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winter 2012



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Money, clients & other evils

GOOD THINGS: “Is Your Shoot Green?” Page 25 CLIENT FILE: “Trunk Magazine Opens Up.” Page 28 GRAPH-LC “Media Consumption” Page 30 YOU ARE HERE: “Shooting in Beautiful Boston, MA” Page 32 BEHIND THE BIZ: “Go Studios” Page 34 SELL YOURSELF: “Secrets to Promotional Pieces” Page 36

Gear, Demos and Geek Love

BREAKING IN: “The Life of a Digital Tech” Page 38

DO IT FOR FUN: “Boken Kit Magic” Page 47

MEDIASOCIOPATH: “HastagArt Makes Art...” Page 40

PEOPLE IN MOTION: “Tall Tales or CinesStories?” Page 48

KICKSTARTED: “The Graflex Project Lucha Libre” Page 41

DO IT WITH STYLE: “Manfrotto Camera Wear” Page 49

TRENDS OF NOW: “The New Repping Agency Model” Page 42

WEB SAYS: “iPad2 vs. KindleFire” Page 50

GOING PRO: “So You Think You’re Ready...” Page 44

THE BIG IDEA: “Tumblr: A Perfect Tool For Creative...” Page 52



GEAR AND GADGETS 1.0: “Third-Party Lenses” Page 51

the tumultuous lives of photographers

RETOUCH 2.0: “Scale Perspective (Part 2 of 4)” Page 67

DECONSTRUCTED: “The Stuff of Dust-Off” Page 54 ETIQUETTE: “ Your Sartorial Choices” Page 69 SOFTWARE: “DF Studio Cloud Power” Page 56

FINE ART: “ From Magazine to Auction House” Page 70

DO IT YOURSELF: “Homemade Lightbox” Page 57 PRO-PINION: “The Value of Personal Work” Page 71 TRENDS OF NOW: “Is Augmented Reality Real?” Page 58

HISTORY: “Raising the Flag at Ground Zero” Page 72

WHAT’S IN YOUR CLOSET? “August Bradley” Page 60 EDITOR’S PICK: “Ysabel LeMay” Page 75 GEAR AND GADGETS 2.0: “Cinema Video Cameras” Page 62 SICK APP: “VM Release- Model Release on the Go” Page 64

PHOTO-GRAPH: “Dissection of the Wade Brothers Pic” Page 76 PHOTO PRO-FILE: “Jerry Ghionis, Wedding...” Page 78

CAPTURE THIS 2.0: “Backups’ Rules.” Page 86

TECHNIQUE: “Ryan Enn Hughes on Shooting 360” Page 82

VIDEOGRAPHY: “A Note to Aspiring Filmmakers.” Page 87

CREW PRO-FILE: “The John Engstorm Experience” Page 84



Inspiration & Information for emerging photographers

ASPIRE: “Ed James- Still Life With A Sense of Humor” Page 89 GET SMART: “Phrase One Digital Artist Series...” Page 92 TIP: “Making the Most of Low Light Situations” Page 94 GRAPH-ITE: “Where the Photo Students Roam” Page 96

CAPTURE 1.0: “Digital Technician MD- Tool Kit” Page 101

THE EXPERIMENT: “Pinhole Photography” Page 98

RE-TOUCH 1.0: “Layers and Masks” Page 102

5 THINGS: “5 Photography Associations” Page 100

ITECH LITE: “Splash Garden by Alex Kosolov” Page 103



PAGE 104

EVENT: “2011 APA Photo Contest” Page 142


BOOK OVERVIEW: “Kevin Kubota’s Lighting Notebook: 101 Styles and Setups for Digital Photographers” Page 146


CAUSE: “The F.I.L.M Project” Page 147

PAGE 116

PAGE 126

GALLERY: “Aperture Gallery: Bruce Davidson’s Subway” Page 148 PHOTO SHOWS: “January, February, March 2012” Page 149 MOVIES FOR PHOTOGRAPHERS: “Writer and Director Andrew Niccol” Page 150





MASTHEAD winter 2012 eDitors in CHief


Alexandra Niki, Aurelie Jezequel

Alexandra Niki Adam Sherwin

CreatiVe DireCtors Alexandra Niki, Aurelie Jezequel

art DireCtor Chris Brody

CoPy eDitors Sam Chapin, Isaac Lopez, Amber Ornelas, Ashley Shufelt, Amelia Riley Swan

DesiGn Chris Brody, Isba Edwards, Mercy Leviste

ContriBUtinG PHotoGraPHers Tony Blei, August Bradley, Tim Dalton, Michael Falco, Thomas E. Franklin, Elise Gannett, Jerry Ghionis, Rusty Hill, Ryan Enn Hughes, Ed James, Alex Kosolov, Brian Kuhlmann, Ysabel LeMay, Ali Mahdavi, Gregory Miller, Anne Mourier, Mitchell Parsons, Daniel Santoso, Brian Smith, Szymon Swietochowski, The Wade Brothers, Jacques Weyers

ContriBUtinG writers Aimee Baldridge, Sophia Betz, Tony Blei, Matthew Borkowski, Sam Chapin, Maura Cheeks, Skip Cohen, Jackie Denny, ENNIS, Michael Falco, Charlie Fish, Benjamin Gustafsson, Ross L. Hockrow, Alec Kerr, Kevin Kubota, Isaac Lopez, Matt Morton, Amber Ornelas, Mitchell Parsons, Shlomi Rabi, Anthony Rivas, Stephan Sagmiller, Suzanne Sease, Adam Sherwin, Ashley Shufelt, Jeff Siti, Brian Smith, Elizabeth Stacy, Joe Sutton, Amelia Riley Swan, Tarah Tramontano, Kenny Ulloa, Lewis Van Arnam, Jessica Yu

ContriBUtinG iLLUstrators Mercy Leviste, Katherine Lo, Alex Nunez, Tomás Pichardo, Shirley Hernàndez Ticona

interns Yadin De Jesus, Qurat Khan, Laura Kuiper, Anna Mira, Nicola Smith



Resource Magazine is a quarterly publication from REMAG Inc. 139 Norfolk Street #A - NY, NY 10002

sUBsCriPtions: $40 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 ©2012, 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: finD Us on newsstanDs aCross tHe CoUntry! easier yet, Get yoUr onLine sUBsCriPtion at www.resoUrCeMaGonLine.CoM anD neVer Miss an issUe!

Author of 6 books on photography, including Going Pro, which we shamelessly based our new “Going Pro” article series on, 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.

Alex Koloskov is a still life photographer. Completely selftaught, he doesn’t cares about the rules and does things his way. He’s incredibly persistent and never takes “less than perfect” for an answer. If he doesn’t have the right tools, he’ll build them himself. He likes to make stuff happen.

Mitchell Parsons has been photographing actors and musicians for 12 years. After extensively photographing the Occupy Wall Street protests, he is making a career shift to photojournalism with a trip to Egypt in May then Libya or Darfur over the summer. More of his work can be seen at

Suzanne Sease is a consultant for photographers and illustrators and a partner in the Creative Collision video series featured on Agency Access’ blog. She has been involved in the industry since the mid 80s and founded the Art Buying department at The Martin Agency. She has worked for Kaplan-Thaler, Capital One, and Best Buy among others.


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 recently went on Facebook and saw its new timeline feature. I, for one, am in the dead middle of crunch time, and I have no time or brainpower left to comprehend yet make myupdate. way toI skim the auditorium, my old booth used to gets be. Somewhere familiar, somewhere spent hours after school.intriguing By now I’ve pieced anotherIFacebook over a couplewhere of timelines andtech my curiosity finally the better of me. I end up watching aI compelling and graphically video that Iatam at a photo shoot. these people are prepping a high production shoot with sets, an army of PAs. Then created together by the geniuses Facebook. With some All quick swoops and turns through for the sample page of this feature, I slowly getextras, suckedtons into of thisgear, newand concept of viewing there’s me,presents wandering off from the bustle myhead oldand world the school auditorium. I walk down the aisles, thethen edges of the benches my life as Facebook it. Sigur Rós starts playinginto in my I getina little teary-eyed as I envision my life flashing before touching my eyes. And I realized that that’sas I think of my high school days and the late nights working on school plays and productions. what it was. when feeling of another presence inme thewith room backclose to present to a man sitting onlove, theyouth, benches. I added Nostalgia a photo forfades “When I wasthe born.” A photo of my mom holding herjolts headme pressed against day. me. ItI look was aup moment pouring with andOur eyes meet andhappiness. I walk over. We sit on and if we’ve other years.some We talk having the madness of theMemories photo shoot and how glad we unfiltered I continue to talk scrollasthrough theknown years ofeach my life. Myfor friends, near,about some far, someescaped gone, and some still around. of dinners, to have found each other here. It BBQs, was only second after ourpast eyes thatThere I knew was. hands and hispiece headand… on my lap as we birthdayare parties, ice-skating, inspirations, ideas, and aother events scroll mymet screen. waswho that he time we We werehold pretending to sithe onputs this art well, into what seems to be love at first thoughts. sight. Nobody would ever believe me, but it’s Brad Pitt. you hadcontinue to be there. This led to a couple breakthroughs Suddenly pounds on the door. A violentour ramming, then gunshot our sanctuary. In iscome wearing black suits, all sure carrying Breakthrough one:someone after seeing how Facebook has quantified lives within thea length of aunlocks scrollable profile page, life short.eight We’vemen all heard this before, and I’m weapons—AK47s and Brad jumps up and throws thetobench down. hitlives the are floor and my presses against thenetwork, gray school most ofautomatic us have tackled this brutal reality onethe waylike. or another. Although we don’t need see how short Iour through theface computation of a social we carpet. Shots I feel through past my head. mefrom up and we at run. runofpast the rows benches, dodging can. That dailyflying. reminder canbullets serve asspeeding nothing more thanthe saltbenches on the cutand or motivation to doBrad more.pulls I went looking theWe photo my mom and Iof when I to thinking bullets leftand anddaughter right. We duck into the techand booth, the roof jump down and run ofborn, the room. make it out birth. alive. I take off, about my own son who are already eleven five!squeeze How didout thatof happen? Lifetrap, snuck up—one minute I’m out being and theWe next I’m giving 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. Breakthrough two: As I review my life so far through Facebook or my iPhoto or photo albums at home, I start to realize that there are memories, hours, days, weeks, and in paranoia theI have streets, I dare not go to of anyone’s I feeland I’mfamily, beingbut followed. I head toward the office. Inyou a daze, I sit down monthsNow, that will forever beand lost wandering and forgotten. thousands of photos my kids house. and friends this is not even close to enough when equate a photo in front my laptop and open and wrap what is the issue of Resource Magazine to date. We’ve Photography reinvented the wheel andour have to a memory, to aofmoment. So, as your civicIn-Design duty as a photographer, I’ll say this:most shootepic more. Photography is not just for jobs and money. is what holds created a new and improved Onemoments to whetthat yourwould palette photographic fantasies andassatisfy your desire forhave gear,totechniques and technology. lives together. It preserves our memoriesResource. and captures haveofotherwise been lost. It stands the strongest thing we represent our time on 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 this planet. issues: the Resource revolution has only begun. Send us feedbacks, comments, and ideas. Resource is here to reflect your life and answer your questions. Our New Year’s resolution is to shoot more. What’s yours? Happy New Year! You’re welcome.

Alex andand Aurelie Alex Aurelie

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Albert Watson:

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

STEVE JOBS: PERFECTION OR BUST By Sam Chapin I Photo by Albert Watson

Steve Jobs was not a man concerned with his own image. He frequently, and famously, chided employees, waiters, police officers, interviewers, and family members for doing things that did not fit in with his esthetic. He would fire subordinates in elevators, park in handicap spaces, and once got a girlfriend pregnant (which he fervently denied even after his son was born), all of which are detailed in Walter Isaacson’s new biography, Steve Jobs. But his shortcomings in moral character do not detract from one plain and simple fact: the man was a visionary. If anything, his

irrational, passionate, and irreverent behavior further illustrates Jobs’ unconventional brilliance. Since he unveiled his first computer, back in 1976, he was obsessed with perfection and would not let anything get between him and his ideal. Although Jobs did little to improve is own image, he became hyper-aware of the image of his company. He was a part of every decision made at Apple—until he was ousted in 1985. During his eleven-year absence,

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.”

Steve Jobs Cont’ success waned greatly, only to be jumpstarted upon his return with the first iMac, an updated and modernized version of Jobs’ original Mac. Throughout his career, Jobs knew which direction computer technology was heading and was always able to stay ahead of the curve. That is truly where Jobs’ genius lay. He only spent one semester in college before dropping out and never cared to delve too far into the technical aspects of computers: Jobs was a visionary, but someone else had to turn those visions into reality. In Isaacson’s book, Jonathan Ive, the designer behind

the iMac, iPod, and iPhone, said, “He will look at my ideas and say, ‘That’s no good. That’s not very good. I like that one.’ And later I will be sitting in the audience and he will be talking about it as if it was his idea.” But they were his ideas. He was the mastermind behind all of his products and it was he who demanded perfection; he just needed someone else’s hands to build it. He was not a man of science and never claimed to be, but was instead a man of ideas, trusting his instincts over his intellect. And if there’s one truth about genius, it’s that they don’t teach it in school.


It has been an amazing couple of months. As I think about Occupy Wall Street, I can’t help but see my life divided in “before” and “after” OWS. The contrast is unmistakable. I showed up in September to take some photos and then came back as often as I could—I was hooked. As I begin to write this, two news stories have my attention. One is about Senate Bill S. 1867, The National Defense Authorization Act, that will allow the U.S. military to arrest and detain indefinitely any U.S. citizen anywhere, anytime. The bill has passed: America is now considered part of the battlefield. The other is about how the U.K. has instructed all Iranian diplomats to leave the country right away, and vice versa. More than ever, we need OWS to succeed. I’ve met some of the most intelligent, caring, compassionate, and positive

people of all ages and walks of life in this movement. They have restored my hope for humanity. I’ve had numerous arguments with people who criticized the protest out of sheer ignorance, people who don’t realize they too are part of the 99% and that their own lives have been affected by the machine that Occupy is up against. I’ve been pushed and punched and thrown aside by the NYPD while taking photos, and I have seen people’s lives change when things turned violent. When the police start making arrests and clubbing people who are well within their rights, when that intensity hits, you usually hear a shriek from someone in the crowd who is going through that sudden, cold, brutal awakening that this is real and not just something on TV. I get the impression that it’s the first time they’re experiencing it, and I can feel the panic and pain pass through them as I hear their screams: “What is going on, why are you doing this?!” It’s as if that last little bit of denial snapped and they’re faced

Mitchell Parsons:

Words and Photos by Mitchell Parsons

#OccupyWallStreet Cont’ with a cold reality they didn’t think was possible in America. Something in them crumbles. Where is America headed? Where is the world headed? It all seems to be spinning out of control so fast now. The corporations and banks seem to own our government; they seem to own the President himself! The

machine that is creating this mess is getting larger and faster and more violent. It’s not just past events that have taken place that Occupy needs to be concerned about, rather what is coming down the line for us all if things don’t turn for the better. KEEP GOING OWS! We need that cog to block the machine.

“99 FACES OF OCCUPY WALL STREET” By Ashley Shufelt I Photos by August Bradley

with a brief caption beginning with the phrase, “I’m here to…” Though simple and direct, the overall message is clear and poignant, which is what makes Bradley’s work so widely appreciated. You don’t need a lot of fluff to make a statement.

August Bradley:

Photographer August Bradley is one, of many, photographers who has taken on the task of portraying Occupy Wall Street through their own personal lens. His interest in the Occupy Wall Street protests spurred the onset of his project, “99 Faces of Occupy Wall Street.” He decided to take close up portraits of protesters in Zucotti Park, and accompany them

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.”


Due to Lady Gaga’s copyright restrictions, we were unable to run the star’s provocatively enriching image of herself. You’ll have to use your imagination.

The world of concert photography is a hard one. You are always on the road, working with complex lighting, crushing crowds, and egos bigger than an average-sized arena. However, music photographers are now facing another challenge with the introduction of “rights grab” clauses. After Lady Gaga implemented new restrictions during her Monster Tour, the controversy started gaining momentum. A photographer for Washington, DC-based site published a copy of the release he got from the singer’s management; the form essentially stated that any photos taken during the show became the property of Lady Gaga—not the artist who took them. So, imagine you’re a budding music photographer who captured the perfect image during a concert? Obviously you will want to showcase your work. Normally that would be easy: you could sell the photo, add it to your portfolio, and publish it on your website. Not anymore. Now photographers must receive written consent from the artist’s management and will very likely have to relinquish rights—and compensation—for the work they produced. Most photographers acknowledge that there’s nothing strange about having to sign a release form before shooting a concert. The problem is that these new forms literally release them of any right to the work they produce. And that’s simply not right. The concert photography community has taken to Facebook, Twitter and LinkedIn to express their frustration. Radko Keleman, a photojournalist based in Florida, created the Music Photographers Facebook group as a forum to post releases and provide colleagues with advice on which bands are harder to shoot than others.

For many, the issue boils down to a matter of respect. “Performance artists should recognize the value and contribution of visual artists and acknowledge our contribution to their fame,” said one commenter on the Photography Industry Professionals LinkedIn page. “The relationship works best as a partnership; all the performing artists who acknowledge this reality are rewarded with quality imagery of them being distributed by someone other than their PR team.” David Atlas, a concert photography and intellectual property lawyer expanded on this point saying, “It’s utterly disrespectful of the time, effort, and creativity of the photographer.” Others take the long view and recognize this as just one more sign of the times. “As the economy improves, the severity of these releases will start to come down,” said concert photographer Tim Mosenfelder. Fame does funny things to people. A once struggling artist who strikes it big can easily forget the painstakingly hard work and sacrifice that go into producing art. While it’s understandable that bands want (and need) to protect their image, they should also remember that concert photographers are fellow artists. And from one artist to another, the right to showcase, distribute, and profit from your work shouldn’t be relinquished. Consumers and photographers alike realize that today, content is king. And regardless of whether you are Lady Gaga or a garage band, beautiful images are beautiful images. If bands begin to experience a negative impact of rights grab releases (i.e. a lack of photographers at their shows), we may see these restrictions begin to ease. For now, music photographers should focus on their art and not the artist, creating quality photographs from bands who appreciate their efforts and realize that no press is bad press.








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

QUARTERLY POLL: What's your favorite smartphone photography app? 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.

# of resPonses

This quarter we asked, “What’s your favorite smartphone photography app?” And this is what our readers answered:


553 Votes


472 Votes

CaMera +

420 Votes

BiG Lens

305 Votes

CaMera stUDio +

261 Votes


209 Votes

aDoBe PHotosHoP exPress

110 Votes


92 Votes

fx PHoto stUDio

60 Votes

i Don’t Use any

28 Votes


PLease Join tHe resoUrCe MaGaZine faCeBook PaGe if yoUr woULD Like to PartiCiPate in tHe next onLine PoLL. www.faCeBook.CoM/resoUrCeMaGaZine

Event: Halloween party By Resource | Photos courtesy of Scheimpflug

Scheimpflug and Broncolor had their annual Halloween extravaganza and, as as media partner, Resource was there to report on the mayhem. And mayhem there was. We saw—in no particular order—a stripper pole photo booth in which people got to show off their moves; a guy disguised as Terry Richardson (the perfect costume at a Halloween photo party); a truck hacked in two jutting out of a wall (great set design idea!); a unicorn; a naked Shiva, and an abundance of black light. Can’t wait for next year!


