation, and hold the shutter until I see a moment of recognition. I am not afraid to push the creative edge by applying various styles in my portraiture and looking at my subject in multiple perspectives. I’ve lived in New York City since relocating from Seoul, South Korea, in 2005. I enjoy meeting people and I share my passion of photography by communicating with them through my lens.

RISE: PHOTO CONCEPT-”Youngkyu Park” Page 83



Ivan Otis on Light Painting


Words and Photos by Ivan Otis

Think of a room so dark that you see absolutely nothing… until someone turns on the light—this is the basis of light painting. This technique has worked for me so well that I’ve built and perfected several lights over the years. I’m going to explain here my process (note: for a quick start, try using a simple flashlight. You’ll have to compensate for the low light output, but at least you can get immediate results and a partial understanding of the technique). Shoot a portrait using a friend or model to start off. The results are so incredibly unpredictable and creative that you’ll be hooked the first time you try this new technique, trust me. I built my own light source for light painting using a typical desk lamp attached to a snoot from an old flash head. I then put a 40-watt tungsten bulb, painted the inside of the canister/lamp head flat black and used lots of black tape to prevent any light leaks. The contraption attaches to a black extension cord, which plugs into a wall or an external battery pack.

PROCEDURE: - Set up your camera on a tripod. A cement floor or solid ground is best, as you want to avoid any camera shake. If you’re in a location that has wood or uneven floors, you can weigh down the tripod with a sand bag in order to stabilize the camera during the long exposure times that are required. - If I’m using my 40-watt canister with a tungsten light, I usually set the ISO at 200. My lens is set at f8 and the color balance is anywhere from 3300 hundred to 4800, depending on the color tones I’m looking to achieve.

- Have your subject either stand against a wall or sit in a chair. They have to be completely still while you “paint” them with your canister light. - Focus on your subject. - Turn off any ambient lights. - Open your shutter (small flashlight comes in handy). - Approach your subject with the light source. DO NOT TURN LIGHT TOWARD CAMERA—this would cause light streaks.

This canister light was customized to adapt to a battery power source. It has a 40-watt halogen bulb and a short power cord that runs to a battery attached to a belt on my waist. The end of the snoot has black cloth tape to help soften the light that might leak, and it’s painted flat black for the stealth effect. I can shoot all night with this system, especially since each light pass lasts between 4 and 30 seconds long.

Ivan Otis:

- Set the camera shutter to bulb so that when you hit the shutter, the lens will open continuously.

- Standing to the side of your subject so that you allow the camera fullview, start “painting” your subject with light, holding the lamp approximately one or two feet away. Try not to go over the same area twice. - Time yourself loosely and keep the first try at around eight seconds. You can later increase the exposure time as you see fit.

RESULTS: Review the image. You’ll find in time that you can cross in front of your subject without the camera picking up your image and that you can add low ambient light sources to bring more depth and texture. Sometimes I’ll flash-fill an area or leave a window open in another room to add depth. The trick is to get your timing down so that all the light sources help you create a perfect exposure. And as long as you keep moving, the camera won’t pick up your own image. I’m approximating with my F-Stop recommendations, just basing them on personal experience, but they should be a good starting point. I set my camera at 10-12 second exposures and “paint” my subject until the camera shutter closes, then I repeat the process for the next frame, changing where I paint and for how long I expose each area with the canister light. It’s purely trial and error.


CONCLUSION: There are several reasons why I’m a fan of light painting. Number one, the fact that no two images are ever the same. The results can be incredible or mediocre—regardless, they are almost always a wonderful surprise. Second, the cost is minimal. You can make the canister light for $20 if you find the parts and put it together yourself. The light travels well and weights very little—excellent for location shooting. Finally, people are completely fascinated by light painting. I’ve had a standing ovation the first time I shot an editorial fashion story for a client this way. When I was in Havana, groups of people would join in front of the camera to be part of this unfamiliar, almost magical technique. The result is rewarding on many levels.

Wanna try it? Send your photos of this experiment to We’ll publish the best one in the next issue.

Organized Chaos

By Elizabeth Stacy, Freelance Digital Tech


Elizabeth Stacy: Illustration courtesy of

You’re shooting a job and feel prepared—but you are worried about organizing the files and properly sending them to the clients. Here’s what you should be asking your clients and what to do to assure proper file organization and delivery. One of the most important aspects of digital photography is file naming and organization. This is often referred to as “digital naming convention.” Having a great cataloguing system in place from the start makes things more manageable during the shoot and post-production. It also makes it easier for clients when selecting images. Your system should not only have a set folder organization or “hierarchy” but also a particular naming convention for each folder of images, job folder and the subfolders within (the capture folder, shot folders, and output folder). Confused already? Don’t worry. Let’s delve a little deeper so you can better understand this file management mystery. The Job Folder is the first folder you create. It is the main shoot folder that holds all your RAW and processed files. It’s best to name it with the date, client and shoot names (for example: 110930_ResourceMag_FallIssue). Follow this naming convention on your other jobs, and it will keep all your files well organized on your hard drive and easy to find. Now for the subfolders, the Capture Folder holds the RAW files. There you want to separate the files into folders based on each shot name or number. Clients may have their own system you will need to follow, so make sure to ask. Next is the Processed/Output Folder, which holds the processed files, separated into a TIFF or “hi-res” folder and a JPEG or “lo-res” folder. Many clients will ask for “size as jpegs” for FPO (For Placement Only) on layouts and hi-res Tiffs for print. The hi-res images are the files that will be retouched and used as finals. Other folders may

be added based on clients’ needs and the work you may have to do, such as Selects, Retouch, Composite, etc. Next question is, how would the client like the files named? Many clients will have a shot list ready that you can follow throughout the shoot. If not, suggest a naming convention, and remember that it’s best to have the name include a good description of what you are shooting. The shoot is now done. Time to send the files. Should be easy enough, right? Unfortunately, with all the programs, apps, and websites out there, it can be hard to know which one to choose. Usually, the easiest and fastest way is via the Internet. The preferred method is via a web- or cloud-based program like Dropbox or WeTransfer. Dropbox is a downloadable program that enables you to share folders easily. It creates a Dropbox folder on your computer, where you drop your folders in, and all invited parties are given access to the folder via the web. WeTransfer is a file-transferring service; with just a click of the mouse, choose your folder and hit “send.” It will send you and the recipients an email with a link to download. These are easy and ideal to use but there are several other options. Do some research and chose the one that works best for you and your client. Just remember to go in prepared with a basic cataloguing system and all the right questions, and it will be a flawless shoot!

RISE: THE EXPERIMENT-”Ivan Otis on Light Painting” Page 85



Photoshop World 2011


Words and Photos by Scott Bourne

“There were almost as many learning opportunities on the show floor as there were in the conference rooms.” -Scott Bourne

Imagine a world where photographers, illustrators and designers all peacefully co-exist. That’s Photoshop World, organized by Kelby Media. On September 7-9th, attendees were exposed to three days of fun. There were more than 100 sessions, 35 instructors, contests, portfolio reviews, a keynote session and a huge trade show, plus parties and networking. The semi-annual PSW is held in the spring somewhere on the East Coast, and for the last seven years, the summer session has been in Vegas. I’ve had the honor and privilege of attending the last four Vegas PSWs. The last two years (including this one) have been extra special to me because I was invited to be on the faculty. Teaching at the world’s biggest Photoshop Conference can be a little intimidating—even for me. When you arrive and look at those big conference rooms, you realize people paid real money to hear you speak and you better deliver! Over the last four years, the show has continuously added more and more photography-related content. The speakers covered everything from what you would expect, such as Photoshop and Lightroom, to things you might not expect, such as studio lighting and shooting video with a HDSLR. The faculty (with the possible exception of yours truly) is without question topnotch. I was lucky enough to spend time with a few of the standouts, such as my friend Rich Harrington, who is one of the best and purist teachers you’ll ever see; Nicole Young, who I have mentored years ago and who could probably mentor me now (she has two books already with Peachpit and a growing following); my pal Vincent LaForet was there to teach HDSLR video; Eddie Tapp, Photoshop genius in-chief, had sessions; and the “Photoshop Guys,” Messrs. Kelby, Kloskowski and Concepcion, were all over the place—each of them can teach me more in thirty minutes than most people can in a month. No Photoshop World experience is complete without spending time talking to “The Man”—he almost needs no introduction, he’s simply referred to as The Vanelli! He’s the PSW version of “The

TRADE SHOW CONT’ Stig.” (In truth, just one of the nicest, greatest guys on the planet and a fixture at PSW.) The Mandalay Bay Hotel and Conference Hall is the setting for PSW in Vegas and it’s a lovely facility. It’s large, but clean and well organized. From a speaker’s perspective, it’s a great place to teach, with a secret place to valet park that is VERY close to the Conference Center (sorry local’s secret!) and access to great restaurants close by. Team Kelby always has a very nice speaker ready-room with great food and company; part of the compensation for being a speaker (at least from my perspective) is unfettered access to some of the most talented people on the planet in-between sessions. I particularly enjoyed listening to my friend, photojournalist Stacy Pearsall teach, as well as Lightroom expert Rob Sylvan. Speaking of sessions, I taught two in the business/social media tracks. They were well attended and full of very upbeat, happy, eager to learn students. It was fun. And while the Conference Track was full of great stuff, I can’t forget to mention the show floor. It seems to get bigger every year— despite the recession. There were almost as many learning opportunities on the show floor as there were in the conference rooms. Peachpit had a theater, as did Adobe and Kelby Media. was showing off their new service that allows you to order lenses and have them shipped to a local camera store—Vegas is their first test market. OnOne was presenting new software, as were my friends from Nik Software. Manfrotto had lots of cool gear to drool over. Adobe introduced its new product, Carousel, a cloud-based photo management solution. Bay Photo had some very cool metal prints on display. I also enjoyed getting up-close looks at the new Epson 2000 and 3000 printers, which deliver amazing prints for very little money. A company called IT Supplies has metal paper that will work in inkjet printers so you can make your own metal prints; it blew my mind. Like all conferences, one of the best reasons to attend is networking. And from every nook and cranny in the hotel to the main show floor, you could see people gathering and sharing. One of the things I like most about these shows is getting to meet some of you who seem to really appreciate the hard work we do at I was happy to finally get to shake the hands of many in my audience. It’s always nice to know the stuff I am doing is actually helping someone. I consider it the best part of my job.

In conclusion, I just have to say that the Kelby Media team, including CEO Scott Kelby, COO Dave Moser and their supporting staff, are as sharp as can be. They’re also as nice as can be and dedicated to their belief that they can help people get the most out of their visual media experiences. One of the reasons that Photoshop World is always a must-attend event for me is that the Kelby Media team is a class act and they do everything with military precision. While the word “class” gets overused, it applies to all aspects of Photoshop World and the people who organize and administer it. If you’ve never gone, do yourself a favor and make plans to attend the next event on March 24 in Washington, D.C. It’s informative, fun and affordable given the incredible amount of information you can learn. I really enjoyed my time this year and hope to be asked back again sometime. Highly recommended.



Photoshop World:

Besides all the things I’ve mentioned (and I have barely scratched the surface because there were many other rituals, including Midnight Madness, Photoshop Help Desks and Photoshop Wars—I need some rest!), Rich Harrington and I spent time everywhere, from the show floor to the famed Las Vegas Motor Speedway, creating content for you that will appear both on Photofocus and on So stay tuned for that later.

RISE: TRADESHOW-”Photoshop World 2011” Page 87



Off Camera Flash Outdoors

This image was made with a 14 mm lens mounted on a Canon Mark II modified to create infrared images. The key to working on a sunny 16 day is to match the existing light with an off-camera Quantum T5D turned up to full power f-16. The camera was set to 125 at f-16; that exposure would have been fine, however the radio-controlled flash, about seven feet in the air, just above the lens, makes the image more three dimensional. When we have double profiles as we do here, we need to keep the flash close to the axis of the lens to light both faces evenly. Using a light off camera is a must for the working pro to create powerful images, shaping out the subject and creating highlights exactly where we want them. To learn more about this image and many more of my favorite photographs, go to www.

Clay Blackmore is one of the most passionate photographers in the country. Working out of Washington, DC, Blackmore’s style blends the beauty and timelessness of classical portraiture with the spontaneity and appeal of photojournalism. Clay’s portraits are simple, direct, and yet make powerful statements.

Clay Blackmore:

Words and Photo by Clay Blackmore



Dirty Mouth? Or Red Skin?


By Sophia Betz I Artwork courtesy of the artist By Stephan Sagmiller, Lead Retoucher at CyanJack I Photo by Daisy Johnson We’ve all seen it before, that dreaded red patchy skin. It seems to appear most often in the joints, like the knees, elbows, feet, hands, and ears. Sometimes it’s all over the body, shifting toward magenta; other times, it’s that hot red-orange blow out on a small portion of the ankle or toes. Love the way it looks or not, Anna Wintour’s assistant just called and she wants it removed yesterday! Most often, the redness of skin is caused by blood rushing to the surface when a model’s body temperature shifts quickly from cold to warm. While on set, the smart solution is to apply a cold compress to the area, which will constrict the blood vessels and reduce the redness. Any kind of washcloth with cold water or ice will work wonders. However, not all redness is that temporary and easily fixable, or you might have overlooked it while juggling the craziness of the shoot day. If that’s case, this hue/saturation adjustment layer technique in Photoshop will be the new ace up your sleeve.

Simply click on the hue/saturation adjustment layer button in the adjustments panel on the right (if you don’t see it, click on Window> Adjustments).


You have access to the hue/saturation controls inside the adjustment window. Click on the Master drop down box and change it to Reds, or hit Option Ð + 3. This will contain your adjustment to only shades of red. When making your adjustments, start at the top with hue and work your way down to lightness. Watch your problem area carefully as you make each adjustment. Hue first: move the hue slider to the right, to +5 “ish”. This will add green. When color correcting you always want to add the complimentary color in opposition to the color you are trying to remove. Now, move the saturation slider to the left (around -7 worked well on my image), and finally add just a couple of points, +2 or +3, to the lightness. You only need to do this if your red patch is still too dark. Go easy on the lightness as it has a nasty habit of reducing saturation as well as lightening. Continue to fine-tune your adjustments until your red patch blends in with the surrounding areas of skin and fine-tune your mask as necessary to ensure a seamless blend.

The white box to the right of your new adjustment layer is the layer mask. When the mask is white, it reveals 100% of the adjustments made on that layer, and when it’s black it reveals 0% of your adjustments. Let’s change your mask from its default white to black by using the shortcut commandÐ + i (Invert). Tap the B key to use your brush and tap the D key to return your paintbrush foreground and background colors to their defaults, with white as the color to be painted with on top. Make your brush size a little smaller than the area of redness you are trying to fix, and paint over that reddish skin in the image with your brush. You should have then a mostly black mask on your hue saturation adjustment layer with a small white spot (in the mask not the image), revealing only the problematic red skin. You won’t actually see anything changing in your image yet because you’re masking before you have made your adjustments. Don’t worry about making the mask perfect—you can always finetune it later. You can use the \ (backslash) key to check location of the mask you just painted.

RISE: RE-TOUCH 1.0-”Dirty Mouth? Or Red Skin?” Page 89

CHICKS WITH GUNS In Chicks with Guns, Lindsay McCrum has created a cultural portrait of women gun owners in America through photographs that are both beautiful and in a sense unexpected. The book explores an indelible part of our national identity, but is not thrown off balance by the natural suspicions and political ideology often associated with firearms. It examines issues of self-image and gender through the visual conventions of portraiture and fashion, but guns are presented here not as superimposed props but as the very personal lifestyle accessories of the subjects portrayed. The series defies stereotypes often associated with aspects of the popular culture of both guns and women. Jean-Luc Godard, the French New Wave filmmaker, once said, “All you need to make a movie is a girl and a gun,� but there is nothing exploitive, condescending or patronizing about these images.

From Chicks with Guns by Lindsay McCrum, (c) 2011. Used with permission of The Vendome Press.


ecause guns and shooting cut across class, age, occupation, background and geography in America, it is an activity that is resolutely democratic. Almost anyone—farmer, rancher, hunter, or town and country shooter—can apply for a license and be a

gun owner. For Lindsay McCrum, the artistic representation of this democratic notion is not to seek out the lowest common denominator, but rather to treat each subject equally well. Like the 15 to 20 million women gun owners in this country, the women we meet in Chicks with Guns (their portraits are accompanied by their own words) reside in all regions of the country, come from all levels of society, and participate seriously in diverse shooting activities. The women here are sportswomen, hunters, and competition shooters. Some use guns on their jobs and some for selfdefense. They may not all be classically beautiful, but in these photographs they all look beautiful, exuding honesty, confidence, poise, power and pride. They are real women with real guns that play a part in their lives. In these photographs, Lindsay McCrum has brought the classical visual language of portraiture, encompassing expression, pose, gesture, clothing, accessories, and setting to the natural environment and self-presentation of the subject. The surroundings of the subjects may appear almost painterly but remain true to each person depicted, while the subjects in the foreground are illuminated in a wash of light. The self-styled outfits of the shooters become statements in themselves, reflecting both their individuality and the conventions of their shooting activity. And the guns are iconographic accessories of the American scene. In our culture, the relationship of women with their guns and shooting seems incongruous with the lifestyles and fashion ideals typically associated with women’s identities—as advanced by a slew of women’s magazines and television programs—but Lindsay McCrum has the talent to naturalize her subjects. There is nothing seemingly out of place or inappropriate about the guns in her portraits. By focusing her camera respectfully on this very particular aspect of the American scene, gun-wielding women and girls, Lindsay McCrum sheds new light on who we are in America today.

About The Photographer Lindsay McCrum is a fine art photographer residing in New York City and California. She received her undergraduate degree from Yale University and her Masters of Fine Arts from the San Francisco Art Institute. Trained as a painter in oils, Lindsay McCrum switched exclusively to portrait photography in 2003. Her photographic projects include 25/50, an exploration of aging in the faces of men; Superheroes and Commandos, a study of boys, costumes and popular culture; and Dress

Up, an examination of young girls and the shaping of contemporary notions of fashion and beauty. These series and other work have been exhibited in galleries in the U.S. and Europe. Her website is

Chase Jarvis

By Matt Borkowski Photos courtesy of Chase Jarvis Portrait“A briefi illustrations Thiago ARTS & ENTERTAINMENT: ng of the latest news, notes,by and nonsense in the photoAló industry.” Page 18


The term “one-man empire”is a phrase

that gets thrown around more frequently than it should; however, in the case of Chase Jarvis, it’s hard to find a more fitting description. The Seattle-based photographer has seen his profile skyrocket in the past few years, thanks to his efforts to mix photography and social media. A videographer as well, Chase has capitalized on the boom in popularity of many of the social media outlets such as YouTube, Twitter and Facebook. He recently took some time out of his crazy schedule to tell us how he’s found himself in the forefront of photography and what he’s done to get there.

A self-taught photographer, Jarvis considers himself to have been “a pretty creative kid,” though his path toward photography was a bit of a bumpy ride. He grew up in an environment where cameras were commonplace. “Both my father and grandfather were hobbyists [...] but I had always had a great curiosity about photography on my own,” said Jarvis. “As an adolescent, I started feeling the social pressure [of choosing a career]. I was on a soccer scholarship for college, and I enrolled in a PhD

of Philosophy program with the intentions of attending medical school after graduation.” Still enamored with the arts, he struggled internally to reconcile his passion for photography with his seemingly chosen career in medicine. With a little schooling in his senior year remaining, Jarvis’ life took a sudden and unexpected turn. “A week before my graduation, my grandfather died, which was horrible,” he explained. “[The] one thing that came out of all of this was that my grandfather had willed me his camera. Since I had always had a huge curiosity [for photography], I took [his] passing and leaving me his camera [as a sign] and ran off to Europe for six months. I photographed the world, fell in love with the camera, and realized that it was something that I wanted to pursue. When I came back to the U.S., I didn’t want to get a real job, so I moved to Colorado to figure everything out. That’s where I really started photographing things like skiing and snowboarding—all the things that I love to do. It just so happened that before I knew it, I was licensing my images to some of the best ski and snowboarding brands in the world.”