EVENT: nycfotoworks portfolio review By Ashley Shufelt I Photos by Resource

This past November, NYCFotoWorks put out their Portfolio Review at Canoe Studios in New York City. Photographers from all over the world got to meet with a variety of industry veterans and professionals, and Resource was there to help ease the tension in between meetings. We provided a Safari-themed lounge (courtesy of and Eclectic Encore), free coffee from Brooklyn Roasting Company, and daily chances to win a LowePro camera bag. Overall the photographers reported having great meetings and were generally content with the critiques they got. Tony Blei, a portrait photographer from Phoenix, said it the best: “I think this is the most important thing I’ve done in my carreer.” We certainly enjoyed ourseleves too! See you next year.

the experiment results: light pAINTING In the Fall 2011 issue, photographer Ivan Otis shared some of his tried and true tips to create light paintings. We asked you to submit your own experimentations with this technique. Darryl Hurst had some fun with his camera and a flashlight and we loved the resulting images. You can see more of them on his Flkr stream: Turn to page 98 for the new Experiment article and get inspired!


shout out 1 Thank you Pickles! Special thank you to Alec Bova of Scheimpflug who came to our rescue one cold dark night. After getting all of our stuff out of NYCFotoWorks, we were stranded in the West Side of Manhattan with no taxi and an unresponsive car service. Who happened to be parked nearby with a big shiny “FLUG” truck? No one else but our good friend Alec! Thanks for the ride home; you saved the day!

shout out 2 BathHouse’s manager, David Gipson, recently left the studio to venture forth in his photography career. We wanted to tell him how great it has been to work with him and to wish him much success in his new life. You can see his work at www.davidgipsonphotography. com. PS: David, don’t be stranger! See you at the next party!

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.”


Olympus' financial scandal By Ashley Shufelt

rip: flash is dead, long live flash! By Sam Chapin

If you’re a CEO, you better not pry, you better not shout, you better not doubt, I’m telling you why: if you don’t play along, your company will have no qualms to kick you to the curb.

Before you get your knickers in a twist, I’m not talking about the superhero. He’s fine—I think. I’m referring to the impending doom of Adobe’s revolutionary, multi-media platform.

Olympus has been for years a leading manufacturer of cameras and high-tech medical equipment—but that’s not why the Japan-based company is making headlines lately. It was recently revealed that Olympus hid upward of 1.1 billion dollars in losses from shareholders through purposefully inaccurate accounting.

Adobe recently announced that it will no longer install Flash on mobile devices or televisions, largely due to the fact that no one seems to need or like it anymore. What with Apple denouncing its very existence and the virtually unanimous opinion that HTML5 is superior in every way, there seems to be very little room left for the pioneering platform.

When Olympus was caught with its hands in the cookie jar, its reaction was to fire Michael Woodford, its whistle-blowing CEO. The company maintains that Woodford was fired for his conflicting management style, but admits to “using acquisition payments to hide old investment losses,” according to an article in The New York Times.

There’s a plethora of factors that have contributed to Flash’s demise, perhaps the most damning being Adobe’s own ambition. As soon as Flash became a success, Adobe aimed to install it on everything from PCs, to phones, to tablets, to Blue-Ray players. They wanted Flash to be the platform for every kind of multimedia technology, and it looks like they might have spread themselves a little too thin in the process.

Woodford told that since he exposed Olympus, his life has been anything but ordinary. “Flying to New York to meet the FBI, references to organized crime, boardroom conflicts, character assassination—the whole thing has been a bizarre way to live,” he said. According to, Olympus was given a December 14 deadline to “re-file financial statements with the Tokyo Stock Exchange, or the ninety-two year-old company [would] no longer be able to trade.” The company did comply and own up to its massive losses, effectively securing its place in the Tokyo Stock Exchange—at least for now, as it could still get delisted due to its financial improprieties. Woodford had mixed feelings about the situation; he told The New York Times: “I hope the company won’t be delisted, but I certainly wouldn’t compromise getting to the truth, because staying listed shouldn’t be the criteria.” The former CEO still has big plans for Olympus—including leading its revival. Woodford stated to CNN: “I am not walking away from Olympus,” and has expressed interest in returning as president of the company to various sources. How’s that for dedication? The employee who notices sketchy transactions first questions them, then exposes their dishonest nature, gets brutally fired, and is now trying to make his way back to the top of the company so he can be the hero, should the scandal turn into a Cinderella story— which is less than certain at this stage. Stay tuned as the saga continues.

The question is, where does that leave companies like Android and Blackberry that rely heavily on Flash’s services? Well, from here on out, they will only get security updates, so, although they will never see improvements or modifications to their platform, at least they’ll know they’re still safe. And, as far as the Internet is concerned, you only need to browse a site powered by HTML5 to know that Flash’s relevance is in question on the PC platform. However, with 90% of the Internet sites still Flashcompatible while only 40% are HTML5- ready, the death of Flash might take a while.

BLOG: people we love- pimped up


Photo by Jose Castrellon | When a bike is your only means of transportation, it’s only natural to want to spice things up a bit —make it interesting. Pimp it out. That is precisely what some bicycle-riding men of Panama do. Photographer Jose Castrellon used these creative cyclists as the focus of his series, Priti Baiks. The portraits are cool, and the bikes, rad.

interweb: Google's Chrome

Experiments Shows How Awesome JavaScript Can Be. By Adam Sherwin Let’s be honest, once-beloved Flash is now on its last legs. JavaScript is on the rise and we need to make way for new allies in the world of web development. HTML5, Canvas, SVG, and WebGL are a collection of open-source web technologies that is going to forever change the landscape of our online experience. While some of these newcomers still struggle to reach a viable presence in the mobile realm, it’s only a matter of time before they start making major headway. When the iPhone and iPad’s popularity became glaringly obvious and the floodgates opened to a plethora of competitors and copycats, people started calling into question the relevance of Flash in the smartphone and tablet markets. The recent decision by Adobe to discontinue its mobile Flash platform has left many people wondering what will take its place. When Google released their Chrome Experiments site in 2009, a few answers began to appear; now, Chrome Experiments highlights some of the most innovative and interesting developments in web browsing history. Chrome Experiments is a website dedicated to website development and to these new open-source technologies. Each site (or “experiment” in Google-speak) you see there is a contribution from an independent web programmer from somewhere in the world. Each experiment features one or more open-source technologies and highlights, for the average user, what the future may hold in the depths of the web. In addition, the mega-site acts as source of inspiration for programmers and artists to push the boundaries of web development and create websites that are faster and more cutting-edge than the ones that came before.

mag stuff: good is cool By Ashley Shufelt

What’s good in the world? In a way, it’s easier to focus on the negative—there’s something more dramatic about bad news that transfixes audiences in ways that good news never can. But Good magazine takes a different approach: they focus on people, businesses, non-profits, etc. that actually work, and they do it all with an interesting layout and witty articles. The quarterly publication prides itself on ignoring things like political party affiliations, wealth, and other dividing factors—the good people behind Good are simply interested in what makes the world a better place. But it’s not limited to happy, positive articles. Pages filled with random info that you won’t find in other publications (such as charts about why people hate charts) are interspersed throughout the magazine, as well. As stated in their opening statement in the Fall 2011 issue, “We are the reasonable people who give a damn… We care about what works—what is sustainable, prosperous, productive, creative, and just—for all of us and each of us.” In addition to highlighting good people and organizations, Good also provides tips for how you can do your part—the Fall 2011 issue includes a mini ten-page booklet that discusses the advantages and how-to’s of biking.

Each website is user-submitted, and Google encourages everyone to download their web development kit and submit his/her project to Chrome Experiments. The only rules: your site has to be fast, and it must have been developed using JavaScript. At the end of the day, if Adobe has its way, Flash will not go quietly—more likely it will go kicking and screaming into the history books as part of web and mobile technologies of days gone by. But one look at any of the Google Chrome experiments and you can’t wait for the future to start.

Subscribe to the magazine or check them out online at to learn more about the good things going on in the world.

“Every photograph should tell a story, what story are your viewers hearing?”

- David Huffines

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

EDITORS' moment ALEX: A NIGHT WITH MY WEST COAST FRIEND It’s not like anything extremely exciting happened that night. There were no explosions, no stories I will be telling my grandchildren, no one ended up in the hospital, and no one found $1000 in the back of a cab. A notable night nonetheless, because it was one of the rare moments I got to spend with a good West Coast friend of mine, Matt Bailey. Last time I saw Matt was for the American Photography and Illustration show at the Angel Orensanz Foundation in November. This photo here was taken at NYCFotoworks in 2010. We were all lookin’ so sharp then that I decided to use this photo instead of the one from the AI/AP event. Till next time Matt...

EDITORS' moment aurelie: Crazy photo shoot One of the craziest shoots I’ve been on recently happened to take place a block away from the office. Scheimpflug was shooting their new ad, and I tagged along as we needed a portrait of John Engstrom, its owner, for our article on page 84. Although I can’t reveal what the visual is (you’ll have to wait for Resource’s spring issue to see it!), I can say that the Flug crew is serious about gear. They pulled out all the big guns: trucks, lights, high-tech cameras, a guy dangling from rafters, and scary pyrotechnics. And all that during a major downpour no less!

GOOGLED: the oldest camera The world’s oldest camera was made in Paris in September of 1839. The 173-year old camera was built by Alphonse Giroux, brother-in-law of Louis Jacques Daguerre, who invented the first practical camera.

10 of the coolest, best- designed mac apps : aperture Has powerful but streamlined tools for editing photos and managing your library.

canon c300: an opinion piece By Adam Sherwin

I don’t think anyone was really surprised when Canon launched the C300 this past November. Rumors had been floating around for months, and with the success of the 5D MK II and the 7D, Canon was sure to start pushing the boundaries of its development in the digital cinema realm and increase its presence in Hollywood. Without having laid my hands on the actual camera I can only base my opinion on what I’ve read and what I’ve seen, both of which have been pretty amazing.

Canary This Twitter client is free AND doesn’t have ads. Canary has an easy-to-use interface that makes using Twitter easy and organized.

Lightroom Allows you to quickly import, edit, and showcase images using a variety of nondestructive tools and layouts.

Pixelmator A great alternative to Photoshop that doesn’t take up a lot of your computer’s memory.

rapidweaver Makes it “ridiculously easy” to create beautiful websites quickly, including photo slideshows imported straight from iPhoto.

tapeDeck A fun audio recorder for Mac OS X Leopard. This powerful app has a vintage feel, with an interface designed to look like a tape deck.

twistori Captures and visualizes what’s going on in your Twitter feed.

Picturesque Makes images more beautiful, whether they are for the web or print.

Littlesnapper Takes and manages screenshots.

screenflow Allows you to record the contents of your entire desktop at the same time as your video camera, microphone, and computer’s audio, and then edit and publish your work.

I’ve been fortunate enough to work with some great digital cinema and HDSLR cameras, but there is something very exciting about the release of the C300. Canon has entered a new era in its long history of contributions to the world of image making. Regardless of tech specs, company politics, and consumer loyalty, Canon has captured the attention of an entire community and, in doing so, has put the digital cinema manufacturing industry on point. With impressive specs and ergonomics that speak to both filmmakers and hybrid photo/video shooters, it’s hard to ignore the impact that this camera will have on an entire generation of shooters. While I can’t give you a definitive nod of approval or the kind of eye-rolling sarcastic feedback you see on blogs, I will say this: this camera, like many other of the recent advancements in digital cinema, should be seen as an opportunity to push the limits of technology and see where they can take us. Regardless of what camera you use, you always need to expand your horizons and try new gear. Old habits breed stagnant creativity; trying something new will open doors and parts of your imagination you had forgotten about.

WE LOVE: Low-tech, High Cool factor Video Camera Lomography released their very first movie camera this past November, forever changing the world of analog videos. Now all you need is a 35 mm roll of film and a creative mind to shoot amazing short films with that familiar vintage touch that Lomography is known for! The LomoKino can be yours for $79 and can be purchased online at com/lomokino.

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

TRIVIA: "Boulevard du temple" The first photograph of a human was actually an accident. Daguerre’s “Boulevard du Temple,” shot in 1838, is a cityscape, but because it required an exposure time of over 10 minutes, all moving people and carriages didn’t show up. One man, however, was captured in the photograph as he was standing still having his shoes shined.

EYE SPY A SITE: Six websites we check out every morning WEBSITE: FOR WHAT: One of the better places online to find the most current news, whether we just have time to peruse the headlines or want to get the in-depth scoop. CNN posts breaking news alerts and is updated constantly, with the most recent stories in their “latest news” section. Their content is not just in politics and world events, but covers entertainment, technology, and sports as well.

WEBSITE: FOR WHAT: This is the place to go when we want our news with a hint of snark. Gawker delivers news ranging from politics and world events to a daily roundup of Hollywood gossip, all delivered in the signature Gawker voice with sarcastic (if pessimistic) commentary and funny headlines.

WEBSITE: FOR WHAT: The Huffington Post is the “Internet newspaper,” and it truly covers everything: on any given morning, an article about Obama’s latest speech can be published next to a piece on Kim Kardashian. In addition to news items from every possible realm, HuffPo has a number of opinion bloggers who sound off on any and every topic.

WEBSITE: FOR WHAT: Lens is The New York Times’ photography blog and contains photos and video from their photojournalists. Their “Pictures of the Day” slideshows contain stunning news photographs from around the world, capturing the most important moments in history alongside scenes from everyday life. In addition to showcasing The Times’ photographers work, Lens also highlights exceptional work from other publications. Photography Books.”

WEBSITE: FOR WHAT: This is the online hub for anyone who works in the creative industry (including editors, writers, producers, designers, publishers, photographers…) to meet and collaborate. Mediabistro is the place to go for industry news, job opportunities, and to show off your work. Their goal is for everyone in the industry to be connected and collaborative.

WEBSITE: FOR WHAT: PSFK collects the most interesting and inspiring stories and ideas every day. If there is a cool invention, art project, app, or exhibition, it is on PSFK, along with the headlines from media news and interesting goings-on throughout the world. The website highlights the most creative ideas out there, in addition to holding annual conferences during which leading creative professionals are invited to share their stories.

“I photograph the things that I do not wish to paint, the things which already have an existence.”

- Man Ray

watch resource television exclusively on the adorama tv mobile app



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


IS YOUR SHOOT A CARBON FOOTPRINT DISASTER? It can be assumed that a fair amount of resources will be unnecessarily wasted in the course of any high-budget shoot. Now, from a professional and practical perspective, your good intentions might not be enough to get you to purchase reusable tin water bottles in order to prevent plastic bottles on set. In an industry where the most basic supplies—such as batteries and printer inks—routinely fall by the wayside or are irresponsibly disposed of, and with little time while shooting to think about your carbon footprint, the risk of creating unnecessary waste looms large. We wanted to see what industry professionals are doing to work in a more environmentally friendly way. We polled members of the photographic world, from casting directors to producers and (of course) photographers. Here’s what they had to say.

By Matt Borkowski with additional comments by Aurelie “Green” Jezequel I Illustrations by Alex Nunez

BUSINESS: GOOD THINGS-”Less Waste” Page 25

We’ve found that the guiltiest culprit of all material (and environmental) waste is the dreaded plastic water bottle. We’ve all been there: on set during a hard day’s work, you pick up a bottled water, crack it open for a quick gulp, and then promptly forget it. At the end of the day, it’s not unusual to see a veritable population of half-empty water bottles scattered around. Several of our interviewees suggested imposing a “one bottle or cup a day” rule, though this would be pretty damn difficult to keep track of or enforce. Another common suggestion was to use a Sharpie to label the bottles; some go so far as to tie the pen to the cooler as a friendly (or not?) reminder to do so. You can also have a water cooler and give crew and clients reusable bottles—like the Bobble (, the Love Bottle (, or EarthLust (www. Some of them can even be customized with your logo, turning a green action into a cool marketing move. Another notable initiative is Give a Glass (, an organization that sells reusable glass bottles and gives part of its profit to Water Partners, a NGO committed to bringing safe drinking water to people in developing countries. An easier (albeit imperfect) solution is using mini water bottles. Producers Desiree Kennedy and Lynn Del Mastro have both added them to their request sheets for shoots. Several bottling companies have started producing these six-ounce bottles mainly for children, but Kennedy and Del Mastro find them to be the perfect portion to fully hydrate an adult without leaving a drop of water in the bottle. Mini soda cans follow the same logic. While the mini versions won’t exactly be the saving grace in cutting down on waste, they are certainly a fair attempt. Some catering companies like Noz in NY ( offer “paper” water bottles, which are also a good option. Whenever feasible, replace plastic utensils and plates with real plates and silverware, or hire caterers who choose green alternatives such as cardboard plates and recycled plastic utensils— they might sound awful to use but they

do the job just as well as their plastic counterparts. An important step is for the crew (and clients!) to respect and use recycling bins. Most studios have them (BathHouse and Zoom Studios are two NYC studios which do, among others) and placing your empty mini water bottle in a plastic recycling bin is easy to do. Chances are people recycle at home, so why do some stop caring when they get on set? Advertising and editorial photo shoots can get over-the-top fanciful but that does not excuse having a “let them eat cake” attitude and throwing the silverware in the trash (you know someone is going to have to fish for it at the end of the shoot!). Leftover catering food was a concern for a few of our polled professionals. You should always ask your caterer to provide take-away boxes so the crew can take home whatever was not eaten during the shoot. While homeless shelters will not accept leftover food, your local hobo will: put together some take-away boxes and give them to people in need on your way home. On food shoots, where you can end up with 500 unopened packages of mashed potatoes and 300 tomato soup cans, just call a food bank or local shelter—if the donation is big enough, they will even come pick it up!

PAPER WASTE Countless trees are killed every year only to end up in production books that no one really looks at after the pre-production meeting. Try switching to an online version and only print and distribute the essential call sheet info. Print on both sides of the page or, better yet, create an “eco-book.” Jim Huie, Producer at Accordion Films explains, “The eco-book is printed in booklet form (an 8.5 x 11 page folded in half) and printed double sided, thus using 25% of the paper as with regular books. And it doesn’t require a plastic binder. You

can print the booklet on any standard printer directly from your computer, you just need to download a plugin for creating booklet pdfs.” (macupdate. com/app/mac/21068/create-bookletpdf-service). At the end of the shoot, gather all layouts, call sheets, and other documents scattered around the set and shred or recycle them.



Scheimpflug donates unused seamless to Material for the Arts (, a New York City organization that provides art supplies to schools and community art programs. Many cities across the country offer this kind of program, so look around for one in your area.

TECH WASTE Another major type of waste on set is tech waste—specifically batteries and printer ink cartridges, both of which are harmful to the environment. Many of our polled photographers use rechargeable batteries for gear like Pocketwizards. John Engstrom told us that his company, Sheimpflüg Digital, has been able to cut its alkaline consumption by 90% this way. Another way is to go digital. Rick Colson of EcoVisualLab (ecovisuallab. com) suggests turning to a well-calibrated monitor rather than printing proofs with harmful solvent-based inks. “I often help my clients set up for soft-proofing and provide [color] profiles to minimize the need for hard proofs,” says Colson. Check out the EcoVisualLab Facebook page where Colson posts green imaging tips and links every few days.

Paint cans can be saved for later use or donated. Other supplies that can be reused or recycled are walls (8’ x 12’s and such) and scrap wood. Brooklyn-based Film Biz Recycling (filmbizrecycling. org) sets out to find use for leftover props. Working with movie, TV and still productions, they get props, wardrobe and furnishings from shoots and sell them to fund their educational efforts or donate them to art programs and local businesses. They also help producers plan to repurpose or recycle materials ahead of time. EcoSet ( started in North Hollywood and helps video and commercial producers with ecomanagement. From handing out reusable water bottles to recycling trash and donating leftover supplies, EcoSet formulates and implements a cohesive plan to make your shoot greener.


FOUNDER OF TRUNK MAGAZINE REVEALS IT ALL By Lewis Van Arnam and Jackie Denny I Photos courtesy of Trunk CLIENT NAME: David Cicconi POSITION: Founder / Creative Director of Trunk magazine CLAIM TO FAME: Photo Director at Travel + Leisure (‘01-’05) YEARS IN THE BUSINESS: 14 LOOKING FOR IN A PHOTOGRAPHER: Evidence of courage in his/her photography DEAL-BREAKER WHEN HIRING: Bad attitude FINDS PHOTOGRAPHERS IN: Other publications worldwide

“Why would anyone in their right mind start a magazine in this day and age?” This is a story about vision—inspired vision from the mind, the heart, and the soul. The creation of intellectual property is a creation of value. Introduce the intangible human elements of imagination, intuition, visualization, mental and physical dexterity to a blank canvas, and the artist transforms common material into a masterpiece. It’s a principle that runs deep throughout our industry and holds true on many levels. In 1956, Ernest Hemingway sat with hotel magnate Charles Ritz over lunch in Paris. Charles mentioned a trunk that was left at the hotel by Hemingway in 1930. Although Ernest had no recollection of it, he knew he was missing a case. The trunk was brought and revealed within a trove of artifacts and memories, including notebooks that Ernest had filled while sitting at his favorite Paris café years before. “The notebooks!” he exclaimed. “So that’s where they were!” The discovery exemplifies how the mundane can be transformed to the extraordinary in an instant of revelation. Thus is the genesis of David Cicconi’s inspiration for his magazine. An empty trunk is paramount to an empty canvas. Add the gems of human inspiration, and it becomes a treasure chest. Aptly named, Trunk magazine is David’s vacuum to fill his vision—his blank canvas.

The premise of this story was, “Why would anyone in their right mind start a magazine today?” Upon meeting David, it doesn’t take long to get a glimpse of the answer—his energy seems boundless. Success takes enormous commitment, total personal immersion, and the internal drive to completely “live it.” This defines David perfectly, and it soon becomes clear that his mission to bring Trunk to the world is built on a special hybrid—one of inspired vision and reckless abandon. Originally from Boston, David began his transcendence to New Yorker status while studying art history at Columbia University. His relevant training, however, came with six years as photo editor at Travel + Leisure magazine. Subsequent freelance editing gigs; stints in Italy and Spain, soaking up the local cultures; and an overlapping career as a photographer added fuel to the internal fire that would eventually lead him to create his own title. Conception leads to gestation, and eventually Trunk was born—a labor of love. “So, how would you categorize Trunk,” I ask. “As a travel magazine?” The response is unexpected as David explains that Trunk is not really about travel at all (even though its beautifully crafted pages feature exotic destina-

tions), but rather about a lifestyle of mobility. The premise, in his words, is to “demystify travel.” The magazine’s tagline is “The world is a fine place,” borrowed from the original icon of global citizenship—Hemingway himself. It suggests that there are no real foreign lands. The vast diversity of our planet belongs to us all and should be experienced by innate right, not by tourism in the traditional sense. The idea that we are citizens of the world is the magazine’s creed, the essence of which is not so much about traveling to the far reaches of our planet, but about the simplicity of being in place—of belonging. In the shadow of the great Hemingway, David has created a literary and visual syntax that doesn’t seek an audience as much as it creates one. Another clue is revealed: success demands a focused vision. But success also demands substance, which brings us to the guts of the equation: the magazine’s contributors and content. David is cautiously humble here. He knows the importance of recognizing and tapping into the personal resources of the chosen team. With Editor-in-Chief Diane Vadino, who played, and continues to play, a profound role in the creation and realization of Trunk, David enlists the talents of many to bring his vision to fruition. He pays a special

tribute to design director Pamela Berry—another Travel + Leisure alum—who has been by his side since the early moments in 2006. Trunk has a strong image-driven appeal, with Pamela shaping the magazine with cover-to-cover design, while David’s focus is largely on photographic content. I feel that he thrives in this domain and that his selections are carefully formed and dear to his heart. For instance, he talks about how the presence of Anne Menke—with her impressive editorial resume and high-profile resources—enhanced the magazine’s credibility in the current issue. He also mentions how discovering James Whitlow Delano’s amazing photo essay about the volcanoes of Indonesia resonates with the deep purpose of the magazine. Although these references merely scratch the surface, they effectively reveal a footprint of reciprocal benefit between photographers and publications. The second issue of Trunk is now available and definitely worth checking out. David proudly speaks of expanding to four issues in the next year, a sure sign of progress. Circulation has exceeded 20,000 copies and Trunk is now distributed in twenty countries. The future looks very bright for Trunk and its visionary creator, David Cicconi.

Trunk magazine:

BUSINESS: CLIENT FILE-”Trunk Magazine Founder” Page 29
























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Resource Magazine Editors Choice is is “The Web Information Company.“ You will find statistics on Alexa on countless websites, including descriptions, popularity, security, traffic, audience stats, reviews, even find that contact info you just can’t find for some reason.

BUSINESS: GRAPH-IC-”Media Consumption” Page 31


SHOOTING AND VIEWING BEAUTIFUL BOSTON, MA BOSTON-BASED PHOTOGRAPHERS Angela Coppola Bob Packert Bruce Peterson Conor Doherty Dave White David Shopper Eric Kulin Francine Zaslow Gary Land Geoff Stein Heath Robbins Hornick/Rivlin Joel Benjamin Kate Kelley Keller & Keller Michael Indresano Paul Saraceno Sadie Dayton Sharon White

Hey there! We are so glad you made it to Boston, the cultural hub of New England. Our vibrant little city boasts some of the finest in higher education institutions, sports teams, museums, hospitals, restaurants and historic architecture. Brimming with talented artists, creative types and progressive thinkers, Boston balances the sophistication of a three-piece suit with the comfort of a Red Sox hoodie. As you walk around town, take a look down—chances are your footwear was designed somewhere in one of our shoe meccas, be it Reebok, Converse, New Balance, Clarks or Sofft Shoe. While in many cities the requisite cup of coffee is Starbucks, here there is no denying Dunkin’ Donuts and their clever ads from renowned local agency Hill Holiday. Mike Toth, who penned the well-respected book, Fashion Icon, runs his namesake agency that works with the best in the fashion industry, and is right around the corner in Cambridge. Did you know Massachusetts was one of the first states to establish an official state film office? Well it was, and since 1979 the Bay State has welcomed over eighty feature film shoots! The Massachusetts Film Office (MFO: now provides one-stop shopping for advertising and retail clients, producers and independent filmmakers seeking to do business here. There is no shortage of means to help you get the job done; Boston is wicked resourceful. Read on to discover some great well-known resources, as well as a few hidden gems.


Kate & Co— Lauryn Joseph Paula Gren Reps Zero2Sixty


Bon Me Truck The Happy Taco


NELocations/Jeff MacLean


Quixote Studios

CAMERA EQUIPMENT AND RENTAL STUDIOS EP Levine: offers camera rentals, repairs, and studios, as well as class supplies for student programs—www. Quixote Studios: studio rentals, equipment, vehicles and a store… One-stop shopping with an occasional margarita thrown in—

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EP Levine: offers camera rentals, repairs, and studios, as well as class supplies for student programs— Quixote Studios: studio rentals, equipment, vehicles and a store… One-stop shopping with an occasional margarita thrown in—


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HOW DID YOU GET STARTED AS A STUDIO OWNER? I actually started out as a photographer. Back then, if you were a photographer you were expected to have a studio. Now that’s kind of unheard of: people rent nowadays. Toward the end of the lease on my first studio, everyone else started giving theirs up but I didn’t really want to give up my space. So I took a bigger space [the one on 29th Street] and turned it into three studios [that I could rent out]. YOU ALREADY HAVE GO STUDIOS AND THERE ARE MANY OTHER PHOTO STUDIOS OUT THERE. WHAT PROMPTED YOU TO OPEN A NEW SPACE AND WHAT DOES MAKE THIS SPACE DIFFERENT FROM ANY OTHER? I saw how much business I was turning away and I got tired of it. So I started looking [for a new space]. I originally just wanted to duplicate the 29th Street studio, but then I saw this space. Even though it was kind of rough and raw, I saw what it could be. I couldn’t walk away from it. The skylight had been covered in about six inches of tar for the past thirty years! One of the conditions before I signed the lease was that I wanted to remove all the tar and replace the glass to open the

skylight up. During the process of doing this we found major corrosion in the structure. An engineer looked at it and told us it couldn’t be saved and it had to be completely ripped out! The building eventually took care of replacing the skylight and, at my request, built it with fewer mullions so we would have fewer shadows interfering with the light. I think this is a completely unique environment. The skylight, of course, is a major feature, as is the fact that you can shoot both outdoors and indoors. It’s important for me to create a space where people can just have fun. What I love hearing more than anything is, “This place has a great vibe,” and that’s my goal. I hope that at the end of the shoot people don’t want to leave because they like it so much here. YOU’VE BEEN A STUDIO OWNER AND MANAGER FOR TWENTY YEARS. OVER THE YEARS OF GROWING AND REFINING GO STUDIOS, WHAT ARE SOME OF THE LESSONS THAT YOU LEARNED THAT YOU ARE NOW APPLYING TO THIS NEW SPACE? I’ve really learned how important it is that people feel comfortable and at home at the studio they are shooting in. We go out of our way to make it so the photographer feels the space is totally theirs and they have what they need. I also realized how important natural light is to people. 80% of the time people don’t use natural light for shooting, but they still love having it. One definite thing when I was looking for a new space was that it had to have natural light.

WHAT IS THE TYPE OF CLIENT THAT YOU ARE AIMING TO REACH WITH THIS NEW SPACE? For this studio, I want to get the biggest clients in the fashion, film, and video industries. I think it’s a great studio for larger production. The 22-foot ceilings, the skylight— it all lends itself to those kinds of productions. I tried to do everything high-end to accommodate that kind of clientele. I want to see a Vogue shoot! We’ve had them for smaller shoots on 29th Street but I want them here for a big shoot. I also think this space is ideal for celebrity shoots because of its privacy and spacious lounge areas. I THINK WE’RE ALL CURIOUS: DURING A RECESSION, HOW DOES ONE FUND A NEW VENTURE LIKE THIS? DO YOU HAVE PARTNERS? INVESTORS? HOW DID YOU MAKE THIS HAPPEN? Life savings, plus a very good friend of mine. I couldn’t get a loan from the bank even though I had great credit. Kevin Goon, a good friend of mine and my equipment manager, is the closest thing you could have to a partner. He’s really excited about the space and really excited to be a part of it. HOW DO YOU MANAGE TWO DIFFERENT STUDIOS IN TWO DIFFERENT BUILDINGS? DID YOU HAVE TO GET MORE EQUIPMENT FOR THE NEW SPACE OR ARE YOU SIMPLY ALLOTTING YOUR EXISTING GEAR ACCORDING TO DAILY REQUESTS? I’m definitely losing weight by going back and forth between the two locations! I’m glad one’s not in Brooklyn. We are buying a lot of new equipment and doing night trips to move stuff back and forth until we are fully equipped at both spaces.

HOW DO YOU HELP EMERGING PHOTOGRAPHERS GET STARTED WHO MAY NOT BE ABLE TO AFFORD THIS SPACE? We host a lot of test shoots where new photographers can come in and shoot for a reduced rate. I’ve done that the entire twenty years I’ve owned a studio and definitely will continue to do that here. We see a lot of assistants who have come in here for a shoot and are interested in doing stuff for their books. I do a few trades with assistants I know well. We definitely offer opportunities for new photographers.

Go Studios:

For twenty years, Go Studios have been a staple of the New York photography scene, a go-to studio (pardon the pun), perfect for all your shooting needs. Surrounded by sweeping views of the Hudson River, with high ceilings and a massive skylight right above the cyc, their new space is anything but your average studio. We sat down with Halley Ganges—owner, founder, and photographer—to discuss how and why (in this economy no less) he opened a second location near Times Square.




This isn’t a tale of woe. Nor is it a tale of me being really great and that I’ve finally arrived (maybe someday). Like you, I struggle and battle for every square inch of my photographic turf. As an independent photography business owner I’ve discovered that the photography, for me, is the easy part. Getting (and keeping) clients is the hardest thing. I’ve learned to be as creative as possible so that people can have fun as they discover who I am. The search for ways to stand out and remind people of my photography—and how likeable I am—never ends. At a gathering of photographers in Phoenix, I once heard a man recount this tale: his wife used to work as an art buyer for a nationally known department store. One day, she had to pick between Photographer A and Photographer B. Both were technically excellent; A always put her up in a nice hotel, provided a nice car, craft service and other luxuries. Photographer B did the same things, but he also had the best chocolate croissants on set. In the end, she picked him because of his tasty treats… Here are a couple of ideas on how to be Photographer B and successfully promote yourself and your work:

SECRET #1: REASONABLE AND REPEATABLE I recently read about a photographer who spent an excess of $4,000 for a one-shot promotional mailing. By the end of the article, he confessed he had gotten no jobs from his venture. Promotions are important but they really need to be reasonable and repeatable—“repeatable” being the operative word. If you can afford to spend thousands of dollars every couple of months, by all means, get your checkbook out; but I think it’s cheaper and more effective to buy $200 worth of stamps and send hand-written notes (yes, I do this).

SECRET #2: MAKE THEM SMILE While I do serious photography, I’m not a person who takes himself too seriously. Not long ago I found some little wind-up walking cameras. At $5 each, I couldn’t send them to all my contacts. So I stuffed them—with a healthy dose of locally made brownies—inside my portfolio case and sent them to people who called in my book. I took other small photorelated toys to NYC Fotoworks and attached them to my business card. Every art buyer I met chuckled and said, “So you’re the one giving these out!” From there we had a great time talking about their needs and my work. When strangers meet, “commonality” and “likeability” are important obstacles to overcome; if you can make someone smile, you are on your way to being likeable. And while attracting clients is part of the battle, you need to keep clients, too. Dinners, lunches and gifts are all wonderful promos. If you have a spirit of generosity, it could be infectious. In addition to the aforementioned promos, I also send samples of my work, personal notes, and e-mails. Our photography is personal to us; our promos and relationships need to be equally personal as we break through to take care of our clients. I want to be the photographer who serves the best chocolate croissants!

Tony Blei: - Watch a video on his blog about his toys promo:

What if you were an award-winning photographer who had photographed rock stars, seven U.S. Presidents, and other celebrities—yet nobody knew who you were? What if you had taken pictures that had changed people’s lives—yet you didn’t own the legal rights to any of them so couldn’t use them to promote yourself? I was a staff photojournalist for about twenty years and never needed to know a thing about marketing or promotion. But one day I drove home from the newspaper for the last time—what now?









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DIGITAL TECH SHANNON RODDY By Aimee Baldridge I Photo courtesy of Shannon Roddy


Just as the end of the Dark Ages gave rise to the Renaissance man, so a modern polymath arose from the ashes of the film age: the digital tech, a.k.a. the capture tech. Working on set by the glow of a well-calibrated screen, this discreet Leonardo mingles artistry with acumen to immortalize the photographer’s vision in binary code. Shannon Roddy, a sought-after New York tech, talked to us about how she got her chops, what it takes to make a shoot go smoothly, and where the unpredictable life of a digital tech has taken her. WHAT IS YOUR EDUCATIONAL BACKGROUND, AND WHAT COURSE HAS YOUR WORKING LIFE TAKEN SINCE YOUR STUDENT DAYS? I received a Bachelor of Science in communications with a minor in photography from Salem State College in Massachusetts in 2001. After college, I worked at a start-up company that specialized in large-format output with NUR Macroprinters. That’s what really

got me introduced to color management, RIPing files for output, digital workflow basics. In 2003, I attended my first digital capture and workflow workshop. It was very Photoshop-specific, but it pretty much set down the foundation of digital workflow from beginning to end, and a lot of prepress and color management knowledge. From there, I worked for a couple years as a photo assistant—that was when we were starting to see digital capture

emerge on set. It made more sense to take the knowledge that I had and apply it in that field, versus continuing photo assisting. So in 2006, I decided to focus on digital capture and teching, and I’ve been doing that ever since.

WHO USUALLY HIRES YOU? At first, it was solely photographers. Then, as I built relationships with rental houses, they started adding me to their lists—producers or post-

production houses often ask them for references. And now I have quite a few relationships with agencies and magazines as well.

WHAT DO YOU DO DURING A TYPICAL DAY ON THE JOB? Before I even get on set there’s a dialogue with the producer or photographer or anyone who can inform me about what needs to be prepared or what kind of situation we’re going to

Shannon Roddy:

be shooting in. I can then pull the right equipment and make sure we’re covered for power and any output needs. On the shoot day, I set up a system, whether it be a tower on a cart or multiple towers on a cart or laptops; calibrate monitors and make sure that everything for color is dialed in; figure out which programs the photographer prefers using; and make sure everything is set up for backup batteries. I usually have a dialogue with the photographer or art director about their expectations of how the shoot is going to flow and whether or not they’re going to be editing between shots or if I’ll be handing off low-res JPEGs at the end of the day. Once I’m set up, the photographer’s assistants will set up their lighting and do some test captures. Then, when everything is ready, we just wait for the client to show up and start shooting. I’m pretty much stationary at the computer for most of the day. I’m sitting with a client and tagging files as they come through or making sure that we have a connection and that the files are properly exposed. I also make sure that color treatments or corrections are being applied for client review. Depending on the production, there may be one to three techs on set—myself for capture, possibly a second for processing if there are high expectations of turnaround on set, and occasionally a third tech/retoucher who can start marking up things and dropping them into layout.

WHAT DO YOU NEED TO KNOW ABOUT PREPRODUCTION AND POSTPRODUCTION WORK TO DO A GOOD JOB ON SET? The more information, the better prepared you’re going to be. There’s a lot more dialogue the first time working with a new photographer or producer, and I think that’s important. I generally ask them to cc me on the equipment list, because I can often see what needs they may not have realized or communicated yet. If I see a generator or something specific to being on location, that will prompt me to ask, “Do you need external battery backup? Are you expecting to be tethered the whole time? Are we shooting to card?” The second thing I get from new photographers is a link to their work so that I can get an idea of their aesthetic. I think it’s comforting

on their end to know that I’m taking a look at what their final product looks like, so that I can have that in my head as the production’s happening. . . I can create presets and treatments for the files beforehand; that cuts down post-production and gives the client a better feeling of where the image is going to end up. With some agencies, I’ll be in direct communication with their postproduction house before the shoot happens. It’s important to be on the same page with whoever is going to be taking the files after the job or working on them. Certain retouchers have very specific ways they like to have files delivered. And if the photographer and retouchers use different systems, there’s going to be an issue because the treatments or tweaks that you’ve done are not going to be read by the other program.