“I pinch myself every damn day. It has been a dream so far.” Not to be academically deterred (and still unsure of whether to commit 100% to his art), Chase re-entered college to “but after two years of learning about dead white guys in a PhD program on philosophy, I kind of asked myself, ‘What am I doing here?’” Chase again left school, though this time, for good. “I quit cold turkey to pursue my passion, and I haven’t looked back since,” he said. “I’ve been able to parlay [photography] into a beautiful living. I get to travel the world 150,000 miles a year... I pinch myself every damn day. Someone is going to figure out that I’m not qualified at some point,” joked Chase, “...but it’s been a dream so far.” Now, Chase’s ascension in photography was not without years of effort and sacrifice, but his way to the top has been truly a path of his own. The “one-man empire” has so successfully utilized social media, software and the Internet to expand his brand that we had to know more. In the next pages, you’ll read about his many endeavors, including his role in the hugely popular Best Camera application for Apple’s iPhone, his partnership with Livebooks for his website, and his popular web series, Chase Jarvis Live. We’ll also get Chase’s opinion on everything from the importance of social media to the gear he couldn’t live without.

How to be Like Chase Part 1 1.



ARTS & ENTERTAINMENT: “A briefing of the latest news, notes, and nonsense in the photo industry.” Page 18

Wear Electric Sunglasses

Use Old Polaroid Cameras

Drink Original Martinis

Website In today’s world, a photographer’s website is as essential

as their portfolio or CV. Knowing this, Chase Jarvis formed a partnership with Internet-based website creator, Livebooks, to set his site up for success. “I originally gravitated to Livebooks years ago, because when people are looking to hire a commercial photographer for a campaign, they’re looking through thousands of photographers’ work to find the right person for the job. The one [piece of feedback] that I’ve heard time over time from people is that they want to see big images—fast.” An avid videographer and director, Chase saw this partnership as an opportunity to consolidate all of his eggs into one basket. “It’s continued to evolve with Livebooks’ Scaler styled site,” he explained, “and their ability to let you implement video was attractive, as well. Having all of that presence within the Livebooks framework, and more importantly, having the ability to edit anything on the fly from any location in the world has proven really useful.” In a world

where immediate communications rules the day, having the ability to change anything spontaneously has made Chase’s one-man media empire thrive. “We find ourselves traveling all the time, and needing to change things for different clients,” he said while picking apart his own usage of the site’s features. He eagerly anticipates the arrival of HTML5 as a part of Livebooks’ framework, which now allows his site to be optimized for mobile devices such as Apple’s iPad. “I’m excited to see what [they] do with this. I’ve been getting a lot of feedback that having a good, clean mobile version of your website optimized for these devices is important, and I’m glad that Livebooks has jumped on this. Technology doesn’t stand still; things are always moving. It’s nice to be part of something dynamic that’s constantly in development, and it’s clear to me that they have photographer’s needs in mind.”that they have photographer’s needs in mind.”


As a self-admitted “voracious consumer of content,” a foray into a new platform

like the iPad seemed like a fairly natural move for Chase Jarvis. He’s always got his own iPad near his side, and the boom the device has created over the past few years (essentially defining the tablet marketplace for consumers) made him inclined to take advantage of all of the iPad’s functionality and interactivity. After successfully working with Livebooks on his website, his decision to partner with them again was an easy one. Andy Patrick, President and CEO of Livebooks described the venture as being a “total collaboration with Chase and his team,” and went on to explain that the system “[was] developed to leverage best practices of UI/EX specifically for the iPad, [while maintaining a similar functionality than on] a traditional website. We [wanted] to assure that the user could easily navigate within the specific landscape of an iPad, while providing total continuity with Chase’s brand experience elsewhere online.” Patrick said that brand consistency across platforms cannot be understated.

“The branding experience is seamless, so that you never feel as though you have left Chase’s world—which is critical for all businesses from a branding perspective.” The good news is that the framework that was created with and for Chase’s iPad site is now available to any Livebooks subscriber. “Chase’s iPad site is unique and custom to Chase and has been developed as a prototype for all Livebooks customers. Just like our current iPad and iPhone sites, this new option will be included free with the standard Livebooks subscription,” explained Patrick. “The new sites will be informed by Chase’s site but not exactly like it of course,” he went on to say. He added that the development process had been great: “Working with Chase and his team, as [one] might imagine, is an experience in and of itself. Chase is crazy innovative, lively, fun, and technically savvy; we exist for our clients, and encourage an ongoing dialogue so as to keep making the product better, faster, cooler.”

How to be Like Chase Part 2 1.


Use an iPhone


ARTS & ENTERTAINMENT: “A briefing of the latest news, notes, and nonsense in the photo industry.” Page 18

Wear Black Shirts

Use a Nikon D3s

ARTS & ENTERTAINMENT: “A briefing of the latest news, notes, and nonsense in the photo industry.” Page 18

YouTube Ahh, YouTube. We’ve all got our favorite videos, from the

Tron guy to the girl falling on grapes—the site is a great source of entertainment. Aside from odd home movies though, there’s a whole other world of possibilities. Social media whiz, photography’s own Chase Jarvis has certainly harnessed the ability to maximize the broadcasting website to its fullest potential. With over six million total upload views on his channel (achaser123) and nearly 26,000 subscribers, the world of videography and live online broadcast is seemingly a stroll in the park for the man we nicknamed a one-man media empire. Though his first videos on YouTube were uploaded with few expectations, something seemed to have clicked in his early viewers’ minds. “I saw that after a weekend of putting up a few videos [on YouTube], they had received around 30,000 views, and I realized that people were hungry for this stuff,” said Chase. It’s this hunger that

fuels his increasing popularity on the Internet; that same popularity has allowed him to continue to broaden his audience by incorporating behind-the-scenes, tech reviews, discussions with photographer friends, and other original video content. Additionally, viewers are treated to his live broadcast web series, \, as part of his YouTube reel. The director, photographer, and all-around artist has captured the public eye (and more importantly, attention) with his unorthodox methods of distribution of content. With the publishing marketplace changing rapidly from print to digital, and considering how closely intertwined the worlds of film and photography are becoming, labeling Chase as a pioneer certainly doesn’t seem far from the truth.

ChaseJarvis Live The process of distributing digital content

from one source to another has certainly changed over the past few years, with one of (perhaps the largest) influence being live media broadcast (or, in other words, streaming video). One person who seemingly had his finger on the hot key at the perfect time just happened to be (who else?) Chase Jarvis. “I’ve always had my eyes and ears to the ground when it comes to live broadcast, and as soon as [it] was a possibility, I broadcasted a live commercial shoot. It was very rudimentary, [but] I’ll be damned if 20,000-something people didn’t watch it.” Not too shabby for something self-described as simply pointing his computer’s built-in webcam toward the action and letting it roll. “We’d go over and talk every once and a while when we had some free time during the shoot,” joked Chase about this early experience. However, what started as a shot in the dark rapidly took a like of its own. The videos turned people’s initial inklings of interest in photography and videography into something tangible that they could see and interact with. Chase saw his immense rise in popularity on YouTube as vindication and started Chase Jarvis Live.

Live is a streaming webcast (shot in a rather vintage manner in black and white) that gives Chase a dedicated platform to share his work, tips and tricks, behindthe-scenes, and, most importantly to him, to bring attention to emerging artists. Whether they are photographers, musicians, or anything else he might find interesting, creating conversations about the arts and utilizing the outlet of live media broadcast to do so is key. “One thing that I noticed was the rabid conversations in chat rooms and on Twitter—it was eye-opening. Learning how to be a photographer or model or stylist is tough, and these conversations happened to be the best way for people to see how that happens.” It’s these exchanges that Chase described as transitional, because they create live and ever-changing communities of people in one concentrated place to discuss one simple thing: their love of the arts.



Filters Best Camera App

When Apple implemented the App Store into iOS for the

iPhone two years ago, many saw the first photography apps as a hobbyist’s or recreational photographer’s tool. Chase Jarvis instead saw this as an opportunity to take his love of photography and share it with the world. “There were already about twenty or thirty thousand photography apps when we decided to make our own, but there wasn’t a single one of them that allowed you to share images right from the app. To me, that was crazy. It was really awkward, and non-linear, to have to use four or five different apps to share my work. I basically ended up contracting somebody to help build the app, and that was it.”

Chase says it’s hard now to see his work and development with Best Camera as revolutionary, but two years later, photo sharing apps have become so mainstream that entire exhibitions are dedicated to work shot on the iPhone. “The thing that I’m most proud about with Best Camera is that it came from a place of pure, raw creativity. [The iPhone] changed my life. I mean, here I am traveling around with crews of thirty, forty-plus people where we go to New Zealand to take six pictures. [But] with the iPhone, I am able to be creative every minute.” Best Camera has been so successful that even Apple’s current CEO, Tim Cook, lists it as one of his “must-have” apps—and it all started with Chase’s initial thought that sharing photos (and life) should be easy, fun, and accessible to everybody.


Filter Dock

Social Media Whether or not people willingly admit it, virtually

everybody uses some form of social media on a daily basis. It could be Facebook, Twitter, or any other of the multitude of outlets designed to help share our lives with others, and for Chase Jarvis, this is his an integral part of his life. Considered somewhat of a pioneer in respect to merging the two worlds of photography and social media, Chase didn’t always feel as though he was trailblazing the path that seemingly every other photographer uses today. “Social media is a tool, it’s not a solution in and of itself. At first, I felt almost vilified sharing information [about photography], because it was still sort of taboo. I guess I was transparent before it was cool to be [that way]. I wanted to share what it was like to travel and shoot for a living, be it the good stuff or the bad stuff. I really found that sharing through these media outlets was yet another opportunity for me to be creative, and when something like that catches on, good things happen.” The initial opinions he garnered from fellow industry professionals, however, were at times scathing. “A certain section of my peer group felt that somehow, [by sharing insider information], I was taking money off of their table and putting it in the hands of an eighteen-year-old with a DSLR. Their anger was displaced, and I think that after a few years, they were able to understand that this was going to be the norm [with information moving faster].” Chase isn’t picking any bones; he candidly stated, “Ultimately, all I really did was use social media to feed content into these channels

of information. I was giving information away, whether it was about other photographers or artists who were inspiring my work or techniques that I was learning. I wanted to share these things in an attempt to broaden the spectrum of conversation within the arts.” That he did; with over six and a half million total views on his YouTube account (which now is the home for behind-the-scenes footage, tips, and his own web series Chase Jarvis Live), upwards of 50,000 “Likes” on his official Facebook page, 73,000 Twitter followers, and 2 million unique visitors to his blog, the one-man media empire has seen his brand grow exponentially since its inception. Chase agrees with the common consensus of many industry professionals that social media will change over the next few years, though he feels that its best years are yet to come. The one guarantee, for all intents and purposes, is that he is certainly poised for success in this time of change. By being an (very) early and enthusiastic adopter, Chase has increased his profile and has become one of the most followed photographers in the world. The magazines and advertisers he shoots for know that working with him not only get them great images but also an added and built-in media exposure thanks to Chase’s extensive in-house coverage. At the end of the day, it’s all about using social media to put his work and inspirations out into the world.

Gear I Use

“His approach is to use anything that is the best fit for the job at hand.” Chase is so passionate about his gear that he has a whole section dedicated to it on his blog (click on the “Gear I Use” photo for info on what he uses and how he uses it). Right now, he’s loving the Nikon d3xs and D7000, mixing them with some Fuji X100 for good measure. For lights, he often goes with Broncolor and Chimera, and his videos are shot on a Canon 7D. The man is not a label whore, though: his approach is to use anything that is the best fit for the job at hand. In addition to his everyday experience with cameras and photographic gear, Chase is constantly testing new products and featuring them in his web series, Chase Jarvis Live. But as many know, it’s not always the latest and greatest gadget that makes something a “must have” for photographers. I had a chance to ask him what the intangible, can’t-live-without items were in his bag of tricks. “I’ve almost always got my iPhone with me, [and] I really get a lot of use out of my iPad. It’s light and fast; I’m on the move constantly and I’m a voracious consumer of content, be it photography, or media, or books, so to be able to consume that content in that manner, you really can’t beat it.” As expected for such a high profile tech whiz, Chase’s got all his “i-Devices” covered. But it’s not only new technology he uses, he also carries around a few Polaroid cameras. “Any of the 600 Series, really; one that’s not always with me is a 600 SE. It’s based on an old medium format body, and it’s so gorgeous. It’s kind of big and unwieldy [so] I don’t really travel with it all the time.” The varying technological capabilities of his can’t-live-without items make Chase’s bag a pretty motley crew of equipment, but it’s this kind of eclecticism that makes his work so different. In fact, this digital guru recently participated in the Made in Polaroid exhibition at the Phillips de Pury Gallery in New York City.

Who needs sleep?

Visit more of Chase’s endeavors...and watch his media empire grow!

watch resource television exclusively on the adorama tv mobile app



INTERNATIONAL STUDIO GUIDE 2011 For years, the process of locating and booking a photo studio in a foreign country was a daunting task. Whether they were on assignment or simply looking to get some work done while away from their home base, photographers had to put in hours of research for sometimes disappointing results. With the advent of the digital age and with so many new resources (no pun intended) developed to aid in this process, finding accessible work space theoretically should never been easier, but that’s not necessarily the case. Allow us to step in and be your middleman (of sorts) on this quest! Here, we’ll take a look at some of our favorite studios around the world and why they might be the right fit for you. By Matt Borkowski






4710 Rue Ste-Ambroise, #317A MONTREAL, QUEBEC

514 877 0007

Through website


1107 Rue de la Gauchetiere Est MONTREAL, QUEBEC

514 526 8301


642 de Courcelle - #306 MONTREAL, QUEBEC

514 931 0088


92-94 Geary Ave. TORONTO, ON

416 537 9494 x1


1444 Dupont St. #21 TORONTO, ON

416 465 8094


545 King St. West TORONTO, ON

416 520 7670


66 Miller St. TORONTO, ON

416 569 6116


55 Mill St., Building 5-430 TORONTO, ON

416 203 3443


9 Davies Ave. #202 TORONTO, ON

416 466 3024


1173 Dundas St. East TORONTO, ON

416 278 3948

email@workingproofstudios. com


1701 Powell St. VANCOUVER, BC

778 387 0766

finestreetphotography@gmail. com


Suite 320-825 Powell St. VANCOUVER, BC

604 255 9596


1067 Granville St. VANCOUVER, BC

604 505 6406


1635 Powell St. VANCOUVER, BC

604 879 1635


140-11100 Bridgeport Rd Richmond, BC (VANCOUVER area)

604 231 0020





# OF




















2,450 +





















































17’ to 29’


+/- 2,000






Boxcar Studio Rentals

Boxcar Studio Rentals

Working Proof Studios

Working Proof Studios






Sánchez de Bustamante 282 BUENOS AIRES

+54 11 4861 5624


Cucha cucha 1661 BUENOS AIRES

+54 11 5197 2500

Through website


Piedras 113, Piso 1 BUENOS AIRES

+54 11 5254 8038

Rua Bartolomeu Zunega, 101, Pinherios – SAO PAULO

+55 11 3031 8204

Though website

Simon Bolivar 2921, Nuñoa SANTIAGO

+56 2 3750081

Diagonal 68 #12-37 BOGOTA

+57 1 811 7904

Charrúa 1770 MONTEVIDEO

+598 (2)403 6393







# OF













33’ to 15’













1+ Outdoor



-- estudio












Estudio Jorge Cardenas: Kitchen, makeup room, rest area, drive-in, etc…






Esterházygasse 3 VIENNA

+43 676 908 7877


Schijfstraat 34 ANTWERP

+32 3 479 222 635


Rue Notre Dame du Sommeil 22a – BRUSSELS

+32 2 502 96 65


BELGIUM ................


Tusarova 55 - 170 00 Praha 7 PRAGUE

+420 (2) 733 710 776

veronika.herzigova@studio55. cz

+ 45 39 27 27 33


Vermundsgade 40 B1. Fl. COPENHAGEN EAST


78 rue Dunois PARIS

+33 (0)1 55 26 84 10


7 rue de Mont Louis PARIS

+33 (0)1 43 70 22 23

contact@lepetitoiseauvasortir. com


113 rue Saint Maur PARIS

+33 (0)1 43 38 24 09


36 rue du Fer à Moulin PARIS

+33 (0)1 55 43 31 00


56 rue Daguerre PARIS

+33 (0)1 43 22 48 38


7 & 30 rue Moret PARIS

+33 (0)1 43 38 24 16


54 rue des Acacias PARIS

+33 (0)1 43 80 53 32


13 rue Robert Blanche PARIS

+33 (0)1 43 55 77 56



# OF















SPECIAL AMENITIES Austria - F6 The Open Factory: Drive-in studio; WLAN; 4 parking spaces; daylight; 2 backstage rooms.

Czech Republic - Studio 55





Yes com









14’ to 20’










13’ to 30’










12’ to 16’





14’ to 20’



7+ Terrace


14’ to 26’







+/- 4,400



11’ to 23’


Denmark - The Lab: Leading studio with the latest equipment. Set building and production services available.

France -Studio MacMahon

France - Studio MacMahon

France - Studio Zero

France - Studio Zero



GERMANY ................




Franklinstr. 8 BERLIN

+49 30 39405273


Hinterbergstrasse 15 – Wiesbabden (FRANKFURT area)

+49 611 53150940

Via Forcella 13 MILAN

+39 02 58 18 61


Via A. Binda 7 MILAN

+39 347 8759220


Via Francesco De Ficoroni, 14 ROME

+39 06 66140907


Via Sicilia 154 ROME

+39 06 42 016 461




Admiraal de Ruijterweg 545 AMSTERDAM

+31 20 486 66 97


Palamedesstraat 6 AMSTERDAM

+31 20 607 15 15

+47 22 19 48 40

studiomanager@zone5studios. no


Enebakkveien 69 OSLO



# OF








8’ to 16’










42’ to 85’








3+ Outdoor





Italy - Laltalena Studio: Daylight all along the longest side of the studio.

Italy - Laltalena Studio




11’ to 18’






-Italy - Outside Photo




12’ to 14’


Italy - Studio 154: Daylight and limbo/cyc photography studio in Downtown Rome. Profoto, Hasselblad, Phase One. Photography production house.






Netherlands - N6 Studio






ul. Danilowiczowska 18B WARSAW

+48 22 828 00 56


ul. Inzynierska 3, Lok. 7 WARSAW

+48 22 619 12 54

Khohlovsky pereulok, 7 MOSCOW

+7 (495) 580 82 82


Almirall Oquendo 116 – Sant Adrià de Besòs (BARCELONA area)

+34 (3) 934 639 011


Padilla 242 bajos BARCELONA

+34 (3) 934 594 346


74 Pallars St. 2nd Fl. #4 BARCELONA

+34 (3) 650 58 48 16



+34 (3) 610 43 52 15


Calle Ramón Turró 23 BARCELONA

+34 (3) 690 380 205

barcelona@spot-lightservice. com


Llopis Bofill 21 BARCELONA

+34 (3) 93 811 10 45


Lluis Muntadas 2 BARCELONA

+34 (3) 434 0093


Alava 32 – BARCELONA

+34 (3) 93 225 15 55


Baleares 39 Bis MADRID

+34 (1) 91 225 04 60


Prudencio Álvaro 41 MADRID

+34 (1) 91 377 44 30


Quintiliano 17 MADRID

+34 (1) 91 563 11 19






# OF





















Russia - Photoplay

Spain - SKYMG Barcelona





Yes Spain - Studio Sitges









13’ to 19’















15’ to 17’



1+ Outdoor







14’ to 20’





16’ to 23’