WHAT ARE THE MOST IMPORTANT QUALITIES AND SKILLS FOR A PERSON TO HAVE IN YOUR LINE OF WORK? Patience would definitely be one. The more set experience you have, the more you realize that each production is its own special entity. Every photographer has a different way of approaching things, and you have to be patient and adjust yourself to their needs. Attention to detail is important, as well as having the capability of building really strong relationships with everyone you work with. There’s very little time between captures and if something needs to be changed, you need to be able to communicate that as fast as possible. Keeping up to speed with industry changes and new equipment is important. And it’s absolutely vital to have good relationships with rental houses, producers, and production companies. Rental houses have numerous people out there with their equipment and their systems, and they’re going to hear about problems a lot faster than I would. Having a relationship with them is really helpful because they’re willing to share information.

HOW CAN SOMEONE START WORKING AS A TECH? Being connected in the community is an important part. Most of my work comes through referrals, whether from a photographer, a producer, or an assistant that I’ve worked with. A good way of building your name might be working with photographers who are testing or just starting out and who are willing to take on somebody new. A great way to get on-set experience— which I think is vital—is working as a second digital tech, maybe handling the post-processing while the first tech does the capture. You’re there and you can observe, and there’s somebody to field your questions when you have something that you’re unsure of. Getting in with a post-production house would be really great. If you have some strong retouching skills, you can get your foot in the door with a company that offers digital capture and post, or possibly work in a studio in their digital capture department.

WHAT ARE THE TECHNICAL SKILLS THAT SOMEBODY NEEDS TO HAVE TO WORK AS A TECH? A strong knowledge of all the digital capture programs, especially Phase One Capture One and Adobe Lightroom. You should definitely have an understanding of Photoshop and some basic working knowledge of pagelayout programs, like InDesign. You should have a solid understanding of the hardware and how it interacts with the computer systems. You should be comfortable with setting up networks, troubleshooting and basic IT, how to reset a program when things aren’t going right, and how to work on the fly when the system crashes.

DO YOU HAVE A BASIC KIT THAT YOU ALWAYS BRING WITH YOU? I always have multiple cables—from FireWire to eSATA to USB—because art directors often show up with just a hard drive and no cables. I also bring a card reader, a ColorChecker, a monitor calibrator, a thumb drive with all my installers in case I have a problem, and my external hard drives in case I have to back something up. That’s the very basic setup, and then depending on what the photographer needs, I’ll build on that.

YOU CAN MAKE A LIVING WORKING FULL TIME AS A TECH, RIGHT? It’s totally possible to make a living as a digital tech. I think those who succeed more, financially speaking, are those who own their own equipment. That gives them the opportunity to not only ensure that the equipment they’re using is solid but also make a profit on the rental aspect of the shoot.

HAVE YOU TAKEN ANY BIG PROFESSIONAL RISKS? Digital techs, like photographers, own a lot of equipment. I think that financing and keeping up with technology and equipment is crazy, so the biggest risk I’ve taken is probably making that leap and buying the gear that I need to work and do my job professionally. Investing in your own gear requires a pretty extensive line of credit.

WHAT DO YOU ENJOY MOST ABOUT YOUR WORK? I love photography. I love the unpredictability of each day being totally different, the access to traveling to amazing places and collaborating with really creative people. There’s a part of me that really loves the geeky, techie part of it as well. It’s sort of a challenge. I have a curiosity about how things work and the engineering of things. I’ve always been interested in science and math, and pairing that up with something that has a creative output is really fascinating to me. I love every component of it, whether it’s the computer end or the technicality behind lighting . . . I can’t imagine working in any other industry.

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-”Shannon Roddy” Page 39



No, it doesn’t mean “number” or “number and insert trending topic here,” but as a Twitter user, you probably already knew that. The hashtag was created to form impromptu groups within the jumbled Twitter community. As of late, hashtags have spread to new places—people on Facebook use them, the Occupy Wall Street movement originally branded itself as #occupywallstreet, and many TV shows encourage conversation through Twitter, asking viewers to use a specific tag in their tweet. If you’re not using the hashtag for random afterthoughts/comments such as “#swag,” you’re probably using it in reference to something happening in the real world. On Sunday nights, you’ll see a ton of tweets about AMC’s show Walking Dead if you search the tag #walkingdead. Viewers may not realize it, but they are promoting the show for free. And although if enough people talk about it and it ends up “trending” (meaning on top of the Twitter topics summary), the chatter still stays exclusively on Twitter. Start-up HashtagArt aims to marry social media and branding with fun and interactive campaigns. “Brand ambassadors” (more commonly known as super fans) tweet messages using a specific hashtag; their profile picture is then used as a tile in a mosaic. The beauty of a HashtagArt campaign is this: when someone tweets, their tweet only extends to their followers—even Katy Perry only reaches her 13 million fans. If she contributes to her mosaic, no matter big her following, she will only contribute one tile, but her tweet will reach her fans who will then see the mosaic and tweet using the same hashtag, creating a domino effect of tweets reaching all of Katy Perry’s fans’ own followers. When the image is completed, companies can put their mosaic on their website, Facebook page (Facebook users can also “like” the project, which will consequently install their profile picture into the mosaic), or even on big screens during live events. The best part of HashtagArt’s idea is that anyone can scan the mosaic and zoom in on individual tiles so they can see that person’s tweet. It’s so much easier, and way more fun, than scrolling down a Twitter search—imagine scrolling through 10,000 tweets… “What we do shortens the distance between the brand and the brand ambassadors by making the dialogue fun and interactive,” explained Vivian Ip, the head of accounts.

“We wanted campaigns that could engage people powerfully,” Fischman said. Powerful engagement is what they got. To name a few, in less than two years, HashtagArt has worked on campaigns for M&Ms, Microsoft Xbox, Criss Angel Mindfreak, Law & Order: LA, and of course, the aforementioned Miss Katy Perry. Like their page on Facebook, join the app, or follow the founders at @ marcf: they are working on so many cool new campaigns, if you catch them at the right time, you can see some in the process of being made. Take my word for it: you’ll want to check out the “only real out-of-the-box solution for promoting something on Twitter and Facebook.”


HashtagArt started in Tel-Aviv in 2010, when founders Marc Fischman and Gilad Zirkel were looking for a way to get to Kinnernet, an invitationonly Internet and technology retreat held in Israel. They came up with the idea and algorithm for HashtagArt and, a few months later, they were invited to Kinnernet USA. Not only did their story and idea receive great feedback, but they also realized that what they were doing could be very useful.



KICKSTARTER PROJECT: The Graflex Project Lucha Libre FOUNDER: Mark Mann, a New York-based celebrity and sports photographer GOAL: $8,000 AMOUNT RAISED: $12,164 NUMBER OF BACKERS: 211 MOST POPULAR PLEDGE BRACKET: Pledges of $20 or more (82 backers) BACKERS GET: A limited edition Giclée print (a 5x4 digital reproduction, printed on bamboo paper). A limited edition collectible MOO card (like a trading card, but nicer) with an image from the project on the front and a thank you on the back. A thank you in the final project book, website, and gallery show.


Mark Mann:

THE PROJECT: Arguably the most influential camera of the 20th century, the Graflex Super D was the prototypical professional camera from the 1930s through the early 1960s. The 4x5 camera suits itself particularly well to portraiture photography. The Graflex Project Lucha Libre project stemmed from Mark Mann’s love for his own Graflex Super D—which he affectionately nicknamed Meredith—and his appreciation for the camera’s ability to focus on a very shallow depth of field. Mann started shooting close-up portraits, using a 1920s Schneider lens in combination with his Graflex, but his first attempts looked too ordinary. He quickly realized he only needed to see his subjects’ eyes; enters Lucha Libre’s pageantry. Lucha Libre, the Spanish translation for “free fight,” is a form of professional wrestling that began in the early 1900s in Mexico. The sport is characterized by its aggressive sequence of holds, high-flying maneuvers, and colorful masks. Mann’s idea to photograph Lucha Libre wrestlers comes from both curiosity and coincidental convenience. Capturing a story through a person’s eyes is his primary goal. However, being able to document the Mexican sport allows for a more meaningful, compelling portrayal of the person’s life in affiliation with a deeply rooted culture. “I’m not a huge wrestling fan; I was more interested in finding the ideal subject matter for the Graflex,” explained Mann. “The way the lens works with the camera—it does something really interesting to a person’s eyes. It focuses on them in a very shallow depth of field. I was looking for a subject that I could really make about the eyes, so what better than people wearing masks? All you can see is their personality through their eyes.”

THE PLAN: While attending a Lucha Libre competition in Mexico City in December 2011, Mann plans to photograph wrestlers before and after their matches. Fans, families, friends, and retirees alike will be documented as well. Mann anticipates that the size of the Graflex will pique people’s curiosity, resulting in more natural poses. As Mann explained, “With a Graflex, you’re posing for the camera, not the photographer.” THE KICKSTARTER CAMPAIGN: Mann joined Kickstarter with the goal of raising $8,000. In order to spread the word about his project, he promoted it through the Kickstarter website, sent out postcards, leveraged social media, recorded a video, and reached out to friends through personal correspondence. All these efforts paid off: Mann far exceeded his pledge, raising over $12,000 from 211 backers. Although the end product is still to be determined, once the work is complete, Mann intends to build a website showcasing the pictures, publish at least fifty handcrafted books, and have a gallery show. Mann hopes “that by photographing the people behind the sport—and the fans who support it,” he will be able to document a moment in time, “the old, the new, and what’s in between.”







By Suzanne Sease I Illustration by Alex Nunez



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You got that call you have been waiting for, the big break you wanted and the proof that your marketing has paid off. Your potential client needs an estimate and the scope of the job—production and usage-wise—is more than what you are used to. Without a rep to handle the request, what are you going to do? As a former Art Buyer, I get estimating questions all the time. As I now focus on creative consulting and marketing, I send these requests to “reps for hire,” which present a new business model: the rep doesn’t represent you in the traditional way (pushing your work to potential clients, helping you define your vision and book, handling negotiations on your behalf, etc.), they only come in as an estimating and negotiating consultant, working on a particular project for you. A rep for hire can walk you through the estimating process, help you learn profit areas, understand the market value for the usage and shooting, and teach you the best way to estimate professionally and successfully. I reached out to top art buyers and asked them how they felt about this new practice; here are their feedback and tips. (Note: The inter-

viewees were asked to give their honest opinion; thus, their names have been omitted to preserve anonymity.) An Art Buyer in the Midwest really summed it up with, “I think it’s a good idea for a photographer to hire someone to help put together an estimate. Agencies have certain expectations that a photographer wouldn’t know about if he/she didn’t already have a variety of ad agency clients. I’d recommend it.” But she also added, “My one caveat would be, when an ad agency approaches a photographer who isn’t repped, it may be because they have a smaller budget and they are looking for a win/win situation wherein the photographer gets a bigger job than he/she is used to, and the agency gets work done for a smaller fee... The photographer would be wise to send

in the consultant’s estimate with the standard, ‘This is what I think the job demands expense and fee-wise, but I really want the job, so if there’s a problem, let’s talk.’” A New York Art Buyer said, “These companies are a great first step for up-and-coming photographers to dabble with representation and have the opportunity to cast a wider net in a bigger pool if they live outside of the major markets.” Another New York pro liked the buffer a rep for hire can give a photographer—making it about the creative aspect with the photographer and numbers with the rep. A Midwest Art Buyer agreed and felt that reps work as a filter. She recently had a photographer tell her, “’I can drop my fee a bit but I haven’t worked for less than $20,000 in years.’ If the rest

of my team heard that they would’ve been upset. I know people think it but the photographer shouldn’t have said it. The best reps say, ‘What do I have to do to get this job?’ This means I can ask for stuff [the client request] that makes me cringe to ask for; I know that they won’t think less of me or the agency. The rep works as a buffer where you can say, ‘I love the artist but something came up and we need to include digital usage too.’” Hiring a rep on a per project basis also allows photographers to gain more negotiating and production knowledge. An Art Buyer in the South explained, “For photographers starting out, I think it’s a good idea if they work with a consultant so they’re sure to get the bid right and nothing is jeopardized.” But a West Coast Art Buyer worried that the

rep for hire needed to have a concrete understanding of the artist they were “representing.” And a New York Art Buyer warned that, while having a well thought-out estimate is important, the rep needs to be available for follow up Q&A. An Art Buyer from the South added, “I would caution photographers to make sure they’ve done their homework before hiring someone to handle that very crucial role. They [need to know] that the person creating the estimate is thinking of every contingency and covering all the bases.”

Suzanne Sease:

If you hire someone to estimate or negotiate on your behalf, make sure you immediately connect them with the client and that no communication is lost. An Art Buyer from the Midwest had the following experience: “I contacted a photographer (the rep was not listed on his site) and I went through all the details with him, telling him that the estimate was due at noon the next day. When I checked back, he told me his rep was supposed to be in touch with me. I had to email and call several times; the deadline was not clear to the agent. Since the rep delayed the bid, the photographer could no longer be in the running! I think if there is a very clear and defined process in place, the rep company is noted on the site (so I don’t have to go through everything twice) or the photographer forwards them on immediately.” A common thread from the responses I got was that a good producer is a must. These Art Buyers didn’t care whether or not a photographer had a rep—what was most important was if they had a trusted producer. Photographers should interview producers long before the opportunity to work together arises; do your homework and research! One Art Buyer said, “I can’t run a production smoothly if the photographer doesn’t have a producer who’s completely in the loop, part of all communication, works well with others, dedicated to the production, etc.” A New York Art Buyer added, “A photographer without a rep must work with a very strong producer who understands and can estimate production while the photographer estimates his/her fees.” And I think this West Coast Art Buyer explained

the process perfectly, stating, “When we bid, we have several conversations with the photographer, his agent, and his producer. The one that I speak with the most is the photographer’s producer. They are the ones who have the most insight about what is needed to get the job done, and they will work in conjunction with the photographer to execute the creative vision… I want the person who estimates the job to be ‘invested’ in the shoot and be connected to the team and all the logistical details of the project… [The bidding process] is definitely teamwork as I have insight into how our creative tend to work, clients concerns, and the cost consultant restrictions.” Not every project is as large as these Art Buyers produce, but wouldn’t you want to present yourself at the highest level? Remember to do your research and ask for both side of the story (from your fellow photographer and from the rep they hired). At the end, you should make your decision based on research and your instinct. Some “reps for hire” worth checking out: CLARE O’DEA: C20AGENCY.COM At the end of 2010, I started C20 Agency for the purpose of helping artists without representation. Over the years, I had often found myself helping people, from new talents with no agent, fine art photographers being asked to bid on commercial projects, to established talents in-between reps; it made me realize the need for this service. I charge by the hour; when [I need to] negotiate usage and creative fee, I receive a 20% commission. The hourly rate is then deducted against the commission—hence the name C20. I prefer to interface directly with the client, but I am also happy to work behind the scenes for an artist. I treat the project and the artist no differently than I would for a photographer who is represented traditionally. I am available to answer any questions about the estimate, the production, or the fees, from initial contact until completion. I think it’s important to

be invested in the project. I like to get an understanding of the client’s needs, and I always ask the artist to write a creative brief. I think this is a great exercise to demonstrate to the client that you have truly heard them and will deliver creatively. It also gives the photographer a chance to discuss lighting style and other creative skills that make them unique and ideal for the project. For advertising jobs, I always recommend a producer. Art buyers expect a certain level of professionalism so it’s important that you start the process with the right producer for your shoot. Ultimately, I do this work because I love it. I love photography and love helping artists. There is nothing more rewarding than helping an artist to maximize their potential, both financially and creatively.

FRANK MEO: THEPHOTOCLOSER.COM My approach to estimating is rather straightforward with a slight twist. First, I get a sense of the photographer; then I get all the hard facts (agency, client, budget, timing, ...) and understand and adsorb the layout. I send it to a producer so they too are thinking about the project; having another set of eyes is extremely important. My feelings are this: the numbers are the numbers. If the agency wants the photographer, the numbers will work out. The better question is: what can we do to stand out? I want the agency to see our bid as buttoned-up, but I’d like them to see and feel something else. What experience gives you—and this cannot be more important in this process—is “touch.” I recently worked on an estimate for a San Fran ad agency. The pro bono campaign was to prevent young kids from getting started with crystal meth. Five photographers were bidding: two from LA, one in SF, and two in NYC—one of them my guy. Not good odds. I got the photographer to write a creative brief. And I added a drug consultant to the estimate—because, who better to explain to the talent and photographer the anguish a meth user feels? No

research paper could do that! We won the project because we thought outside the box and off the estimate sheet. The agency later called me to get the consultant’s phone number: they wanted him on the set of their TV shoot. I charge $250-300 for an estimate (unlimited time). If we get the job AND we produce it, the fee is waived. If we produce the job, it’s 75% for the photographer and 25% for us.

WONDERFUL MACHINE: WONDERFULMACHINE.COM Wonderful Machine offers a range of consulting services to both our members and non-member photographers and clients. When contacted by a photographer, our first order of business is to explain the consulting process and how we bill for our time ($125 an hour for non-member photographers). We carefully track all time spent on a given estimate/negotiation and bill for it upon completion of the project, regardless of whether the job comes through or not. We do not charge a commission on successful estimates. [Once the terms are accepted], we get as much information (correspondence, comps, availability) from the photographer as possible and will ask him/her to let the agency/client know that we will be putting together the estimate and will be in touch. In our first call to the client, we review the info and then set to work filling in the blanks. Depending on the client, photographer and/or stage of the process, those blanks may be large or small. We have to make sure we 100% understand the production and usage/licensing involved. We review the estimate with the photographer. We’ll make any necessary revisions, bundle the estimate with our standard terms and conditions, and send it off to the agency/client. Depending on the project, we may also put together a more in-depth treatment/proposal including sample images, stylist or retoucher recommendations, proposed schedules, etc… [and if the job is awarded, we follow through with the production].

BUSINESS: TRENDS OF NOW-”The New Rep Model” Page 43


SO YOU THINK YOU’RE READY TO GO PRO (PART 1) By Skip Cohen I Illustration by Shirley Hernàndez Ticona

This is the first in a series of articles to help you think through the concept of going pro. If you’re really serious, I obviously suggest you go buy the book, Going Pro: How to Make the Leap from Aspiring to Professional Photographer, by yours truly and Scott Bourne. On the other hand, if it’s something that you’re just starting to consider, we’ll try to help you through the process over the next few issues of Resource. Right off the bat: there are no shortcuts to becoming a great photographer. I know people think it only takes great gear, but if you bought a Ferrari, would it make

you a great racecar driver? No, so let’s start with the basics. The very first qualifier is passion. Like anything you do, you need to love it. Photography is an art form in every aspect—from the capture of the image to retouching, to the marketing, business and management of your skill set. It’s about loving people and the human experience. If your heart isn’t in it and this is just a job, then you’ll never make it to the top. There is no compromise on passion, which should be your mantra for anything you do. Assuming your passion is without question, let’s then discuss your skill set as a photographer. In short, you need to learn the rules before you can break them. Composition, exposure, lighting and depth of field all fight it out for being top dog in importance. Anybody can take a picture, but the true professional has the ability to capture a memory and consistently create images that woo you in some way.

Can you survive producing mediocre work? Of course you can, but do you really want to? I hate to jump on the analogy bandwagon again, but do you want to own a dumpy little diner or the finest steakhouse in town? Understanding the basics of photography will give you the ability to develop your artistic spirit and create images that have the “wow” factor. There can be no compromise on the quality of your work if you’re going to be a success. Finding a program to get the technical basics down couldn’t be easier. From online courses to adult programs in your community, basic photography courses are just about everywhere nowadays. And just like any other career field, you need to study the work of the masters and photographers you admire. You’ll want to literally look at thousands of images that demonstrate different techniques in exposure, lighting and composition in the specialty area you’re interested in.