Spain - Studio Uno

Spain - Daylight Studios

Spain - Q17 Studios







Heliosgatan 13 STOCKHOLM

+46 8 570 35210


Västberga Allé 60 Hus 17, 126 75 Hägersten – STOCKHOLM

+46 8 685 1910


Albulastr. 38 ZURICH

+41 43 818 6579


Baslerstrasse 30 ZURICH

+41 43 311 2030


29-31 Brewery Rd LONDON

+44 (0) 20 7619 6600


49-50 Eagle Wharf Rd LONDON

+44 (0)20 7490 4099


various locations LONDON

+44 (0) 20 7033 1984


Adrian Mews, Ifield Rd LONDON

+44 (0) 20 7341 0750


77-81 Scrubs Lane, Kensal Green – LONDON

+44 (0) 20 8969 0234


1 Barretts Green Rd LONDON

+44 (0) 20 8965 9778 x0


Studio 1, 3 Latimer Place – LONDON

+44 (0) 20 8960 1121


2 Dunston St. LONDON

+44 (0) 20 7923 9430


19 London Lane LONDON

+44 (0) 7973 322 340

Through website


Ladbroke Hall, 79 Barlby Rd LONDON

+44 (0) 20 8962 8690


1 William Blake House, Bridge Lane, Battersea – LONDON

+44 (0) 20 7978 4175


10 Heathmans Rd, Parsons Green - LONDON

+44 (0) 20 7371 9777



# OF








13’ to 32’








Sweden - Delight Studios










Yes Sweden - Delight Studios


7 + Roof







13’ to 18’


6,500 +





+/- 2,000








11’ to 25’







UK - Sola Studio

UK - Studio nineteen









11’ to 17’





14’ to 23’



4+ Garden


15’ to 36’





14’ to 19’





10’ to 24’


UK- Sunbeam Studio







Loutaijiuhao Art Centre no. 6 – BEIJING

+86 135 0108 0973


No. 1 ChuiYangLiu Sth St, E. 3rd Ring Rd, ChaoYang District – BEIJING

+86 10 67738886 or +86 10 67767331


1F, Building 1, 751 Huangpi Sth Rd – SHANGHAI

+86 21 6384 8088


No 98 Yan Ping Rd, JingAn District – SHANGHAI

+86 20 62186688


610 HengFend Rd, Factory 4, Studio 503 – SHANGHAI

+86 139 163 49726

6/f, Fen Hin Ind. Bldg, 101a Wai Yip St. – Kwun Tong

+852 3568 2108


3-4-5 Hiroo Shibuya-ku TOKYO

+81(0)3 5467 7411

Through website


2-17-2 Minami-Aoyama Minato-ku – TOKYO

+81(0)3 5786 2511

Through website




218 Jalan Ampang, The Ampwalk Building, 8th Fl., N. Block – KUALA LAMPUR

+60 (0)3 2171 2557

Through website


No 10-1, Jalan Rampai Niaga 3, Medan Niaga Rampai, 53300 Setapak – KUALA LAMPUR

+60 (0)3 41420342

18 Boon Lay Way #08-117 - TradeHub 21- Singapore

+65 9879 6813

Through website




# OF






























1,000 +





SPECIAL AMENITIES Beijing Photospace: Beijing Photospace (BPS) provides international spec. studio and equipment rentals plus productions services, supporting editorial and commercial clients including GQ, Vogue, Mercedes and more …

Beijing Photospace

Beijing Photospace









16’ to 23’

Yes html
















Central Studios: VIP Room with ensuite bathroom and hair washing facilities; in-house digital; drive-in cyc studio; location; casting and other production services; super convenient Downtown location; La Pavoni coffee machine!

Shanghai - Central Studios

Shanghai - Central Studios The Company Studio: Wide variety of materials, wooden floors, concrete, glass, river view.






21 Lincoln St. - Richmond, VIC (MELBOURNE area)

+61 39 429 8882


1st Fl. - 122 Chapel St. - St. Kilda, VIC (MELBOURNE area)

+61 3 9525 7622

Through Website


95 Victoria St. – Fitzroy, VIC (MELBOURNE area)

+61 4 0407720072


279-283 Liverpool St. EAST SYDNEY, NSW

+61 2 9361 0077


31 Meagher St. - Chippendale, NSW (SYDNEY area)

+61 2 9699 6422


Level 2-3,136 Raglan St. – Waterloo, NSW (SYDNEY area)

+61 0404 555 098


5-7 Henderson Rd – Alexandria, NSW (SYDNEY area)

+61 2 8339 0027


SOUTH AFRICA 47 De Villiers St., Zonnebloem CAPE TOWN

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& entertainment

“Free your mind and your photography will follow. Things to do, read and watch when you’re not on the job.”

EVENT: THE YOUNG GUNS COMPETITION By David Mindich I Artwork courtesy of ADC/Young Guns and the artists I Portrait illustration by Thiago Aló

forty-three different countries, so you can be sure there were quite a few people looking to be named a Young Gun this year. You can also be sure that the fifty winning applicants are truly the best of the best because they were chosen by the best. The judges for the Young Guns competition are all previous winners themselves; they base their decisions on several different criteria: individuality, ideas, functionality, technical skills, cr ative potential, and overall experience.

In order to better showcase the vanguard of young professionals in the commercial arts, the ADC created the Young Guns competition in 1996. While initially only intended for New York residents, the competition has grown exponentially, with submissions now coming from all over the world. A cross-disciplinary competition, people may submit work from a large variety of mediums, including graphic design, photography, illustration, advertising and art direction, film, animation, typography, architecture, copywriting, fashion design, interior design and sound design (though we’ll just be focusing on photography here).

Winning the competition gets you more than just a pat on the back, too. Among the benefits of being named a Young Gun, one can expect to have their work displayed in an exhibition at the ADC Gallery in New York and in the ADC Traveling Show at venues worldwide. They’ll also receive a complimentary one-year ADC membership, an assortment of careerboosting benefits from the ADC and their partners, and, of course, their very own Young Guns Cube statue, which is redesigned each year. Last year’s Cube was made from a piece of the Coney Island boardwalk that winners were actually able to cut out themselves—pretty sweet.

If you ever thought this competition would be a fairly easy one to win, you’d be dead wrong. While the ADC doesn’t release the actual number of applicants, they did mention that they have received submissions from


The ADC was founded in 1920 with the goal to judge advertising art by the same standards as fine art, and is considered to be one of the main gathering places for leaders in visual communications today. Since its inception, the ADC has been awarding excellence in all creative fields—interactive media, graphic design, publication design, packaging, photography, illustration, print and broadcast advertising—through their (surprisingly unimaginatively named) Annual Awards competition.

Thiago Aló:

Young Guns—it’s not just a western starring Emilio Estevez. It’s also a competition for young (that’s thirty and under) creative types ran by the Art Director’s Club.




NAME: Elizabeth Weinberg LOCATION: Brooklyn, New York WEBSITE: TWITTER: @ eliz EMAIL:

NAME: Jesse Rieser LOCATION: Los Angeles, California WEBSITE: EMAIL:

Elizabeth Weinberg was selected as one of PDN’s 30 Emerging Photographers to Watch in 2010, has been published in American Photography 26, and was chosen for American Photography 27. After graduating with a Photojournalism degree from Boston University in 2004, she headed to Brooklyn in 2005, where she now lives, works, and rides a variety of bicycles.

Jesse was born and raised by two creative and supporting parents in the small Midwest town of Springfield, Missouri. Good weather and a desire to change his surroundings brought him west. At Arizona State University he majored in photography and art history at the Herberger Institute of Art and Design. Before completing his BFA, he studied and assisted with London’s top assignment photographers. These experiences laid the groundwork for him to strive for equally important careers in fine art and commercial photography. In his young career, he has had the honor to work with top clients and be recognized by the several awards his field has to offer. His list of past clients includes: Publicis World Wide, M&C Saatchi, Cramer Krasselt, the NFL, Ritz Carlton, Warner Brothers, The NBA, Proctor & Gamble, The John Paul Getty Museum, and ESPN Magazine. His work has been shown in PDN Photo Annual, American Photography Annual, Art of Photography Juried Exhibition, CCNY Annual Juried Exhibition and Center’s Review Santa Fe 100.

Clockwise from top left “Renee” Various photographs of the model Renee Lilley “Of Recklessness and Water” Personal project based on people interacting with bodies of water. Culminated in a 46-page printed zine in July 2010. “KR3W Denim Fall 2011” Shot for KR3W Denim’s Fall 2011 campaign, for lookbook, web, and in-store use.

Clockwise from top left:“Class Of 99 Turns 30”,“Christmas In America: Happy Birthday, Jesus” , “Charles Anthony Darr ”


ARTS & ENTERTAINMENT: EVENT-”The Young Guns Competition” Page 133




NAME: Julie Glassberg LOCATION: Brooklyn, New York WEBSITE: EMAIL:

NAME: Tamar Levine LOCATION: Los Angeles, California WEBSITE: BLOG: photoblog TWITTER: @tamarlevine EMAIL:

Julie Glassberg was born and raised in Paris, France. After studying graphic design for four years, she decided to make her passion for photography become her life. Her interests are primarily based on the diversity of world cultures, subcultures, and underground scenes, as well as the misfits of society, the weak, the feared and the unaccepted. Photography is like a passport to enter worlds that she would never be able to see otherwise. It simply is a way to learn about life from the people she meets, wherever they come from. Julie is currently working in New York City on her project as well as freelancing for clients such as The New York Times, Neon, Compagnie Julie Bour, and Nadine Johnson.

Tamar Levine is a Los Angeles fashion, portrait, and fine art photographer. Since receiving her BFA with honors at Art Center College of Design in 2005, Tamar has been shooting for magazines, ad campaigns, album artwork, and her own fine art projects. Her clients include Runway Magazine, Reebok, 944 Magazine, Filter Magazine, Metro.POP Magazine, Interscope Records, Atlantic Records, Island Records, Angeleno Magazine, YRB Magazine, and more. Tamar’s favorite thing about photography is being able to manipulate the frame and the environment. Her work primarily focuses on narratives— telling stories through images. She loves lighting and uses it to shape the emotion of the image. Awards include the PDN Pix Digital Imaging Contest (2007); Prix de la Photographie Paris (2007); 3rd Annual Photography Masters Cup Nominee (2009); Smashbox Face Off Gallery Show (2010); PDN Photo Annual (2010); Smashbox Face Off Gallery Show (2011); PDN Photo Annual (2011).