Again, you can take shortcuts in developing any new business, but learning the basics will give you the most solid foundation. There’s a beautiful high rise building here in Sarasota that was recently completely evacuated. Why? Because the original builder took some shortcuts and the foundation cracked—the building just wasn’t structurally sound! Photography is no different. This is about great images, not the average stuff your Uncle Harry shows during family reunions! Nobody is standing in line to look at Uncle Harry’s work and, my guess is, even you hide when he brings out all his photos from his recent trip! Passion for the craft followed by an understanding of photography are at the top of the list; next come a respect for education and knowledge in marketing and business. In the next issue we’ll set up a guideline for developing your own curriculum and then discuss business and marketing concepts to help you with those first building blocks to success.

Skip Cohen:

Sadly, so many new photographers think all they need is a decent camera and a good understanding of Photoshop. They set up shop and call themselves “professionals” and a few months down the line they’ve got nothing but disappointed customers, a bad reputation and, more than likely, a long list of serious consumer complaints, some ending up in lawsuits!

Shirley Hernàndez Ticona:

“You’ve got to push yourself harder. You’ve got to start looking for pictures nobody else could take. You’ve got to take the tools you have and probe deeper.” -William Albert Allard

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ou “Apricot” by Ben Briand


“Products, gear, reviews, demos, and cutting edge techno geek love.”


BOKEH KIT MAGIC Meaning “blurred” in Japanese, the Bokeh Kit allows a photographer to turn blurry night lights into shapes of his or her choosing. By placing a filter over the lens, ambient lights are magically transformed into hearts, paws, and smiley faces. Your subject remains untouched—only lights are altered by the filter. It will appear as though those butterflies made of light were behind your family the whole time. All told, there are twenty-one different shapes to choose from, but that’s not including whatever shapes you decide to make yourself. Included in the kit is a blank sheet for you to design and cut out shapes of your own. Now you can finally take that picture of yourself surrounded by unicorns. The kits sell for $25. Camera specifications and sample photos/videos are available on Words By Sam Chapin

TECH: DO IT FOR FUN-”Bokeh Kit Magic” Page 47


Jeff and Ross recently completed their Get In Motion speaking tour: for $49, the four and a half session promises to change your entire outlook on video and filmmaking. Jeff and Ross traveled to forty cities across the U.S. with the goal of sharing the skills they use in their own projects with photographers, filmmakers, and amateurs alike. The seminar covers such topics such as audio, camera movement, focus, and many other techniques anyone shooting video would find useful. Jeff and Ross talked to Resource about the inception of CineStories, the importance of storytelling, and what we can expect next.

Tall Tales Or CineStories? JEFF MEDFORD AND ROSS HACKROW SHARE THE ART OF STORYTELLING By Amelia Riley Swan I Photo courtesy of CineStories

TELL US A LITTLE BIT ABOUT WHAT CINESTORIES IS. JM: CineStories is a filmmaking company born of the HDSLR filmmaking revolution. We make film for clients—obviously a very important factor—but we also produce educational material. We teach other photographers how to do what we do—namely, take their HDSLR cameras, add filmmaking products and services to their business, and use those to make more money. WHEN DID YOU REALIZE YOU HAD A GOOD THING GOING? JM: I think there were several light bulb moments. The first for me was when we were on our way

to cover a photo shoot with Clay Blackmore; I looked at Ross and said, “Let’s film the family instead of doing an educational piece.” Ross captured the love and the family dynamic, and I saw the future of photography. I called up the president of WPPI the next day and said, “We just made something that is going to be a standard part of every family’s lives some time in the next five, ten to fifteen years. “ The next key was when I got married. Ross filmed it and we made a really great wedding film that matched anything that was out there in terms of quality, production value, storytelling, appeal, and allure. We knew that we had what we needed as a team at that moment.

TELL US ABOUT HOW YOU PASS YOUR EXPERIENCES ONTO OTHER PEOPLE. JM: Last year, when we did the PhotoFusion Revolution tour with Clay Blackmore, the format was two-thirds photography and Ross and I discussing filmmaking—we called it HDSLR cinema at the time. We felt that most people would be there to see the photography education and just tolerate the fact that there was a third on filmmaking. When we asked how many of them came just to see filmmaking, 90% of the hands in the room went up. That surprised us. We sensed there was a real desire to understand what to do with this new technology. We talked to different sponsors and they were all excited to get the message out;


Jeff Medford and Ross Hackrow are producer and lead filmmaker, respectively, of CineStories, a filmmaking company dedicated to the idea that filmmaking is storytelling. CineStories works with a variety of clients ranging from large companies (including Skype and Expedia) to everyday civilians to produce works that tell a story with the highest cinematic quality.

"Gear is important but if you don’t know how to put your footage together, people aren’t going to want to watch it." that’s how the Get In Motion Tour came about. As people had expressed a desire to have a more thorough, comprehensive understanding of filmmaking, we decided to focus on the storytelling aspect. Gear is important but if you have really great footage and you don’t know how to put it together in something compelling, people aren’t going to want to watch it. RH: I felt there was a complete disconnect between entertainment and education, as in, if it’s educational it has to be boring. I wanted to merge the two. Our program and teaching style are entertaining. Some people could sit through our presentation and not even be interested in filmmaking and still

be entertained. It’s a large dose of information with a fun delivery method. WHAT ARE SOME OF THE THINGS PEOPLE CAN EXPECT TO SEE IN GET IN MOTION? RH: A lot of storytelling. They’ll learn how to build a story from the ground-up. Stories are big concepts and people have trouble facing that huge mountain. Making a very large situation manageable is what filmmaking is all about. It’s thinking about taking these big concepts and breaking them down into very, very little small slices so that you can handle them. JM: Anybody can think of an idea for a movie, but few will get million-dollar budgets to ever

pursue this kind of thing. So, at the end of the day, as a photographer, you’re thinking of how you can do this and make money. When you come to Get In Motion, we’re going to show you really specific examples of things we filmed for families, for events, for corporations, for commercials, that give you an opportunity to use all your skills, produce all these things, and make money with them. WHAT’S NEXT FOR CINESTORIES AND GET IN MOTION? JM: The Get In Motion tour has seventeen cities left. We have appearances at PPA, PMA, CES, WPPI, and Photoshop World. We’re going to shoot filmmaking DVDs and we’re doing some new projects for other photographers

where we come out with photography education in the cinematic style. We are also working with the New York Institute of Photography to develop a filmmaking course for them and we’re writing a book on filmmaking. And of course, there’s client work. RH: We are definitely going to set a new standard for what education is going to be. I think when people see what we did with How to Photoshop Everyone and what we’re planning on doing next, people won’t accept the [old, boring] style anymore. Education is going to have to carry some entertainment value. I think we’re going to stir the pot a little; people are going to try to play catch-up with us.


MANFROTTO CAMERA WEAR By Resource staff I Photos courtesy of Manfrotto When you think of camera wear (if you think of camera wear at all), bulky camouflage patterned jackets probably come to mind. Those are great if you are a National Geographic photographer, but what if your destination is the urban jungle? You end up packing your gear in camera bags that scream, “Rob me!” from a mile away. And your slim, cool, fashiony jacket has no pockets—so where do you put that extra lens you need?


Manfrotto to the rescue! This past spring, the Italian photo gear company launched a line of camera bags that don’t look like traditional camera bags. As if this wasn’t enough, they presented at PPE their newest endeavor: apparel. You can trust the Italians to have a sense for fashion. These camera jackets are slim, stylish, and full of nifty and well thought-out details, like padded, anti-slip shoulders to help with the load of a bag; expandable inside pockets to fit your lenses (or even a camera body); padded inserts that can double as knee pads, and more… And of course, they come in black!

TECH: PEOPLE IN MOTION-”Cinestories” Page 49

9.50 x 7.31 x 0.34 in

0.91bs (400g)

1.33lbs (601g)


7” IPS 1024x600 resolution 169 pixels p/inch

9.7-inches wide 1024x768 resolution 132 pixels p/inch

T.I. OMAP 4 Dual Core 1GHz

Apple A5 Dual Core 1GHz





8GB No SD Card slot

16GB, 32GB or 64GB No SD Card slot

8hrs continuous reading 7.5 hrs video playback (wifi off) None

10 hrs surfing web, watching video & music (wifi on) 0.92 megapixels



4.7 x 7.5 x 0.45 in


Kindle Fire



Kindle Fire Pros

: One Kindle Fire user said, “It’s exactly what I’m looking for in a tablet,” which is pretty awesome seeing as it is the best-priced tablet on the market right now. The Kindle is small, lightweight, and easy to carry around. It has a USB port and uses the Silk web browser, one of faster browsers when it comes to downloading and uploading. The new LCD screen lighting allows you to use the tablet in the dark without the aid of a book light—an upgrade from the original model.

Kindle Fire Cons:

There is no Bluetooth, which means no wireless use with speakers or phones. The Kindle Fire doesn’t give you access to the Android Market, and its small screen can be an issue, especially when you are typing as the keyboard takes up a large part of the screen. Because of the new LCD lighting, E-ink will no longer be used—a letdown for fans of the original Kindle as E-ink screens had no glare and were supposedly less of a strain on your eyes than LCD lighting. Users have complained about the lack of sensitivity of the screen and having major problems connecting to the Internet. Amazon spokesman, Drew Herdener, told The New York Times that, “We’re rolling out an over-the-air update to Kindle Fire.” So, hopefully, some of these problems will be solved by the time you read this.

iPad2 Pros:

“Better than my laptop! Love it!” exclaimed one iPad2 user, and many agree. The tablet is visually stunning, with a thinner and lighter 9.7” screen. Its dual-core A5 processor should make multi-tasking a breeze. The iPad2 has two cameras: one to record movies and take photos, and another for when using FaceTime. Apple has also created a cool new magnetic case that awakens the iPad when opened and cleans it while it sleeps—that’s insane right? Lastly, on a more superficial level, the iPad2 is… well, an iPad. Our Appleobsessed generation may be more inclined to buy it over any other tablet for the mere fact that it’s from Apple.

iPad2 Cons:

It costs a whopping $499 and has a battery life of only ten hours. It’s fairly large and, though lighter than the original iPad, is still pretty heavy. It also lacks a USB port. Just as with the original, outdoor use may be limited because of glares. “Don’t waste your money,” one iPad2 user warned, echoing the thought of many. The iPad2 is almost identical to the original iPad, both aesthetically and functionally; because there are not a lot of upgrades, there may really be no viable reason to buy the iPad2—apart from making people jealous, that is! So, have you made up your mind yet? We didn’t think so. They are both pretty cool devices, each with their own drawbacks. It really comes down to what it is you’re looking for and how much you are ready to spend. If you have $500, then, by all means, splurge! But if you are a little cash conscious, opt for something less pricey with about the same amount of pizzazz. Happy choosing!

Aristotle Munarriz, The Motley Fool” Kindle Fire vs. iPad 2 vs. Tab 8.9: Performance speeds -Review: iPad2



Sources: Customer Reviews: Kindle Fire, Full Color 7” Multi-touch display, Wi-Fi vs. Kindle Fire vs. Nook Tablet: specs -Kindle Fire Review: 5 Things Amazon’s New Tablet Is Missing by “Rick




By Adam Sherwin


w Lens:

Lens: Sigma 85mm F/1.4 EX DG HSM Available mounts: Sigma, Canon, Nikon, Pentax

Sigma 120-300mm F/2.8 EX DG OS HSM Available mounts: Sigma, Canon, Nikon, Pentax and Sony full frame DSLR cameras Street price: $3,199.99 Name brand equivalent: Nothing available in this zoom range with a constant F/2.8 Notes: Perfect for the outdoors or sport photographer. Although a little on the pricey side, what makes this lens so awesome is the amazing zoom range, splash-proof design, image stabilization, and constant F/2.8 aperture. The closest thing in a name brand lens is 70-200mm F/2.8, which would mean having to add yet another lens to your kit to get you to the 300mm range, and to spend even more cash.

Lens: Tokina AT-X 11-16mm F/2.8 PRO DX Available mounts: Canon EF (APS-C), Nikon F (DX), and Sony Alpha Street price: $719.99 Name brand equivalent:

$820+ and you’re stuck with an aperture range of F/3.5-F/4.5 Notes: Even with the crop factor, stick this lens on a full frame HDSLR to shoot video, zoom in to get rid of the vignette, and you’re still getting a great wide angle F/2.8 lens. When it comes to shooting with APS-C or DX cameras, the super-wide angle range of this lens is unbeatable for the price.


and Sony full frame DSLR cameras Street price: $969 Name brand equivalent: $1,500+ Notes: Ideal or shooting in low light situations or creating beautiful portraits with nice soft details in your background. AF is fast and comparable to any major name brand lens in quality. Sigma even includes a lens hood for shooting with APS-C / DX cameras as a longer lens.


Lens: Tamron 17-50mm F/2.8 XR Di II VC LD Available mounts: Canon EF (APS-C) / Nikon

F (DX)

Street price: $619.95 Name brand equivalent: $1,000 +

Notes: It’s a bit heavy and slow for a lens this size, but with a constant aperture of F/2.8 and built-in vibration compensation, this a great lens to use in low light or for shooting hand-held video on your APS-C/DX HDSLR.

TECH: GEAR AND GADGETS 1.0-”Third Party Lenses” Page 51


Tumblr- A Perfect Tool for Creatives and Photographers? By Joe Sutton I Visuals courtesy of Tumblr

Tumblr, a social-blogging platform, ranks as the tenth largest social network with over 6.8 million weekly hits, reported Business Insider. Just as YouTube has catapulted average Joes into stardom through viral sharing, Tumblr has helped various content reach Internet meme status faster than ever since its launch in 2007. Creatives are flocking to the service, showcasing their own creations and curating whatever they find interesting, and photographers specifically have a lot to gain with frequent use of the website. On a technical level, Tumblr is very simple to use. All actions can be accessed on a single page—the dashboard—where you choose what kind of post you want to make (text, photo, quote, link, a chat transcription, audio or video). The dashboard also displays posts from users you follow, collated like an RSS feed. You can endlessly scroll through posts by others, and Tumblr’s addictive nature will ensure that you won’t miss a post by anyone—and they likely won’t miss a post of yours, either. The real appeal of Tumblr over other platforms and social networks is its reblogging feature. If something interesting shows up on your dashboard, with a couple clicks of your mouse, you can post it to your own Tumblr page for your followers to see. Users’ reblogging essentially delivers to your dashboard posts you would otherwise never see, hand-picked by those you follow and whose taste you trust. It also has the potential of bringing you new followers; the more often people reblog your posts from other blogs, the more chances they are to check out your blog and begin following you directly. Photo posts, which comprise 42% of original posts on Tumblr, are especially likely to travel; if you’ve built a strong network of creatives who find your work worth sharing, the potential number of users your images may reach is staggering—with little effort on your part. “That’s the thing we obsess about, to remove all barriers for anyone,”

said Peter Vidani, lead designer at Tumblr. “It’s the ease of use [that attracts users]; there’s no one else asking for so little to participate.” But don’t let the simplicity fool you; there are still plenty of opportunities to geek out on Tumblr, including using fully customizable themes. The option of editing a pre-made theme however you wish or creating one from scratch adds to the appeal of the service. Tumblr is an amorphous platform that gives you much room for control, and the decisions you make—such as whom to follow and what purpose your page will serve—will shape your experience on the site. For example, one user might utilize a traditional blog format for a behind-the-scenes look at works-in-progress, while others, with the help of themes, may use their Tumblrs pages as a free portfolio to show off polished work. “On Flickr, your work is presented in the exact same way every single time, and that’s not up to you,” said Vidani. “Flickr has decided [their idea is] the best way to show a photo, and you have to work with that. On Tumblr, you can say, ‘This is the best way to show a photo.’” And that also means your page won’t be cluttered up with annoying or cheesy advertisements— Tumblr is sustained by outside investment and the selling of premium themes for a user’s blog, not demanding anything of users. On any social website, community is very important; on Tumblr, it is essential. If you follow other photographers, you will be greeted at each log in with photos that might interest you, each one being an opportunity to open a dialogue with a colleague. Your photographer followers can helpfully share their thoughts on your work, and users can decide to reblog your images. With its rich community, ease of use, and limitless customization options, there’s no doubting Tumblr’s effectiveness as a promotional tool. Whether you’re using it as your main hub, hosting it at your own domain, or as one of many sharing options, cutting through the noise and getting your work out there is a cinch.


THE STUFF OF DUST-OFF By Jeff Siti with additional writing by Amber Ornelas I Photo by Elise Gannett You know that no good son of a bitch you’re always fantasizing about killing? You know the guy. It makes you feel so good to think about committing that perfect brutal murder and having an exhausted hiker find his stupid corpse under wet leaves. There you are a few days later, wearing a sweater and casually thumbing through the Sunday paper when, shocked, you almost spit out your vanilla soy latte with nutmeg and honey as you notice the headline: HIKER FINDS BODY IN PARK. You read further and panic. Investigation? They’re investigating? You thought they’d be happy to be rid of the bastard. But it turns out you’re just another psychopath who killed a guy in a park, and all because of one little comment in the office. “Huh,” he started, watching hippies on the news holding signs with meaningful phrases. “If things keep on like this, pretty soon we’ll be paying for canned air.” And that was it. That’s what he said. “Canned air.” The final straw. And now he’s dead, and there you’ll be, sitting in your breakfast nook on a Sunday morning wearing a sweater and petting the cat, guilty of murder, thinking about cans of air. Does this even exist? Yeah, it does. It’s got a million uses, as a matter of fact. One of which happens to be collecting evidence in homicide investigations. Which brings us to the big reveal: the contents of Dust-Off, the doozy of a product that’s probably used in murder investigations, if you believe everything you read in nonsense magazine articles. Surprisingly—or not—there aren’t a whole lot of ingredients involved here. But we’re also not simply talking about a can of air, either.

BESIDES REMOVING DUST FROM INTRICATE CAMERA AND COMPUTER GEAR, THERE’S A FEW OTHER THING YOU CAN DO WITH DUST OFF: Cool your coffee, or chill any drink. Cleans dust from smoke detectors. Break padlocks: simply freeze and hit with a hammer. Freezing spiders and other bugs, if you’re into that. Make milk frothy: instant cappuccino/milkshake. Just direct the air through a straw. Freeze water in place. Only works on a small amount of water, but it makes for a good trick. Use a tiny amount to help refill ink cartridges. A small blast of air can help the flow of ink to restart. Removing chewing gum: spray Dust Off to freeze the gum; it will come off most surfaces easily. Clean jewelry: just spray whatever piece of jewelry you want to clean (bracelet, pendant or ring), let it sit for a few seconds, and wipe clean! Make air rockets: make a thin cylinder out of paper. Block up one end and weigh it down a bit. Put fins on the cylinder and place it over the extended nozzle that comes with the can. Blast away! Fix a dent on your car: use a hair dryer to heat up the dent for thirty seconds to a minute, then spray the area with an upside down bottle of Dust Off. Watch in awe as your car un-dents itself! For artists: when working with charcoals or pastels, the resulting buildup of dust as you blend can smudge and destroy your pretty picture. Using Dust-Off instantly blasts the dust away, without leaving any traces.

A SPECIAL NOTE TO PHOTOGRAPHERS AND DIGITAL TECHS: Never use on camera mirrors or digital sensors. This is a major no-no. While it may seem like a fast and easy way to clean tough dust out of a tight spot, the difluoroethane inside the can leave nasty marks and lead to expensive repairs on your sensitive photography gear. Use Dust-Off for cleaning your camera body with the lens attached. If you choose to clean your lens elements with Dust-Off, remember to keep the can still and straight. Move the lens itself in a circular motion so the compressed air blows off the entire lens element. And don’t come crying if something goes wrong.

The goofy organofluorine compound is used as a refrigerant and a propellant and has a listed melting point of -179 F, which shouldn’t make sense to anyone and may possibly make it extraterrestrial. Both nonstick coatings on cookware and waterproof clothing contain the chemical—more strangely, so does Prozac. It’s colorless and odorless, and Dust-Off has added a bitterant to their products to deter the kids from huffing it for a quick high.

Difluoroethane, commonly referred to as 152a in the business, is a liquefied gas with an ozone depletion potential of zero and is used as an alternative to chlorofluorocarbons in aerosols. And yes, if you guessed that its atmospheric lifetime was 1.4 years, you were right.

One should remember not to shake or tilt the can during usage, as this may result in difluoroethane being released in its liquid form, which could cause frostbite or destroy sensitive computer bits. The nature of the compound also makes it potentially harmful to many sensitive camera components if not used properly.


Elise Gannett:

Because the propellant action is so strong, these products come with a rather large list of cautions. To remove dust safely, hold the can upright, approximately two inches from the item to be cleaned. Insert the extension tube, if desired. Pull the trigger in a series of short blasts. Put the cold can down. Your work is done. For the few daredevils looking for a new thrill, we’ve compiled a list of what not to do. Just remember before you disregard the rules, they are there because some idiot did something stupid and didn’t like the outcome. You’ve been warned. - Never puncture the can. - Never shake or tilt the can. - Never inhale the contents directly. - Never spray onto skin… This will cause frostbite! - Never use near a potential ignition source or spark. - Never leave the can in direct sunlight, or expose contents to temperatures above 120 degrees.

Other than that, just remember to always have fun when removing dust, and don’t huff the shit (side effects may include death). And if you didn’t get enough Dust-Off information here, you can always visit the Official Dust-Off YouTube Channel for extensive tutorials.

TECH: DECONSTRUCTED-”The Stuff of Dust-Off” Page 55

DF Studio Cloud Power By Adam Sherwin

Software for Review: DF Studio – online photo workflow and management Platform: Main software platform is browser-based and online. Tools for uploading include web browser uploading, DF Studio Speed LINK for OSX and plug-in’s for Lightroom, PhotoMechanic and Aperture.

Summary/Description: DF Studio is an online digital asset management software used to store, organize, edit, and deliver your digital photos.

How you use it: 1. Shoot 2. Upload your images via your web browser, one of the desktop apps or the DF Speed Link. 3. Organize your shoot in folders and sub-folders while adding Project metadata and search criteria for easy finding later. Users can upload original files for storage/

archiving in the Cloud (additional fees may apply depending or storage needs) or use the DF Studio jpeg views created by the software during upload. 4. Select your favorites images. 5. Deliver your files via Messenger. Clients receive a link via email that takes them to the images from the shoot. There are several options for delivery, including the ability to build and publish a customized web Portfolio with a private URL. 6. Depending on the access you give them, clients can edit, download and make important notes about each shot. 7. When clients are done, you will receive a notice and have the ability to compare your edit to theirs and read any notes they made. 8. After the final selects are made, you can use DF Studio to deliver images to the client or retoucher and continue to use the platform for any additional review and approval during post-production.


DF Studio:


Loves: - It’s in the cloud! - DF Studio has plug-in ability for major software, including Lightroom, Photo Mechanic, and Aperture with more options to come. - The DF Studio Speed Link software allows you to automate uploads with any capture program on the desktop. - One of our favorite features is the ability to use familiar key commands and keyboard for navigation and editing. - Individual customization features add a personal touch for each user. - Amazing customer support. - The ability to store and manage archived originals in the Cloud or just use the “DF Studio Views.”

Hates: Not much to hate here. All we’re waiting for is video support. While users can upload, store and watch video via a simple playback interface, we’d like to see a few more features. According to DF Studio engineers, these features will be available sometime in the near future. Notes: In the forever-evolving world of digital photography, we are all confronted with a constant need to quickly and efficiently man-

age our data and get it to clients as quickly as possible. The science and technology behind digital asset management, DAM for short, has become just as important as the cameras and computers we use to create and capture images. DF Studio allows photographers, their staff and clients to organize, edit, approve, deliver, and archive digital images at blazing fast speeds. It also helps you create a workflow that is as much about efficient communication as it is DAM. DF Studio allows photographers to speed up their workflow and delivery times to clients while keeping their assets secure and accessible in the Cloud. The Digital Fusion platform currently manages over ten million files for clients worldwide and the amount of data being stored is growing every day. Our initial impression is that DF Studio is well on its way to becoming an integral part of workflow for photographers of all levels and genres. Whether you’re shooting portraits and weddings or fashion and advertising, DF Studio is a serious tool for serious photographers wanting to get their workflow into the Cloud and their photos to their clients. DO IT YOURSELF

HOMEMADE LIGHTBOX By Ashley Shufelt I Illustrations by Alex Nunez

1. What you’ll need: a large, sturdy cardboard box; a few 14x17 inch sheets of tracing paper; 1 or 2 sheets of Bristol board; a knife; scotch tape.

3. Tape the sheets of tracing paper onto the box, covering the holes.

2. Cut holes in three sides of the box the size of your tracing sheets. (Tip: trace the pad on the box beforehand and then cut about 1 cm inside the line you traced)

4. Stick some sheets of Bristol board on the inside to create the backdrop (if you don’t have Bristol board, any thick, white paper will work). TECH: SOFTWARE-”DF Studio Cloud Power” Page 57


Is Augmented Reality A New Reality For Photographers? By Ashley Shufelt I Photo courtesy of the Museum of London

DEFINITIONS: 1. “The overlaying of digital data on the real world,” according to an article on 2. “An augmented reality system generates a composite view for the user that is the combination of the real scene viewed by the user and a virtual scene generated by the computer that augments the scene with additional information,” according to Webopedia. “Augmented Reality” is essentially the juxtaposition of the real world and the virtual world. One can augment their surroundings with information, visuals, audio, etc.—altering their environment and entering a virtual reality. This advanced technology has been used in entertainment, military, engineering, robotics, and manufacturing, but does it have a place in photography? It can be argued that retouching and adding special effects to images via CGI is a form of augmented reality in and of itself, but there’s certainly the potential to go even further. In order to anticipate the future of photography in the world of augmented reality, it’s important to understand how the technology is currently being used. One example is an iPhone app called Le Bar, which locates bars within

twenty feet of you and your phone and gives you their address, ratings, and other useful information. All you have to do is point your phone in the general direction of the bar and the data will show up on your screen—and just like that, you have an altered view of the building in front of you. StreetMuseum, a similar location-based iPhone app, was developed by the Museum of London; it allows you to superimpose the museum’s photographs and paintings onto a view of the street where you are standing, giving you a very real— yet virtual—feel for what it was like to live in London in the olden days. Another use of augmented reality was found in the March 2010 issue of Dazed & Confused. Some of the photographs contained a code: you would go to the magazine’s website and hold the pages up to your webcam to watch

PURPOSES: 1. “The basic idea of augmented reality is to superimpose graphics, audio and other sensory enhancements over a real-world environment in real time,” according to an article on 2. “To create a system in which the user cannot tell the difference between the real world and the virtual augmentation of it,” according to Webopedia. a thirty-second teaser video about the best of the spring collections. People are already proposing ideas for how this technology can be used in photography. Gail Carmichael, a PhD student at Carleton University in Ottawa, Canada, blogged about her idea for an Augmented Reality app that would “help students and photographers gain a deeper understanding of how cameras work.” She explained how photographers would see, in advance, how the camera settings would affect the scene in front of them and what the final image would look like. Joe Byrd, co-founder of 6Sight, a conference devoted to the future of imaging, said in a December 2010 report that “not only does this futuristic functionality benefit all photography by highlighting useful avenues to pursue, it can in the near future

be built into cameras to aid and instruct in image capture and sharing.” In plain English: Augmented Reality has the potential to create entirely new branches of photography and to enhance digital cameras. What exactly will those new branches and enhancements be? That’s a question that does not yet have a definite answer. Perhaps there will be an app that allows you to point your smartphone or tablet at a photo and view information about it on your screen. This might include what the photo is about, biographical information about the photographer, a link to their website, specs about the camera and settings they used—the possibilities are endless. No matter what the future of Augmented Reality holds, it’s safe to say that it will find a secure spot in the photography industry.






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


AUGUST BRADLEY Words and Photo by August Bradley

I’ve lately been streamlining my approach; after years of more complex lighting setups, being relatively fast and light is now a priority. But I need to know that what I have in the lineup is bombproof and will work when I need it—no excuses. For still photography, I have moved from having a quiver to one camera that I trust exclusively. On the motion side, it remains more complex and job-specific, with a great deal of testing and experimenting. Given my obsession with light modifiers I look for shapers that control spill and give precise control over the direction of the light. Beyond that it’s all about ease of movement and efficiency of use, simplifying transitions and operational fluidity. And I have an amazing cinema production cart that can haul a massive amount of weight for loading and unloading. It has bomber wheels for off-roading—I love this thing.

3 pieces of equipment you could not live without: 1. Hasselblad H4D 2. Broncolor Scoro Pack 3. Datacolor Spyder Color Calibration

1 piece of equipment that sets you apart from other photographers: I think it’s the photographers’ craft and creative drive that set them apart; however I also feel using Hasseblad medium format sets me apart from the army of 35mm DSLR shooters (which includes clients themselves). And using a pack like the Scoro gives me the capability of three ultra-precision packs in one box, which helps moving fast while still having a wide range of functional capability.

The smallest item in your closet is: GoPro Camera—love this!

3 pieces of lighting equipment in your closet that you use during almost every shoot: 1. P70 reflector Grids on Bron Unilites 2. Gridded Softbox 3. Black cinefoil for further blocking off light shapers

The most expensive item in your closet is: Hasselblad H4D Camera

The oldest item in your closet that still works is: Hasselblad 500c film camera—I almost never use it but I like to know it’s in there.

Your point and shoot of choice is: Fuji X100 or iPhone—I use both often.

What you would give another photographer for the holidays: A subscription to Resource Magazine. [editor’s note: thanks August for the shout out!]

Your useless gadget of choice is: My green laser pointer

3 items you wish were in your closet: 1. RED Epic Camera—but that will change next year, no doubt. 2. A decked-out digital cart with Flanders Monitors 3. Cinema Lenses

5 things that you love that are not in your EQ closet: 1. Assistants with great attitude— attitude is everything, and work is fun with talented people who love what they do. 2. Creative collaborators that are passionate about their work—it’s always a team effort. 3. Photo subjects with a lot of personality and dark, dramatic looks. 4. Stunning shoot locations—I love environments that spur the imagination. 5. Clients (maybe that should go first)—it’s nice to eat and pay rent!

August Bradley:

How do you select the gear that you have?

Lindsay Adler Paul Aresu Richard Avedon Harry Benson August Bradley Alejandro Chaskielberg Jimmy Chin Ric Cohn Ann Elliott Cutting David DuChemin Heather Elder Colin Finlay Jim Fiscus Greg Gibson Christopher Griffith

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By Adam Sherwin


Name: SONY NEX FS-100UK Sensor: Exmor Super 35 CMOS Price: $4,999 - body only (NEX FS-100U) $5,599 with 18-200mm lens and microphone

Website: Specs: The FS100 comes standard with a SONY E-Mount for lenses.


It records AVCHD in 1080 60p/i, 30p and 24p. It offers 170 minutes of continuous shooting on a 32GB Memory Stick Pro and 510 minutes of continuous recording on fully charged battery. An additional external 128GB Flash Drive is available for longer recording. The FS weighs in at a very manageable 6lbs with supplied lens and microphone attached. Pros: The FS100 has on-board audio as well as 1080p slow motion. It’s small, compact, and very customizable for cine set-up. It also includes a rotating handgrip that you can change on the fly. The FS100 offers incredible low-light capabilities, and a plethora of adapters allow for almost any lens choice. Cons: Alternative lens choices require adapters, which make certain adjustments awkward. You definitely need an EVF or monitor for accurate adjustments. As there’s only 1 card slot, backing up on the fly or longform recording are a bit of a hassle. The sensitivity to light is great for low-light situations, but it requires constant attention to ND filters for accurate exposure and maintaining shallow depth of field under more normal lighting conditions. New users may find this to be a distraction from the creative process. Notes: Many shooters feel the ergonomics are lacking and the construction materials are less than desirable, but the image quality and the ability to “run and gun” make up for some of the shortcomings.

Name: Canon EOS C300 Sensor: 16:9 CMOS Super 35 equivalent Price: approx. $20,000 as a kit without lens (this price is rumored to drop to around $16,000 before the release date)

Website: Specs: The C300 comes standard with EF or PL mount. It records 1080 60i, 30p and 24p at 50 or 35 Mbps. Both speeds also offer “true 24,” allowing users to match film footage from more traditional cine type cameras. The camera has an impressive array of input/output options, including HD-SDI and HDMI, as well as time code, genlock and dual XLR inputs for on-board audio recording. A 64GB CF card get you 160 minutes at 50Mbps and 225 minutes at 35 Mbps. A fully charged Canon BP-975 get you around 285 minutes of recording time. Pros: The ergonomic design of the C300, including the “tool free” rotating handgrip, is instantly familiar to photographers. The lightweight design and functionality of using the same CF cards and EF lenses (with EF mount body) many Canon users already own make it even more appealing. The dual media slots offer real time backup and impressive long-form recording. More traditional cine features like on-board waveform monitor, 3 built-in ND filters, and 8 different gamma setting make getting the exposure and look you want hassle-free. Cons: The C300 does not offer auto-focus or auto-exposure options, even with EF lenses. There are no interchangeable lens mounts so, unless you want to buy one of each model, you have to be sure of your lens choice beforehand. Notes: Many people are comparing this camera to the Scarlet and commenting on the price difference. In reality, by the time you add up the cost of media and storage, along with a few extras you need to really complete the Scarlet package, the C300 scores big points. We’re having a tough time finding the shortcomings of this camera. If documentary or broadcast is your choice and you don’t need a big RAW file with lots of grading options, this camera offers some incredible bang for your buck.


Name: RED Scarlet X Format: 4K (super 35 equivalent) - 2K (super 16 equivalent) Price: $14,015 for Canon EF-mount kit without lens $15,515 for PL-mount kit without lens

Web: Specs: The Scarlet X comes standard with EF or PL lens mount, but a tech savvy shooter or rental house can swap out EF and PL mounts on a single body. The camera offers 5K at 12fps and, while that might not be very useful for video, it makes capturing still images on the fly much more realistic. Other formats include 4K, 2K and 1080 settings at 24p, 30p, 48p, 60p, and “true 24” for matching film workflow. There are HDSDI and HDMI outputs with frame guides and look around or clean feed time-code and metadata recording. Pros: The Scarlet offers interchangeable lens mounts for a vast selection of lenses and mouth-watering 16bit RAW files. The built-in HDRx gives you an 18 stop dynamic range and, in the tradition of RED, there are multiple levels of customization for this system. Most of all, many shooters feel that 4K is the future and that investing now means being ahead of the 1080HD curve—and, therefore, ahead of the competition. Cons: A 4K RAW file is not really a deliverable format: you need increased workflow times to render the footage down to a useable 1920x1080 format. The Scarlet burns through batteries, a costly addon. Other money grabbers include the REDMAG SSD media for storage, which is fast but pricey. A lack of XLR inputs leaves the Scarlet lacking in the on-board audio department. While on-board audio is available, it is delivered through a smaller input that requires an add-on to match most traditional audio workflows. Notes: No one can deny the beauty of 4K files, and the possibility of finally grabbing stills on the fly during a video shoot is very appealing to the photographic community. However, there are more than a few issues to consider. The entire RED line of cameras is power hungry and exact battery specs are not readily available (one popular director mentioned using at least 12 REDVOLT batteries on a location shoot day alone, and that $8K worth of REDMAG storage, or 4x128GB, was barely enough to get him through a day of shooting). If you start doing the math, you have to be really sure that 4K is the game you want to be playing—it’s beautiful, but beauty often comes at a cost.

Name: Panasonic AG-AF100 Sensor: Micro 4/3” 16:9 MOS Price: $4,795 - Body only

Web: Specs: The AF100 comes standard with micro 4/3’s lens mount. It


$19,890 with PL lens kit (35mm, 50mm & 85mm)

Website: Specs: The F3 comes with the SONY proprietary lens mount with supplied PL adapter. This means lots of lens choices in addition to the SONY lens kit offerings. It records in full 1080 at 60i, 30p and 24p, but also offers 60p at 1440x1080. A fully charged SONY BPU60 battery get you 170 minutes of recording time with the HD-SDI dual link off, and 130 minutes with it on. A SONY SxS 32GB memory card keep you shooting for around 100 minutes, and the dual XLR inputs offer on-board audio recording. Pros: SONY’s XDCAM EX workflow is familiar to the video community and easily integrated into an editing workflow like Final Cut Pro. The F3’s sensor has a similar rating to larger, more expensive cameras but is lightweight and offers a ton of input/output options for monitoring, including the integration of the Cooke/i Technology which allows the camcorder to communicate with certain lenses and record metadata. Cons: Similar to the entire line of SONY digital cinema cameras, the ergonomics are not set up for handheld shooting. You also need an external recorder to get 1080p at 60fps. Notes: This is a go-to camera for productions that lack the budget to upgrade to larger cameras. It has the same reliability and quality as the more expensive options for a lower price. One noteworthy addition is the S-Log Gamma Curve upgrade: SONY sells it for around $3,500 but it opens up the dynamic range exponentially, making the F3 an even more appealing camera to get high-end quality on a reasonable budget.


records AVCHD in 1080p/i and 720p. Its native format is 1080/24p recording at 1/50. The camera offers both HD-SDI and HDMI outputs and its dual media slots allow for up to 12 hours of shooting on two 64GB SDXC cards in PH mode. It has great on-board exposure assistance with both waveform and zebra readouts. A fully charged battery deliver over 4 hours of continuous shooting. Pros: The large frame size allows for a very shallow depth of field. Onboard audio, interchangeable lens mounts, and extremely lightweight construction make shooting on the fly easy. The AF100 offers dual media slots, which are ideal for long-form recording. The built-in ND filters and 20 variable frame rates, including the ability to shoot HD 1080p 24/30p, give you great exposure control and make filming in almost any lighting condition possible. Cons: We read about reports of highlight clipping, and shooters unfamiliar with the 4/3” format will need to learn to account for the crop factor on lenses that are not micro 4/3” format. Unfortunately, on-board viewfinders are lacking in quality; an external monitor is a must for critical focusing. The overall ergonomics make the camera a bit awkward for handheld shooting. Notes: If there’s an HDSLR killer on the market it’s most likely this camera. It’s light yet robust and feels like a real camera in your hands. For cameras in this price range you’d be hard-pressed to find one that can shoot for 12 hours at this level of quality with such high-end performance and results.