Clockwise from top left “Frederic

Clockwise from top right “untitled”, “Little

Fekkai”, “Time Out”, “Bike Kill”

Boxes”, “All That’s Left is Wonder”


Photos courtesy of The Metropolitan Museum of Art

While walking through the brightly lit halls of

The Metropolitan Museum of Art, a feeling of culture and knowledge inevitably washes over you. If you went there this summer, roaming endlessly among notable Roman statues, Egyptian mausoleums, and historical artifacts from various times and places, you may have found yourself in front of a seemingly dark cave—an exhibit of things so strange, so obscure and so horrific, yet, so beautiful, you couldn’t pull your eyes away from it. That is the beauty of Alexander McQueen’s art and role in today’s fashion world. About 100 ensembles and 70 accessory pieces were artfully displayed at The Met for Savage Beauty, an exhibit paying homage to the late designer. The show, which ended on August 7th, featured designs contrasting beauty, art and death, darkness and lightness, masculinity and femininity. McQueen was not a designer who simply created fashionable clothing—in fact it would be hard to imagine someone walking down the street in one of his most outrageous pieces; his work was truly one of a kind.

McQueen’s unusual—and at times controversial—designs were displayed in an outstanding way at The Met. The second you enter the darkened walls of the exhibit, you faced two gowns from his 2001 Voss collection: a red and black dress made out of ostrich feathers mimicking dripping blood and another made of razor-clam shells—both perfect illustrations of McQueen’s dramatic and creative flair. The exhibit didn’t follow a chronological order but rather, McQueen’s recurring themes and obsessions. The Savage Mind room, which included “Bumster pants” (pants that revealed your lower backside, which launched the low-rise pants craze), showcased McQueen’s subversion of traditional tailoring and dressmaking as he practiced displacement and deconstruction within his work. The designs in view in this room were mostly from his earlier collections; from there on, we saw how his work developed and established him as such a provocateur and one of the most unforgettable fashion figures of our time.

Romantic Gothic, another division of the exhibit, highlighted McQueen’s legendary approach to fashion

through Romantic literary themes such as death, decay and darkness. Here, you could see the risks that McQueen took in his designs. A chilling dark feel hung over the room; haunting sounds played in the background and the backdrop of speckled mirrors created a foggy gloom that lingered around the exhibit, emphasizing the brooding quality of the clothes. The atmosphere reflected McQueen’s attempt in finding poetry and beauty in death and darkness. Among the pieces was a haunting ensemble that resembled a lady version of Zorro from his 2003 Supercalifragilisticexpialidocious collection. This spectacular piece consisted of an elaborate cape made of black parachute silk that billowed in the artificially produced wind. Further into the exhibit, a room had been transformed into a giant Gothic cabinet of curiosities. Shelves stood from floor to ceiling, each filled with McQueen’s wild and vicious accessories. From a headpiece full of butterflies to heavy metal face masks—and let’s not forget those ten-inch killer armadillo shoes favored by Lady Gaga—the range of objects on display showed McQueen’s dual nature: poetic and whimsical on one end, disturbing

and dark on the other. Known for his dramatic runway shows, among the cabinet of curiosities were screens displaying McQueen’s brilliant showmanship. In one of his most memorable shows, two robots shot paint at a model posed on a slowly rotating platform. The result is a fairly simple, yet amazing dress. In another show in 2006, a hologram of Kate Moss wearing a ruffled organza dress slowly appeared in an empty glass pyramid. A miniature version of that hologram that stirred wonder among normally jaded fashion editors was displayed at the exhibit and was just as extraordinary. McQueen was a fascinating individual. He was darkly creative and imaginative; he at times created disturbing work, and then threw it in your face, urging you to view it in a truly beautiful way. He forced us to see the beauty in things that are normally not thought of as attractive and brought fashion to a whole other level. Even after his untimely death, it is evident that his work remains an inspiration to many people well beyond the art and fashion industry.

ARTS & ENTERTAINMENT: FASHION-”Alexander McQueen At The Met” Page 135

GALLERY: PETE SOUZA By Sophia Betz | Photos courtesy of the White House

The Obama Presidency - A Look Behind the Scenes at New York City Leica Gallery

An energetic embrace of technology and an understanding of its

capacity to reach people have been a hallmark of the Obama campaign and presidency. Since Obama’s election in 2008, his administration has placed unusually high value on using technology to more effectively communicate not only with their voting base, but also with the country and the world. Obama has shepherded many tech-savvy presidential firsts; one of them being that he is the first president to have his official portrait taken with a digital camera. Said digi-image, taken by none other than Chief Official White House Photographer Pete Souza, thematically sums up Souza’s larger body of work on the president—the image is historically significant, yet forward-thinking, grand yet personal. This summer, New York’s Leica Gallery showed fifty of Souza’s remarkable images from the first two-plus years of the Obama presidency, giving us a chance to see these hand-selected images up close and in print.

The Obama administration’s decision to release an unprecedented number of official images during the span of the presidency—available for anyone to see on the White House’s official Flickr stream—reflects the president’s marked focus on transparency in governance and lends credence to Obama’s belief in the power of digital communication. The intimate setting of the Leica Gallery allows Souza to show many images never before released, even via Flickr, giving the viewer an even deeper look at arguably the most public, most consequential job in the world. The variety

of the images—the president at work, at play, and at rest—portray scenes from almost every aspect of Obama’s day-to-day life, from a quiet moment with his daughter to a BP oil spill briefing. And because all the images appeared together in Leica’s small, open gallery space—not divvied up by subject matter or chronology—it gave the viewer a more holistic picture of the many facets of the president’s life and personality. Souza first met the president when he worked as a journawlist for the Chicago Tribune; Senator Obama was then in his first term. The two gradually became friends, and when the president was elected, picking Souza as official photographer was a natural choice. Their relationship of mutual admiration and trust (Obama’s been quoted as saying, “Pete and I are like an old couple.”) has allowed Souza the access and comfort level to capture some of the most striking and personal presidential photographs in history. Souza’s position allows him the ability to capture very personal vantages of Obama on the job, which make for the exhibit’s strongest images. Whether they be funny scenes like Obama teasing a colleague in the image called ‘Presidential Prank, Austin, Texas, August 9, 2010’ or far more serious moments like the now-famous ‘Situation Room, the White House, May 1, 2011’ that shows top White House staff monitoring the mission to kill Osama bin Laden, each image conveys a reality larger than the

specific moment it depicts. Indeed, all of Souza’s images of the president are imbued with a kind of self-consciousness—a awareness that with each photograph he takes, Souza isn’t just capturing a moment, he’s telling history. “Creating a good photographic archive for history is the most important part of my job, creating this archive that will live on,” the photographer has stated. Many times, as with the photo entitled ‘Speech Prep, September 9, 2009,’ the framing and composition of Souza’s photos imply the ever-present reality of any presidency that, as president, you’re never truly alone. So, although on the surface this image nicely depicts Obama’s speech-writing process, giving a rare behind-the-scenes glimpse into the process of governing, the over-the-shoulder, close-up angle points to the larger story of the nature of public office. Even looking at images with titles like ‘Alone on the Golf Course, December 28, 2009’ or ‘Alone in the Oval, June 23, 2010,’ the viewer is aware that Souza himself, plus inevitably a slew of Secret Service personnel and other staff, were not so far away from the president at the time the images were taken. These shots not only document Obama’s activity, but they also draw attention to the nature of his intensely public yet unusually sequestered life.



Pete Souza: - Leica Gallery:

Double Life by Kelli Connell Edelman Gallery Sept 9 – Oct 29 Clyde Butcher Large Scale Landscape Photography Zia Gallery Sept 9 – Oct 29 The Three Graces Art Institute of Chicago Oct 29 – Jan 22


Destroyed by Moby Kopeikin Gallery Sept 10 – Oct 22 Matthew Brandt M+B Sept 16 – Oct 29

The Surfing Essay by Anthony Friedkin Drkrm Sept 17 – Oct 29 Narrative Interventions in Photography J. Paul Getty Museum Oct 25 – March 11 Lowlife, Photographs and Literary Vignettes by Scot Sothern


Drkrm Nov 5 – Dec 3

Naked Hollywood MoCA Nov 13 – Feb 27 In Focus: Los Angeles, 1945-1980 J. Paul Getty Museum Dec 20 – May 6


As Souza captures history in the making, he also tells a very personal story of what it’s like to hold the highest office and all the power, scrutiny, and gratification that come along with it. Artistically, Souza draws on the fact that Obama is being constantly watched—literally by him, Souza, even in Obama’s most private moments—and more grandly by the country and the world in his every personal, public, and political move. Souza’s approach speaks to the fact that as president, Obama is constantly in the public eye and under intense critique. This selfreflexive element in Souza’s work, in turn, reflects broader themes of the administration’s cognizance of communication and technology and its awareness of the power of producing media. The speed at which digital images from the White House can be created and disseminated gives Americans and others an almost real-time look at the daily life of the First Family. It also allows a unique channel for the president to communicate with the public. Souza’s work ultimately shows not only what the president does, but humanizes the job and the man by showing us what it feels like to be leader of the free world. In this way, Souza’s very personal images of this presidency touch us now, and will tell the story of the 44th First Family for years to come. Sept 15 – Oct 29

Elinor Carucci : Born Sasha Wolf Gallery Sept 15 – Nov 5 Photographs From the War in Afghani stan by S. Norfolk & J. Burke Bonni Benrubi Gallery Mid Sept – Nov (dates TBD) Ramos by Julio Bittencourt 1500 Gallery Sept 21 – Jan 28 Self Reflections: The Expressionist Origins of Lisette Model Bruce Silverstein Gallery Sept 22 – Nov 12

Elijah Gowin: Into the Sun Robert Mann Gallery Sept 8 – Oct 22

New Photography 2011 MoMA Sept 28 – Jan 16

Stephen Wilkes : Day To Night ClampArt Gallery Sept 8 – Oct 29

The Machine in the Garden: Recent Photographs 2009-2011 by Jeff Brouws Robert Mann Gallery Oct 27 – Dec 10

Remembering 9/11 Harper’s Bazaar: A Decade of Style Signs of Life: Photographs by Peter Sekaer ICP Sept 9 – Jan 8 Vivian Maier Steven Kasher Gallery Sept 15 – Oct 29 (to be reconfirmed) The Last Printing by Edward Steichen Seldom Seen (Print Room) by George Tice Danziger Projects Gallery

Sharon Core Yancey Richardson Gallery Oct 27 – Dec 23 Karen Knorr Danziger Projects Gallery Nov 3 – Dec 23 The Radical Camera: New York’s Photo League, 1936-1951 The Jewish Museum Nov 4 – March 25