Name: SONY XDCAM EX PMW-F3K Sensor: Exmor Super 35 CMOS Price: $13,960 - body only (PMWF3L)

TECH: GEAR AND GADGETS 2.0-”Digital Cinema Cameras” Page 63

By Ashley Shufelt

App for Review: VMRelease Version 1.2 Platforms: Apple’s iOS 3.1 or later on iPhone, iPod touch, and iPad. Summary: Allows you to easily create legal digital model or property

release forms and to send them to the appropriate parties with a simple tap of the screen. Who needs it: Photographers, videographers, producers, etc. looking for a quicker, more convenient way to create and send release forms. How you use it: Tap the VMRelease icon. Choose the type of release you want to create. Follow the forward prompts on the screen and fill in information to create the document. Review the final copy and get signatures. Tap “Send.” Loves: Automatically saves all releases that are created. Saves trees and time. Incredibly easy to use. No confusing legalese. No more need to bring paper releases to your shoot. Accepted by major stock agencies. Hates: Not yet available for iPad 2. But don’t worry, they’re working on it.

Final Rating: nnnnn

Step 1: Create a Profile. When you use VMRelease for the first time, you’ll be asked to create a profile with all your basic info. This includes your name, company name, company address, telephone number, email address, and so on. You can also add your logo (by uploading it or taking a new photo) and signature to your profile. Best of all, this is a one-time setup—all of the information you enter is automatically saved and used on future release forms.

Step 2: Create a Release Form. You can choose from three different types of releases—model, property, or minor. Simply fill out the needed information, from the shoot details (i.e. date, reference, and location) to the actual subject

(which varies depending on the type of release you’re creating). You can upload or take photos of the subject and get all of the signatures you need right on that screen.

Step 3: Review and Send. Once you accept the info you’ve entered, you’re ready to send the release. VMRelease will send both PDF and JPEG copies to you, the model or property owner, the witness, and anyone else you deem a necessary recipient.

Step 4: Exhale a Sigh of Relief. That’s it, you’re done! You can sleep easy knowing that your photos have been legally documented and everybody who needs a copy will have it in the same amount of

time it takes to send an email. And don’t worry if there’s some sort of Internet crisis or email malfunction that prevents the document from sending right away—all the releases you create are automatically saved and stored in a folder within the app and can be accessed at anytime. You can even send previously created releases right from the saved folder. Worried about limited storage space? You can delete old releases from the saved folder at anytime, too. So, there you have it. One more app that’ll make your life a tad easier. Just pay a one-time fee of $9.99 and create as many release forms as you please. What are you waiting for? Go buy the app and start shooting!


VM Release- Model release on the go

Secure Storage for Your Digital Workflow

Mobile Acquisition/Storage

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



THE PRINCIPLES OF DEPTH (part 2 of 4) Scale and perspective are pretty basic concepts. You may even remember studying a few of them–between hangovers–in art school. Hell, didn’t Filippo Brunelleschi discover that drivel in the 14th century? He did, so the point is not simply to see these depth cues in an image–that is pretty basic–but to harness these concepts, lucidly sculpting your images, describing form intricately, and placing your subjects within an emotive atmosphere with conviction. Let’s put these concepts into practice: try some ‘mark-ups’ on your own images based on each principle. You will find that some depth cues are working just fine while others are not working at all. And there will be a few troublemakers that will actually confuse depth. Attempt to scale, liquify or clone objects in your image that detract from the depth you’re trying to create. I’ll use this fashion editorial to point out specific examples of what I’m talking about.

PRO: RETOUCHING 2.0-”The Principles of Depth” Page 67

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

Relative Scale (green marks): Compar-

ing any two objects known to be the same size, the larger of the two will come forward. The two round lights circled in green were the same size so I scaled the one on the left smaller than the right one, creating more depth. The two cars were fine, but if the car on the left had been bigger than the others I’d have a depth problem, and if there were only one car, I could have added another one. Notice how the scale of the model in relationship to the light pole puts her in the foreground even though both models are nearly the same size in the image. I made her appear taller by scaling the light pole down a bit. Remember: when making these adjustments, “inches are miles!”

Atmospheric Perspective (red marks): At a distance,

particles in the air become visible (this is also known as “haze”). Objects in the distance loose contrast, shift toward blue and desaturate. At other times of day you will see colors shift to red/orange. There was a little atmosphere in the photo but a lot more was needed. A curve increasing black output plus red was added to the top right background. An opposite S-curve to reduce contrast was also applied in background and middle ground. Contrast control will enable you to delineate between foreground, middle ground and background, essentially expanding the perceived depth. This also creates a sense of atmosphere and pops the models to the foreground. Laying this down can be very fun because it’s easy to do, yet produces amazing results.

By Stephan Sagmiller, Lead Retoucher at CYANJACK I Photo by Stephen Rose for Interview Magazine I Retouching by CYANJACK


Linear Perspective / Diagonals (blue marks):

Lines known to be parallel diminish and converge with one another at the horizon (think railroad tracks). Subtle curves were used to draw attention to each diagonal. The details in buildings in the background right side were brought back slightly to enhance the right-to-left diagonal lines. Overall, this creates a feeling of dynamic space and pulls the viewer in. This image requires very little perspective modifications, but in composited photographs, a strong understanding of perspective is crucial so that each shot you composite plays nicely together.



YOUR SARTORIAL CHOICES By Kenny Ulloa I Illustration by Katherine Lo

wear? o t g in o g u hat are yo

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This article is so easy to write. No do’s and don’ts. We can just whittle down to a neat bumper-sticker ready slogan: Be Clean, Comfortable and Capable. Done! Another ticle complete industry changing etiquet d, and this tim te e in twitter fo arrmat. Done! Another industry changing etiquette article completed, and this time in twitter format.

iquette article et g in g n a h c y tr dus Done! Anotherdinthis time in twitter format. completed, an

Uh, kind of.

Katherine Lo:

Don’t get too hung up on your morning outfit and consider the following when assembling your uniform. LOUBOUTIN’S ARE BALLER, BUT BACK PAIN ISN’T. You’re going to be on your feet for a minimum of ten hours on set. This should be obvious to the young female up-and-comers. Come back to earth with flats and nice insoles and forget about the tacit female-to-female fashion shoe war for at least one day. People hardly remember names during a shoot, much less your fancy footwear. THANK YOU, BUT YOUR SEXYNESS IS DISTRACTING ME. Provocative clothing is usually worn for one of two reasons (and only appropriate for the craziest fashion shoots—if at all): 1.You understand that you’re dressed provocatively and claim

it’s “your thing.” 2.You’re oblivious to your exposed, neon-colored American Apparel undies. As for the boys, let’s make those deep-Vs illegal for pretty much every scenario. It’s hot. You’re hot. We are all hot. It’s fashion. I get it, but those conservative ad clients may not be too keen on your preparty outfit. THAT T-SHIRT TOTALLY CHANGED MY POSITION ON [INSERT ISSUE HERE], MAN. This is rare, but I see it with the types who don’t understand the “dress for the job you want, not the job you have” rule. This means no 420-related shirt, no naive political statement, and definitely no ironically racist attire. No one wants to

be confronted with a proclamation via faded cotton. I LIKE THE FLANNEL AND CONVERSE THING, BUT WE’RE IN THE DESERT, BRO. Looking hip isn’t always the most comfortable option so think twice before you throw on your default silver-burg-bush-lake-wick costume. Check the weather before you head out on that location shoot. The stylist may have a village’s worth of clothes in that spaceship on wheels, but she is not responsible for helping you in your attire failure. IT’S NOT YOUR SHOW. Anonymous quote: “I consider myself a man with superior taste in fabrics. I would even throw my-

self in with the aristocratic greats of the industry. I have an affinity for wool blazers and fine denim. I wear custom Japanese frames and yes, my jacket is Margiela.” Reality check: It’s not cool to be on the cusp of bankruptcy and to owe the IRS more money than a city’s average household income. Spending borrowed money while attaining luxury via osmosis isn’t a healthy lifestyle for a day-rate worker already living above his or her means. Don’t try to outshine your boss and simplify your work wear.

Have an etiquette question? Email it to:

PRO: ETIQUETTE-”Your Sartorial Choices” Page 69



BRIAN SMITH ON The Value of Personal Work


Words and Photos by Brian Smith

When you’re starting out and putting your book together, you’ve got lots of time to shoot projects you’d love to be assigned. If all goes well, those self-assigned shoots turn into actual jobs. If you’re successful, one job leads to the next; you find yourself putting off personal projects in favor of paying jobs, all the while promising yourself to make time for our own shoots just as soon as the phone stops ringing. Two decades ago I bridged the chasm from photojournalism to celebrity portrait photography thanks to a personal project that changed the course of my career. In our profession we get paid for “showin’, not sayin’” what we can do, so I gave myself a “dream assignment”—to photograph burlesque legends from the 1950s and 60s. The project was the perfect way to show off my chops while giving these women another much-deserved turn in the spotlight. The photographs from that series paid off again and again, landing me jobs decades later.

I no longer had an excuse; if I was going to dig my way out of this economic malaise, I knew I needed to focus on personal work. The perfect project dropped in my lap when I got a call from Kayla Lindquist who runs Sony’s Artisans of Imagery program, asking if I’d be interested in shooting portraits of celebrities during the 2009 Oscars. The images would be used by The Creative Coalition to share the stars’ stories about the value of the arts. It was a great threeday shoot—so good, in fact, that none of us could let it go. Over the next fifteen months, the project became a labor of love. I was able to get Sony to under-write some of the expenses, and I picked up the tab when they couldn’t. Going into debt when logic pointed against it was my leap of faith, and, as twenty years ago, it was a gamble that paid off—not just with new work, but with a whole new look to showcase, and experiences that I’ll never forget. If you want to take your career down the path you’ve always dreamed of traveling, find a project—make it personal.

Brian Smith:

Sometimes we need to be reminded of the lessons that got us where we are.

Yet as things got busy, it was easy to forget personal projects in favor of paying jobs. Years went by shooting ideas someone else dreamed up instead of my own. When the economy crashed, steady clients were either assigning a fraction of the jobs they once had or went out of business altogether.



Making the leap from magazines’ glossy pages to the auction house circuit.

By Shlomi Rabi, Photographs Specialist at Phillips de Pury & Company I Photo by Manfred Kielnhofer History was made at the Christie’s Paris headquarters on November 20, 2010. In a room brimming with the art world’s finest dealers, curators, and advisors, Richard Avedon’s iconic Dovima with elephants, Evening Dress by Dior, Cirque d’Hiver, Paris, August, 1955, brought in a staggering $1,150,000, making it the first commercial photograph to reach the rarefied and stratospheric realm of seven-figures. While the million-dollar mark for a print at auction had been reached previously by such classic fine art stalwarts as Gustave Le Gray, Alfred Stieglitz and Edward Steichen, their works remain separate from the commonly overlooked (and at times frowned upon) space of commercial photography. Was Avedon’s Dovima the harbinger of a new era—one in which commercial photographers could see their work segue into the hallowed walls of fine art—or was it simply anomalous? The simple answer to that question is yes—on both counts. The field of fine art photography has seen an acute rise in auction sales prices over the last twenty years as an increased appre-

ciation for and understanding of photographs—coupled with a more accessible price point than paintings and sculptures—has attracted dealers, curators, and collectors alike. Accordingly, commercial photographs have worked their way out of magazines and into the fine art world to thunderous results. But only a handful of commercial photographers—most notably Richard Avedon, Irving Penn, Horst P. Horst, and Helmut Newton on the classic side, and Peter Lindbergh, Mario Testino, Albert Watson, Herb Ritts and David LaChapelle on the contemporary side—have seen their works reach the vertiginous six-figures level (or only a hair within). The transition from commercial to fine art success has been bumpy for many other talented photographers. Despite their indisputable contributions, the secondary market for Erwin Blumenfeld, Norman Parkinson or John Rawlings has remained humble, with their works mostly selling in the four-figure range. So why has the fine art world been accepting of some and not of others? The answer, while not finite, is multifold.

First, it appears that those whose commercial work is in fashion have had an easier time breaking into fine art. But subject matter doesn’t account for everything since a great number of fashion photographers have seen slower growth in their secondary market. What separates one group from the other, therefore, is the manageability of their market. Photographers such as Avedon, Penn, Watson, LaChapelle and Lindbergh have all ensured that each image intended to be sold as a work of fine art was printed in a small limited edition, and signed. Avedon’s million-dollar Dovima, while having been printed in multiple editions—and large ones, at that—was a unique impression in its mural size, at approximately seven feet in height. Just as important as the subject matter and the edition size, savvy dealers or studio managers play an instrumental role in controlling the prices and availability of photographers’ work early on in their career. They prevent a surfeit of gift prints, charity prints, and unaccounted for prints ending in private hands and the secondary market. While the combination of

subject matter, limited editions, and a strong gallery representation is not foolproof, it has certainly aided a great number of photographers who have made the successful transition to the auction world—including Steven Klein, Patrick Demarchelier, Nick Knight, and Bettina Rheims, to name but a few. Interestingly enough given the current popularity of fine art photography, a number of such photographers have been making the transition to commercial photography. Stephen Shore and Alex Prager have both translated their distinct visual language for ad campaigns for luxury brand Bottega Veneta; Marilyn Minter has applied her filth-chic aesthetic to Tom Ford’s footwear campaign; Philip-Lorca diCorcia introduced his unmistakable eye to the pages of W magazine; and Ryan McGinley brought his ability to capture whimsical energy to his collaboration with mega retailer GAP. While Avedon’s Dovima will stand uncontested in its category for some time to come, the currently fluid interaction between commercial and fine art photography will likely expedite the wait.

PRO: FINE ART-”From Magazines to the Auction House” Page 71


Check out Thomas E. Franklin’s documentary, created for the 10-year anniversary of the 9/11 attacks. Witness to history: The photographers of 9/11



“Raising the Flag at Ground Zero” Photo by Thomas E. Franklin I Words by Charlie Fish For millions of people across the world, the attacks on September 11, 2001 created a sense of solidarity, even if momentarily, as many condemned the terrorists and expressed their support, sympathy and condolences to the United States. In what has been one of the most significant events in recent history and the most gruesome and unprecedented attack on U.S. soil, media coverage gave everyone the chance to see firsthand the atrocities that transpired that fateful day. For Americans, 9/11 became instantly life altering. From constant threat level indices to the way we travel—not to mention the way news are now relayed—9/11 marked a turning point in U.S. history. Ten years later, the Memorial at Ground Zero opened, offering New Yorkers, Americans, and the world the chance to honor the victims and to move forward from the tragedy. One of the most significant, and now instantly recognizable, photographs of September 11, Raising the Flag at Ground Zero, by Thomas E. Franklin, has appeared in newspapers and magazines the world over. It has gone on to be featured on a stamp and was listed by Life magazine as one of the “100 Photographs That Changed the World.” Now part of the permanent collection of the Library of Congress, the photograph was the first to convey American perseverance and unity despite the horrific attacks.

Thomas E. Franklin: AP Photo/Thomas E. Franklin/The Record (Bergen Co. NJ)

Resource spoke to Franklin, the photojournalist who captured the moving, memorable image for the newspaper The Bergen Record. Now producing video reports for the newspaper’s website, Franklin spoke candidly about 9/11—from hearing about the first plane and talking his way onto a boat to get to Ground Zero, to his duty as a photojournalist to place himself in the middle of danger and horror.

The First Plane

Prior to the first plane hitting, I was already at the newspaper, which was unusual for me but I was preparing for a meeting. Our offices at that time were in Hackensack, which is five miles from New York City. I was on the fourth floor, where the photo department was. An editor came running in saying a plane had crashed into the World Trade Center. I could see the towers from our offices, so I ran to the window to take a look. I saw the size of the smoke that was coming out of the building and instinctively knew that it was bad and that it was not an accident.

The Second Plane

It was apparent that it was big news; I just responded. I got in my car and told the photo editor I was heading to the city. That’s what we do as photojournalists—I didn’t need anybody to tell me to go [cover] it. Sometime during the drive from Hackensack to the Lincoln Tunnel, the second plane hit. The radio

reports said that the bridges and tunnels were being shut down. Rather than being caught in that, I decided to drive to Jersey City, specifically to Exchange Place, which is on the riverfront and right across from the World Trade Center. I got down there relatively quickly, around 9:30am.

The View from Jersey

It was mayhem. They had a triage center set up and they were bringing people by boat from Manhattan. That’s where I was when the first, and then the second, tower collapsed; it was pretty apparent what’d happened. And it went from hundreds of people coming in to hardly anybody at all. [It was a] tremendous vantage point, very dramatic—all these people being rushed off by boat with the New York City skyline and smoke as backdrop.

Getting to Ground Zero

Sometime late that morning, the police had really clamped down that area and kicked the media out. I left for half hour and made

my way back, kind of surreptitiously putting my camera in my bag. I blended with the crowd and I got right up to the riverfront. John Wheeler, a New Jersey freelance photographer, said to me, “I know the head of the Jersey City Police Department, and I see him standing over there. Do you want to approach him and see if we can get onto a boat?” He helped us, and sometime in the early afternoon we made it to Ground Zero. I arrived at the marina, a mere couple hundred yards from Ground Zero. I was making pictures for the next couple hours of the wreckage and the search for survivors. But I didn’t see anybody being rescued. It was eerily quiet; people were looking for survivors but not finding any.

Almost Used Up

This was the early days of digital photography, so I was working off digital cards of 512 megabytes, whereas today you have 32 gigabyte cards. I was deleting unneeded pictures to create space on the card, which is pretty crazy when you think of it. At some point, I had filled up all my digital

cards—that’d be akin to running out of film. I had just a little bit of space left on a card; I figured I would shoot whatever remaining pictures I could and then get back to New Jersey.

The Three Firemen

I took one last look at Ground Zero before leaving and that’s when I saw these three firemen up on a rise, just on the edge of the southwest corner, on the edge of the rubble. I saw them fumbling with a flag. I didn’t quite know what they were going to do, but I was anticipating they were going to hoist the flag up. I positioned myself maybe about thirty yards away. All of a sudden, very quickly, it went up and I shot a burst of frames. That’s when the flag-raising picture happened, at 5:01pm exactly. Within a half hour of making that picture, I talked my way onto a boat back to New Jersey.

On the Historic Moment

I tell people the flag raising did not stand out for me in any way. Thousands of people were killed in this horrific act of destruction; two

PRO: HISTORY-”Raising the Flag at Ground Zero” Page 73


of the largest and most recognizable buildings in the world had just collapsed, so three firemen raising a flag seemed very insignificant compared to what had actually happened. I didn’t even get their names; I didn’t get their story. They didn’t even know I took their picture. I can’t speak for them, but I don’t think they had any idea that they were being watched or photographed, and it certainly wasn’t a performance—it was just a spontaneous thing that they did.

On Rosenthal’s Iwo Jima

When I shot the picture I recognized that it looked similar to [Joe] Rosenthal’s Raising the Flag on Iwo Jima. That was pretty obvious. It was just a thought that ran through my mind. It was not anything that I constructed, it just happened. But after it happened, I really didn’t give it any thought. I really didn’t have time to analyze it.