HIDE/SEEK: Difference and Desire in Americain Portraiture Brooklyn Museum Nov 18 – Feb 12 Richard Steinheimer: A Passion for Trains Robert Mann Gallery Dec 15 – Jan 21 Sanja Ivekovic: Sweet Violence MoMA Dec 18 – March 26


Art Basel Miami Beach Dec 1 – 4


Christian Marclay: Cyanotypes Fraenkel Gallery Sept 8 – Oct 29

The Emperor’s River by Scott Nichols Scott Nichols Gallery Sept 8 – Oct 29 European Battlefields by Peter He beisen Gallery 291 Sept 8 – Oct 31 Ralph Eugene Meatyard de Young Museum Oct 8 – Feb 26 Lunch Break by Sharon Lockhart SFMoMA Oct 15 – Jan 16



BOOK REVIEWS: WEDDING PHOTOGRAPHY BOOKS By Kenny Kim I Book photos by Matt Borkowski


“Wedding photograhy is unique because it requires you to understand every photographic style.” When Wiley Publishing asked me to write a book about wedding photography, I was delighted, as I had wanted to create a resource for those starting out in this business. I remember my frustration as a young wedding photographer, wondering why there were not more helpful resources out there that would teach about this specific field—not just about how to use a digital camera, but also about those valuable insights that can usually only be learned by experience. Wedding photograhy is unique because it requires you to understand every photographic style. A successful wedding photographer has to incorporate journalistic, product, portrait, and landscape photography in order to capture the story that unfolds through out a high-energy and emotional day, all the while exercising friendly customer service skills with the guests. My first book, Digital Wedding Photographer’s Planner, gives a comprehensive approach to the business while sharing unconventional wisdom

that you won’t find in other books on becoming a wedding photographer. There’s even a checklist to make sure you have the right gear, as well as a must-have shot list you might want to keep by your side. Just as a bride-to-be will not want to plan her big day without having a planning book, you’ll want this resource by your side to help you through your first year in wedding photography. My second book, Digital Wedding Photography, is part of a series called Photography Workshop. While some information might overlap from the first one, the second book focuses more on the details of what goes on during the actual wedding day and the post-processing work that is involved to complete your job. There is some detailed technical information to help you understand how certain photographs were achieved. Each chapter ends with an exercise for you to practice on your own or when working as a second/assistant shooter, all to help prepare you for the day when you will get to photograph a wedding on your own.

Kenny Kim:, Matt Borkowski:


VIDEO PICKS: VIMEO’S ANDREA ALLEN Part of my job as one of Vimeo’s Senior Content + Community Managers is to watch and give feedback on videos everyday. This allows me to keep up on trends, follow leaders in the community, and find new, talented folks to encourage. This video is a prime example of someone in the community who’s really made a name for themselves through practice and participation. Bill Newsinger joined Vimeo because his friends were uploading fun, personal videos and getting great feedback. Bill has always had an eye for what works aesthetically, but lately his skills have improved above and beyond the amateur filmmaker level. The video was shot in his hometown of Leicester, England on an autumn day. The amazing effect deals with the movement. Half the people in the video are moving at a normal pace and the other half are moving in slow motion. Bill achieved this by using two clips, one processed with Twixtor (to make it slow motion) and the other at normal speed. He layered the two clips on top of each other and masked them out to show the parts he wanted. My favorite moment is when he holds the camera low and runs through a grassy field following leaves as they blow in the wind. It’s such a great perspective—you feel like one of the leaves. HTTP://VIMEO.COM/29213923



Often referred to as the “Mary Tyler Moore of the Internet,” Andrea Allen produces original content such as Vimeo HQ Staff Originals, Vimeo Video School Series and on- site reporting from tradeshows like NAB and IBC. Recently, she helped film and produce a feature for CNN’s Eatocracy blog. Like many of the Community Team members at Vimeo, Andrea originally joined the site in search of an easy way to post videos. She attended a Vimeo Meetup in New York City where she met several staff members, and a few months later was asked to join the team.

I know a video is good when I keep going back to watch it again and again. I probably watched Woodkid’s Iron a few times a day for at least two weeks straight. It’s the perfect combination of strong visuals and strong music. Woodkid has been directing music videos for other artists and decided to debut his own song with a powerful list of characters getting ready to go to war. The visuals are stunning. There’s not much more you can say, but this video does demand repeat viewings. HTTP://VIMEO.COM/21604065 This third piece is hard to explain. It’s a wonderfully weird short documentary about a New York City man who makes robots. The robots aren’t just your regular blinkylight robots, but rather a mix of Metropolis and sex crazed maniacs. The man takes us around his apartment, explaining in the most nonchalant way how he decides when the robots get their sexual parts and his plans for stop animation robot sex movies. In any other context, I’d think this man was insane, but because he’s so matter-of-fact about his exploits, I feel like he’s just a guy with a strange hobby. He has some great moments, as when he says he sees his robots as a metaphor for human behavior: “They don’t have to f*ck, but they do it compulsively.” It’s beautifully shot and the pacing allows you to take it all in and process it rather than completely blindsiding you with utter weirdness. I love when strange things are beautiful. HTTP://VIMEO.COM/24849427

Andrea’s film experience began at an early age, and her videos have evolved from shooting on her family’s VHS Panasonic camcorder (and having to carry the VCR while recording) to shooting with a Canon 7D and iPhone 4. Born and raised in Wichita, KS, and voted class clown in high school, Andrea has proved to be a natural in front of and behind the lens. She credits her biggest influences to Monty Python, Ricky Gervais, Ellen DeGeneres and Larry David. Andrea readily admits that most of her videos are improvised and unscripted. Outside of work, you can find Andrea dancing, trying new beers, playing video games or learning new recipes. She lives by one rule: stop trying to predict the future. For now, Andrea enjoys managing a community of over seven million people in what she considers her dream job.

ARTS & ENTERTAINMENT: VIDEO PICKS-”Vimeo’s Andrea Allen” Page 139

FILMS FOR PHOTOGRAPHERS: Woody Allen in Europe By Alec Kerr I Illustration by Emil Rivera

“I was born into the Hebrew persuasion, but when I got older, I converted to narcissism.” - Sid Waterman (Woody Allen), Scoop.

Following his messy and very public break up with Mia Farrow in 1992 and his subsequent marriage to her adopted daughter, Soon-Yi Previn, in 1997, many Americans turned on Allen. It became increasingly difficult for him to find financing for his films here and, in 2005, Allen left his beloved New York to work in Europe. He returned to the city that never sleeps in 2009 for Whatever Works. Allen has had his experimental moments as a filmmaker, particularly in the 1970s, and most notably with Annie Hall where he used split screens, subtitles and animation in interesting and unexpected ways. In Husbands and Wives (1992), Allen used handheld camera work and aggressively jarring jump cuts, making both the content (an acidic dissection of marriage) and the look of the film unsettling. It was a style choice that was atypical for him and one that was off-putting to many. In watching his other films though, you notice how clean his filmmaking is. His style is precise and not showy. He is not afraid to allow his shots to have time to breath—they often run between one to two minutes in length. Allen almost always shoots at eye level and rarely uses high, low, or eschewed angles, although he is fond of starting a shot at a low angle and then tilting up into the action. His editing of dialogue scenes uses the simple but effective shot/reverse order: an over-the-shoulder shot of one character talking, followed by another over-the-shoulder shot of the other character responding or reacting. Allen is fond of uncomplicated compositions. Some of his favorites include tracking shots to follow two people walking and talking; a static medium shot of two people talking; and a shot of a group, usually seated, talking with the camera panning back and forth to catch the volleying conversation. You may notice a theme through all this: talking. Allen is a writer first and director second, and his filmmaking choices showcase his words. This is basic stuff, but watching it you realize how overly and unnecessarily maniac many modern filmmakers are. His filmmaking technique doesn’t change much whether the story is a drama or a comedy. The tone of the dialogue, whether dark

as in Match Point (2005), Allen’s first film in London, or light as in Scoop (2006), his second film there, alters the mood of the piece. The music, as it so often does, also helps in defining the movie’s atmosphere. Allen almost always uses classical pieces, old jazz standards or songs from the Golden Age of Hollywood. Both Match Point and Scoop have plots centered around murder, but the choice of an operatic score heightens the drama of Match Point whereas whimsical pieces like Johann Strauss’s “Tritsch-Tratsch Polka” and “Annen Polka” keeps Scoop lighter. Allen, who typically starred in his films, often against actresses who weren’t aging along with him, wisely started giving the “Woody Allen” role to other actors. His last starring role was in Hollywood End (2002) and he has since only had supporting roles in Anything Else (2003) and Scoop. What has been interesting about his European work is that in movies like Match Point and Cassandra’s Dream (2007) there is no clear purveyor of the Allen persona. However, in his latest film, Midnight in Paris, his comic voice did come shining through. Owen Wilson was his stand-in and it was a perfect fit. Somehow the signature Allen dialogue mixed with Wilson’s typically laid back performance makes both familiar personas feel fresh. Allen is also a filmmaker who knows the power behind leaving things to the imagination. In Cassandra’s Dream, Allen pans away from the central murder scene. Similarly, in Match Point, his camera shies away from a sex scene. In Vicky Cristina Barcelona (2008), while he keeps the focus on Javier Bardem and Scarlett Johansson during a sex scene, you only see them kissing. There’s a certain tastefulness to this technique. Match Point and Vicky Cristina Barcelona are easily the most sexually charged works in Allen’s career, but the key to their sensuality may lay in what he doesn’t show rather than in what he does.

Emil Rivera:

It is safe to say that there is no other filmmaker as prolific as Woody Allen. On average, Allen has made one film a year since his debut as a writer and director with Take the Money in 1969. Much praise has been written about his work in the 1970s and 1980s, but there is a more disparaging tone in regards to his more recent work. Even great films from the 1990s, including Bullets Over Broadway (1994), Deconstructing Harry (1997) and Sweet and Lowdown (1999), are praised as good with the provision that they’re no Annie Hall (1977). The belief is that Allen’s best work is long behind him.


Release Date: January 20, 2006 Director: Woody Allen Writer: Woody Allen Starring: Scarlett Johansson, Jonathan Rhys Meyers, Emily Mortimer Cinematography: Remi Adefarasin

Cassandra’s Dream

Release Date: October 8, 2007 Director: Woody Allen Writer: Woody Allen Starring: Ewan McGregor, Colin Farrell Cinematography: Vilmos Zsigmond

Vicky Christina Barcelona

Release Date: August 15, 2008 Director: Woody Allen Writer: Woody Allen Starring: Rebecca Hall, Scarlett Johansson and Javier Bardem Cinematography: Javier Aguirresarobe

Midnight in Paris

Release Date: June 10, 2011 Director: Woody Allen Writer: Woody Allen Starring: Owen Wilson, Rachel McAdams, Kathy Bates Cinematography: Johanne Debas, Darius Khondji

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STUDIO RENTAL Quixote Studios Boston* 184 Everett St. Boston, MA 02134 617.903.3373

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EDUCATION (workshops, seminars) AD013 Studio* 329 NE 59th Terrace Miami, FL 33137 305.640.8758 DIGITAL SERVICES Industrial Color* 650 West Ave. - #1211 Miami, FL 33139 305.695.0001

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

Splashlight Studios* 167 NE 26th St. Miami, FL 33137 305.572.0094

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

Trendy Studio* 196 NW 24th St. Miami, FL 33127 395.438.4244

One Source Studios* 6440 NE 4th Court Miami, FL 33138 305.751.2556 Photopia Studios* 360 NE 62nd St. Miami, FL 33138 305.534.0290

NEW YORK, NY ARTIFICIAL FOLIAGE American Foliage & Design Group* 122 W 22nd St. New York, NY 10011 212.741.5555

CASTING SERVICES RedPenny 23 East 4th St. - 6th Fl. New York, NY 10003 917.289.0966 DIGITAL CAPTURE SERVICES Exposure Capture* 77 Franklin St. New York, NY 10013 212.393.1307 PHOTO EQUIPMENT 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

RGH Lighting* 236 W 30th St. New York, NY 10001 212.647.1114

CSI Rentals* 133 W 19th St. New York, NY 10011 212.243.7368

Scheimpflug* 236 W 30th St. New York, NY 10001 212.244.8300

Foto Care* 43 W 22nd St. New York, NY 10010 212.741.2991 K&M Camera* 385 Broadway New York, NY 10013 212.523.0954

TREC RENTAL* -Manhattan: 435 W 18th St. New York, NY 10011 212.727.1941 / 800.622.1941 -Brooklyn: 131 N 14th St. Brooklyn, NY 11211 718.349.2740

PHOTO LABS Duggal Visual Solutions* 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

PROP RENTALS Arenson Prop Center* 396 10th Ave. New York, NY 10001 212.564.8383

20x24 Studio* 75 Murray St. - 3rd Fl. New York, NY 10007 212.925.1403

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

Eclectic Encore Props* 620 W 26th St. - 4th Fl. New York, NY 10001 212.645.8880

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

Brick Space* 385-387 Broadway - #3F New York, NY 10013 646.580.5185

320 Studios* 320 W 37th St. - 14th Fl. New York, NY 10018 212.967.9909

Brooklyn Studios* 211 Meserole Ave. - 2nd Fl. Brooklyn, NY 11222 718.392.1007

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

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

Good Light Props* 450 W 31st St. - #9B New York, NY 10001 212.629.8773 Props For Today* 330 W 34th St. - 12th Fl. New York, NY 10001 212.244.9600 The Prop Company* 111 W 19th St. - 8th Fl. New York, NY 10011 212.691.7767 PROP STYLIST RENTAL STUDIOS 2 Stops Brighter* 231 W 29th St. New York, NY 10001 212.868.5555

3/4 of page

Above Studio* 23 E 31st St. New York, NY 10016 212.545.0550 x3 Attic Studios* 1105 44th Rd - 3rd Fl. Long Island City, NY 11101 718.360.1978

Capsule Studio* 873 Broadway - #204 New York, NY 10003 212.777.8027 Cinema World Studios* 220 Dupont St. Greenpoint, NY 11222 718.389.9800

Dakota Studio* 78 Fifth Ave. - 8th Fl. New York, NY 10011 212.691.2197

Gary’s Loft* 470 Flushing Ave. Brooklyn, NY 11205 917.837.2420

Divine Studio* 21 E 4th St. - #605 New York, NY 10003 212.387.9655

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

Eagles Nest Studio* 259 W 30th St. New York, NY 10001 212.736.6221

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

Factory Studios* 79 Lorimer St. Brooklyn, NY 11206 718.690.3980

Home Studios* 873 Broadway - #301 New York, NY 10003 212.475.4663

Fast Ashleys Brooklyn* 95 N 10th St. Brooklyn, NY 11211 718.782.9300

Industria Superstudio* 775 Washington St. New York, NY 10014 212.366.1114

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

Jack Studios* 601 W 26th St. New York, NY 10001 212.367.7590

7 columns

Location 05* 205 Hudson St. New York, NY 10013 212.219.2144

Pure Space* 601 W 26th St. - #1225A New York, NY 10001 212.937.6041

Steiner Studios* 15 Washington Ave. Brooklyn, NY 11205 718.858.1600

Metrodaylight Studio* 450 W 31st St. - 8 & 9th Fl. New York, NY 10001 212.967.2000

Root [Brooklyn]* 131 N 14th St. Brooklyn, NY 11211 718.349.2740

Suite 201* 526 W 26th St. - #201 New York, NY 10001 212.741.0155

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

Root [Drive-In]* 443 W 18th St. New York, NY 10011 212.645.2244

Studio 225 Chelsea* 225 W 28th St. - #2 New York, NY 10001 917.882.3724

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

Shoot Digital* 23 E 4th St. New York, NY 10003 212.353.3330

Studio 385* 77 Franklin St. New York, NY 10013 212.393.1307

NoHo Productions* 636 Broadway - 8th Fl. New York, NY 10012 212.228.4068

Shooting Kitchen* 13-17 Laight St. #12 New York, NY 10013 917.262.0816

Sun Studios* 628 Broadway - 6th Fl. New York, NY 10012 212.387.7777

Picture Ray Studio* 245 W 18th St. New York, NY 10011 212.929.6370

Silver Cup Studios* 42-22 22nd St. Long Island City, NY 11101 718.906.3000

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

Pier 59 Studios* Pier #59 - 2nd Fl. New York, NY 10011 212.691.5959

Some Studio* 150 W 28th St. - #1602 New York, NY 10001 212.691.7663

Talent Plus Art* 162 W 21st St. New York, NY 10011 800.319.7990

Primus Studio* 64 Wooster St. - #3E New York, NY 10012 212.966.3803

Splashlight* 75 Varick St. - 3rd Fl. New York, NY 10013 212.268.7247

The Space* 425 W 15th St. - 6th Fl. New York, NY 10011 212.929.2442

Tribeca Skyline Studios* 205 Hudson St. - PH 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. - #1202 New York, NY 10001 212.244.6107 WARDROBE RENTALS RRRentals* 245 W 29th St. - #11 New York, NY 10001 212.242.6120 WARDROBE SUPPLY Manhattan Wardrobe Supply* 245 W 29th St. - 8th Fl. New York, NY 10001 212.268.9993

SOUTH WEST DALLAS, TX STUDIO RENTAL Bolt Productions 1346 Chemical St. Dallas, TX 75207 214.234.8423

WEST COAST LOS ANGELES, CA PROP RENTALS House of Props* 1117 N Gower St. Hollywood, CA 90038 323.463.3166

PHOTO LABS A&I Photographic & Digital Services* 933 N Highland Ave Hollywood, CA 90038 323.856.5280 mail@

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

SALES | RENTAL | SERVICE Lighting the way since 1891

The Icon* 5450 Wilshire Blvd Los Angeles, CA 90036 323.933.1666 PHOTO EQUIPMENT Calumet* 1135 N Highland Ave. Los Angeles, CA 90038 323.466.1238 Castex Rentals* 1044 Cole Ave. Hollywood, CA 90038 323.462.1468 Pix Inc.* 211 South La Brea Los Angeles, CA 90036 323.936.8488 RENTAL STUDIOS 5th & Sunset* 12322 Exposition Blvd West Los Angeles, CA 90064 310.979.0212

Lightbox Studio* 7122 Beverly Blvd Los Angeles, CA 90036 323.933.2080 Milk LA* 855 N. Cahuenga Blvd Los Angeles, CA 90038 323.469.8900

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

Quixote Griffith Park 4585 Electronics Place Los Angeles, CA 90039 323.851.5030 Pier 59 Studios West* 2415 Michigan Ave. Santa Monica, CA 90404 310.829.5959 Siren Studios* 6063 W Sunset Blvd Hollywood, CA 90019 323.467.3559 Smashbox Studios Culver City* 8549 Higuera St. Culver City, CA 90323 310.558.1460 Smashbox Studios West Hollywood* 1011 N Fuller Ave. Hollywood, CA 90046 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 STYLISTS AGENCY Cloutier Remix* 2632 La Cienega Ave. Los Angeles CA 90034 310.839.8722

SAN FRANCISCO, CA PHOTO EQUIPMENT Calumet* 2001 Bryant St. San Francisco, CA 94110 415.643.9275

Pro Camera Rental & Supply* 1405 Minnesota St. San Francisco, CA 94107 415.282.7368 PHOTO LAB Dickerman Prints* 3180 17th St. San Francisco, CA 94110 415.252.1300 Light Waves Imaging* 130 Russ St. San Francisco, CA 94103 415.431.9651 PRODUCTION SUPPLIES JCX Expendables* 3050 23rd St. San Francisco, CA 94110 415.824.1371

Sintak Studio* 2779 16th St. San Francisco, CA 94103 415.255.7734

NATIONAL EQUIPMENT BRON IMAGING GROUP 800.456.0203 PHASE ONE ORGANIZATION APA (Advertsing Photographers of America) PO Box 725146 Atlanta, GA 31139 800.272.6264 PhotoCrew

PROP RENTALS The Prop Co-op* 80 Industrial Way Brisbane, CA 94005 415.468.7767

Production Paradise

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 LUX-SF* 2325 3rd St. - #347 San Francisco, CA 94107 415.310.2263 Purebred Studio* 436 N. Canal St. #7 South San Francisco, CA 94080 650.952.6200





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