On the Exclusive Shot

After I got back to New Jersey, I attempted to get back to the office but I couldn’t. I ended up transmitting my pictures from a nearby hotel. Later that night the photo editor called me. He had been looking at destruction pictures all day long, but the picture of the flag raising was significantly different from anything he’d seen. He wanted to know more about the picture. As the night went on, the attention really turned toward that image. He eventually sent it out on the AP wire, which is common practice if you have something good or important. As he sent it after midnight, papers in the New York area wouldn’t have access to it and we would have it exclu-

sively—that was critical—but it did give papers on the West Coast the opportunity to use it for their main editions. By the next morning, people were calling: news outlets wanted rights to use the picture, people immediately wanted to use it for commercial and fundraising purposes, and other people were just moved and wanted to know more about it. The amount of attention by the end of that week was off the charts.

A life of its Own

All the things that have happened with the photograph—for instance, the photo being used on a stamp, which helped raise over $10 million through FEMA—have done a lot of good. I still receive letters and emails from people telling me how much the picture means to them. All that stuff—it’s about the photograph and the feeling that people get from it. The attention [I got] as a result of that, it’s nice… but it’s really about the picture, so I separate myself from it. The picture lives a life of its own. I’m proud I made it, I’m proud that it means something valuable to a lot of people and it’s been used in positive ways. That’s great, but you can never lose sight of the fact that it’s a picture that stands for thousands of innocent people dying senselessly.

If 9/11 Happened Today

I don’t think that event changed media, but it happened at a pivotal time, when media was really starting to explode. Can you imagine 9/11 happening today, with Twitter? Part of me just shudders at the thought—you’d have had all these messages from people trapped in those build-

ings. On the other hand, it might have saved lives if people could’ve communicated off their PDAs and iPhones and such. 9/11 was the most photographed event in history, in my opinion. Yet cell phone cameras back then were very primitive. Could you imagine all the cell phone images there would be today? It’s both frightening and staggering to think about it. Look at the Miracle Landing on the Hudson; the best pictures were cell phone pictures made by citizen journalists. If an event like 9/11 happened today, it’d have even more coverage and more citizen journalism going on.

On his Gear

Digital photography was just coming into its own. I used a Canon D2000, a fairly large camera compared to the ones used today. And I used what I call Double Decker micro drives. Early that day, when the police kicked us out of the triage area in Jersey City, I got shoved by a policeman and my camera slammed into a light pole. The jarring the camera took broke the micro drive. Something like that would never happen today. There was a whole micro drive card I couldn’t use. Plus, it had all my pictures of the World Trade Center before the first tower collapsed. It was pretty unfortunate that happened, but it was a direct result of using that camera and that its micro drive sucked.

“It Was Personal”

We all knew somebody who died, or knew somebody who knew somebody who died. While I was photographing that day, when I had a moment or two, I would run through my mind all the

people I knew or thought I knew who worked there, including my brother. My brother worked near the World Trade Center and traveled by PATH train, which was right under the towers. So it was emotional thinking about whom I knew who might be lost. When the towers collapsed, I was thinking how many photographer friends of mine, whom I assumed were there covering the events, were going to be affected.

On His Role that Fateful Day

Being a photographer at an event like that gives me purpose, and it also drives me to get closer and closer and closer. If I wasn’t a photographer that day, I would have never talked my way onto that boat; I would have never arrived at Ground Zero, and I would have never witnessed all that destruction. I’m glad I did. I’m glad I was there. I was definitely aware that what I was photographing was historic. That’s what drove me. Carmen Taylor, the tourist from my documentary Witness to history: The Photographers of 9/11, told me if she didn’t have a camera in her hand that day, she would have been hysterically crying and running in fear. But her camera gave her a sense of purpose. I thought that was really interesting, coming from somebody who doesn’t do that for a living. For [photojournalists], it’s what we do. There was never a question in my mind I needed to make pictures that day. I was very much aware of what my role was in documenting the history of it.




Ysabel LeMay:


“My art is a tribute to Nature. It is an offering, a moment of contemplation. In this series, entitled GRACIA, I have chosen to expose nature’s paradox. Breathing new life into branches desiccated by time and to flowers left to grow wild in the fields, I create new spaces. Every living thing I capture has an individuality that I want to share. It is in the simple details wherein divinity lies. People have different interpretations when viewing this series, as experience is unique to each of us, but if you explore it with your heart, you will undoubtedly feel the freedom that nature offers us. “

Ysabel LeMay was born in Canada and now resides in Naples, Florida. She has recently drawn the attention of the New York art scene as she was selected to be part of a show at the Chelsea Art Museum and won the 2011 Kipton Rising Stars Program. Her work appears in several other exhibitions throughout the U.S., including Art Basel in Miami.


It was while we were researching augmented reality for the article on page 58, that I first saw Ysabel LeMay’s work. I immediately fell in love with her world. Her hyper-detailed images are mesmerizing: you feel like you could loose yourself in the wild forests she creates. Every branch, every flower, every leaf is captured in a hyper-realistic way, giving the images a subtly surreal air. Some of her work also reminds me of 17th century Flemish still life painters, who often introduced a dark element in their compositions. A rotten apple, a faded flower, or a human skull would contrast the beauty and abundance on display, and remind us that beauty is ephemeral and that everything passes. My New Year’s resolution is to go to Ysabel’s gallery in New York and see her actual prints. I’m sure I’ll fall in love all over again.

PRO: EDITOR’S PICK-”Ysabel Lemay” Page 75



DISSECTION OF A WADE BROTHER’s PHOTO Photo and words by The Wade Brothers

Everything from the clouds, people, baby stroller, to the shadows were in the original photograph.

Another image from this series.

Background image shot on location in front of the Hôtel de Ville (City Hall) in the center of Paris, France. People during wintertime gather there to ice skate or ride the carousel.

We were all set up for an outdoor parade down the streets of Paris and had planned on doing this in one shot with minimal post. A change of plans and we had to shoot everyone individually on a white seamless. We then made a quick call to realfake, and seamlessly ended with a giant stylized but authentic Parade for Wad mag’s 10th anniversary. The style and culture of WAD is second to none—it’s a great trend lab: see for your self at

Another image from this series.

We did two set ups: the girl standing on her tippy toes, and then jumping just to get her feet. The ethereal expression on her face took a few frames to get as well.

Thats a REAL rainbow!!

Girl holding balloons- shot in studio on white. realfake utilized two images from this sequence.

Another image from this series.

Shot inside WAD’s personal studio. Inside their headquarters.

A color treatment was applied to the overall image to warm it up (the location shoot day was actually a very typically Parisian grey winter day).

Credits: Photographers: David Lindsey and Lyndon Wade / The Wade Brothers Retouching: realfake -

PRO: PHOTO-GRAPH-”Dissection of a Wade Brothers Photo” Page 77




DID YOU STUDY PHOTOGRAPHY OR ARE YOU SELF-TAUGHT? I actually quit the course I was taking because what I expected to be taught and what I was actually taught were two very different things. They were teaching more the “why” than the “how.” I wanted to be more street smart and I really wanted on-the-job training. I assisted a wedding photographer for a year and a half with no pay while working at a camera store selling cameras. I probably learned more on my first wedding shoot than in six months of school. I believe that assisting is the best training–but education is also vitally important. Whether attending a photo school, seminars or workshops, the key is to educate yourself. After all, knowledge is power. WHY WEDDINGS? WHAT’S THE ATTRACTION FOR YOU AS A PHOTOGRAPHER? Well, probably like most young males, I wanted to photograph pretty girls [so I thought of shooting fashion at first]. But I soon realized that if I wanted to actually make money, then wedding photography was a better avenue to pursue. And once I tried it I really loved it. I loved the beauty of the bride, the celebration of the day, all of the emotion. Weddings suit what I am capable of doing creatively and my personality. When you’re photographing a wedding, you’re actually shooting much more than that. You’re shooting the ceremony, but also portraits, fashion, documentary, still life, landscape, etc... I believe that a really good wedding photographer can pretty much shoot in any genre. HOW MUCH CREATIVE FREEDOM DO YOU HAVE WHEN SHOOTING A WEDDING? My couples don’t usually have input on my approach as they have booked me specifically because of my style and trust me to deliver it for them. Because of that, they give me quite a bit of freedom. I’m both deliberate and spontaneous when creating theatrical, iconic shots for my clients. An artist’s art should say as much about them as an artist as it does about the subjects they are portraying.

HOW DO PEOPLE REACT TO BEING DIRECTED? When viewing her photographs, a bride first looks to see how beautiful she is and then looks for expression, emotion, and storytelling. Emotion often beats perfection, but why not have both? I make my images appear as if I happened to be in the right place at the right time. When I started, I was told that a wedding wasn’t about me, it was about the bride and groom. I grew tired of waiting for magic to happen on its own. If I waited for moments rather than create them, my albums wouldn’t look as dynamic as they do. I mix images that I capture and images that I stage. I have always considered myself to be a director rather than just a photographer on the sidelines. Whether the wedding was a fairytale or not, it will be remembered as one if you hire me to photograph it!

TELL US ABOUT YOUR FIRST WEDDING SHOOT. I didn’t view it as one wedding, which sounds odd. I viewed the day as many separate parts: the groom’s coverage, then the bride’s coverage; of course, by the end of the day, it made up a whole wedding. I was always taught that you just have to get the shot no matter how good, bad or ugly it is–at least you have it. You can’t replace what’s no longer there.

it’s very important to prepare your clients before a shoot. Although my style is consistent, I adapt and change based on each individual, what they’re wearing, the time of day, the season, their families, etc... I always factor in people’s personalities. For example, I wouldn’t put a shy couple in a flamboyant pose. At the same time, I would not try to capture a soft, tender moment from a couple that is larger than life.

HOW DO YOU MAINTAIN YOUR BUSINESS AND ENSURE THAT YOU ARE AT THE TOP OF YOUR GAME? I don’t focus on being the best; I just focus on being better than last week. And by doing that, you become the best that you can be–you realize your own potential. Another important key is consistency, which then brings longevity. I created a boutique studio with the specific goal of providing a more personal, luxurious experience to my clients. Whereas my last studio photographed over 300 weddings a year, I now only accept 20 to 25 a year. This allows me to pamper and provide my current clients with a personal experience and take care of new clients coming in. I typically schedule several meetings prior to the big day. I think

DO YOU FIND YOUR CLIENTS OR DO THEY FIND YOU? Most find me by referrals from past clients or vendors. Referrals are very important to me and I’ve worked hard at the relationships that I’ve created. I also advertise in a few larger wedding magazines and that has become one of the most common ways people find me. And many find me through Google searches–I spent quite a bit of time and effort on my website. I wanted a site where clients would be able to catch a glimpse of my personality through “behind the scene” videos and see my work by viewing entire albums and single images. I took all my ideas to and they brought them to life.

PRO: PHOTO-PROFILE-”Jerry Ghionis” Page 79

HOW DO YOU STRUCTURE YOUR SHOOT DAY FOR A WEDDING? DO YOU WORK WITH AN ASSISTANT/SECOND SHOOTER? I don’t really have a second shooter. I do work with an assistant at weddings–who happens to be my wife. She’s also a photographer and she occasionally shoots with me, but that is rare. I find it more distracting when I have someone else’s images to work with when putting the album together. On the day of the shoot, I’ll often quickly take some portraits of the couple, both individually and together, and then show them the results right on my camera. That serves to give them more self-confidence; it also builds trust in me to the point where my clients will pretty much do anything I ask. I truly believe that it’s my communication skills that help make that happen; once they trust me, I can create the beautiful images that they booked me for.

WHAT EQUIPMENT DO YOU USE? WHAT’S YOUR WORKFLOW? I photographed with a Canon 5D Mark II for years but I’ve recently begun using a Nikon D3S and have really been enjoying it. At the moment, I have limited gear for the Nikon but I plan to invest in more equipment and lenses soon. Beyond that, I generally travel light to a wedding. I use a Think Tank Airport Security v.2 camera bag which often contains: - Nikon D3S - 700-200mm f/2.8G ED VRII - 24-70mm f/2.8G ED - Two SB900 flashes - Pocket Wizards - 5-in-1 Reflector - Ice Light video light - Phase One camera system with a P40+ back, and a 80mm f/2.8, 150mm f/2.8 and a 28mm f/4.5. As for my workflow, I’m a strong believer in outsourcing whenever possible. You simply cannot do everything yourself and still maintain a viable business. You should spend your time where you are most valuable. Once the wedding has been photographed, I download the images and edit them in Expression Media Pro by Phase One or in Capture One. This is all done on a mirrored hard drive; then I back up the discs (one stays at home and one at the studio), and it gets forwarded to the lab. I work with The Edge Photoimaging ( where all my proofing is done. I then pre-design the wedding albums using Photojunction ( Once I sell the design to the clients, I send my files to Lavalu ( for post-production. We perform quality control on the images and send them to our album company, Seldex Artistic Albums (which is distributed by FINAO in the U.S.). I don’t spend a lot of time behind the computer. I prefer in-camera artistry–although I certainly believe in finessing an image in Photoshop to bring out the best in it. The advice that I gave to Lavalu is that I’m looking for “invisible Photoshop.” My images are colour-corrected and have some retouching, but not much more than that.

“CONSIDER YOURSELF A BUSINESSPERSON FIRST WHO HAPPENS TO BE A PHOTOGRAPHER.” EVERYONE IS TRYING TO SAVE A LITTLE CASH THESE DAYS; WHAT ARE SOME OF YOUR TRICKS FOR SELLING ADDITIONAL SERVICES? Although I don’t have a shortage of work, I have to work harder to get the same amount of work. It’s very much about learning how to work smarter rather than harder. One service that has been very successful is doing same-day slideshows at a wedding. I edit a selection of images during the reception, prepare a slideshow, and then present it to the couple and their guests later that evening. I charge clients for the experience, and it also works out to be an incredible way to market myself in front of a qualified audience.

Jerry Ghionis:

YOU ARE ALSO A TEACHER AND SPEAKER. HOW DID THAT COME ABOUT? When I first began in the industry, there really wasn’t a great deal of educational material or resources where I could learn about wedding photography or running a business. I began speaking professionally about ten years ago and I am just as passionate about teaching as I am about shooting. I believe that, by educating ourselves and sharing our successes and the lessons we‘ve learned, it results in a better industry overall. YOU HAVE A DEDICATED TEACHING SITE, THEICESOCIETY.COM, AND PICPOCKETS, A SERIES OF CARDS WITH TIPS AND INSPIRATION. CAN YOU EXPLAIN A BIT MORE THESE PROJECTS? The number of students I meet grows exponentially each year. The number of emails I receive eventually became too much. The ICE Society (Inspire, Challenge, Educate) was created four years ago because of my love for the industry and my desire to help other photographers. I release each month new lessons that focus on posing, lighting, and how to communicate effectively with clients. I include video footage of me shooting; there are anonymous online critiques of members’ images and albums, and several other features. We will be launching a brand new website in early 2012. We’ve completely revamped the platform to make it easier to navigate. Among the new features is an incredible search feature that allows members to search and save their favorite segments.

Each of the ten Picpocket decks of cards that I designed has a different purpose. One features empty locations on one side of the cards and the end photographs (along with all the exposure data) on the other. A set focuses on the prompts and directions that I give to couples. In addition, I have five new Picpockets which are all focused on posing: Posing the Bride; Posing the Groom; Posing the Bride and Groom; Posing the Bridal Party, and Posing Wedding Family Portraits.Another project that I am very proud to announce is the release of a new video light–which I designed–called the Ice Light ( It’s a portable LED light that creates a soft, beautiful wraparound light on your subject. When shooting at night, I always enjoyed using street signs or storefront windows to light the couple. But there was nothing on the market that would achieve that type of lighting, so I worked with Westcott and I’m very proud of the final result. BEST ADVICE YOU CAN PASS ON TO PHOTOGRAPHERS STARTING THEIR WEDDING PHOTOGRAPHY BUSINESS? Success in wedding photography (and in performing on the wedding day) is about your communication and listening skills and knowing how to read people. That will go a long way in making you a great photographer–more than focusing on how technically brilliant you are. The ability to have an endearing personality and to work well under pressure while still being technically proficient is especially important. You also need to be like a chameleon–you need to know how to be relaxed and down to earth at a casual wedding and be able to carry yourself professionally when you shoot a high-society one. I encourage new photographers to be as passionate about their business as they are about their photography. Consider yourself a businessperson first who happens to be a photographer. As a business owner, ask yourself, “Am I working in my business or on my business?” Surround yourself with great people–without good staff, your studio is nothing more than four walls. Stop being a control freak and get some help. Educate yourself. Don’t be too precious about the work. When it comes to marketing your business, if you are going to invest in advertising, don’t think about the dollars you are parting with but think instead about the return. Whenever an advertising opportunity presents itself, ask yourself, “Is there a better way I can spend this money?” And finally, don’t forget to consider yourself a brand. Build it and they will come.

PRO: PHOTO-PROFILE-”Jerry Ghionis” Page 81



RYAN ENN HUGHES ON SHOOTING 360 By Resource I Photo by Ryan Enn Hughes HOW DID YOU GET STARTED AS A PHOTOGRAPHER? DID YOU STUDY PHOTOGRAPHY? I actually started out in film production. I shot a lot of video art projects on a borrowed Hi-8 camcorder during high school. I was about to take a photography program but the school cancelled it. It wasn’t until mid-University––after majoring in cinematography––that I picked up my first SLR camera. Over a summer, I got every photo books I could get my hands on from my public library and really started ingraining the technical fundamentals into my head. I bought a Canon Rebel digital camera and just shot like crazy, all the time. As a poor student, having no film developing cost was really liberating. I also feel that the ability to review my work instantly helped me grow and learn at an accelerated rate. HOW DID YOU COME UP WITH THE IDEA FOR “THE 360 PROJECT”? The genesis was definitely Michel Gondry’s music video for “Like a Rolling Stone.” Before I was obsessed with photography, I was obsessed with music videos. I got really interested in the technical process that created the “frozen moments” that seemed to be moving in three-dimensions. Figuring out how this effect was achieved was the beginning of “The 360 Project.” DID YOU ACHIEVE WHAT YOU WERE TRYING TO ACCOMPLISH? “The 360 Project” was a major endeavor I undertook after receiving the Chalmers Arts Fellowship in 2010. I got funding for six months to experiment and explore ideas around photography and film hybrid productions. The aim was to expand my technical understanding of how motion pictures are constructed. I learned a lot throughout this project and feel stronger as an image-maker because of it.

WHAT EQUIPMENT DID YOU CHOOSE TO USE? The technical end took a lot of research. I ended up approaching The Big Freeze (, a company that specializes in multicamera set ups and “time slice” effects. They have been around for quite a long time and are real pioneers in their field. They were very receptive and we came together for “The 360 Project” a few months after our initial discussion––they managed the camera set up and the digital workflow. For lighting, I initially thought of using traditional film hot lights (HMI or Tungsten), but after calculating how much power we’d need, I opted for photographic strobe lighting––specifically the Broncolor Scoro A4S pack. The Big Freeze had never worked with strobe before so the set had a really fun, experimental feel. We all had to figure things out as we went. The really cool thing about working with strobe lights was the ability to shoot multi-pops of the flash, resulting in 360-degree multiexposures. TELL US ABOUT THE COMPOSITION AND LIGHTING OF THIS PHOTO. I wanted to shoot all the figures in black space, in a consistent look––really stripped down and simple. I wanted the lighting to be from above and low-key in style to heighten the dramatic movements of the krump dancers and ballerinas. WHAT WAS THE POST-PRODUCTION PROCESS LIKE? The post-production took a long time. I had completed other projects using all still photographs (like the RGB MOVE: vimeo. com/10643259), so the concept wasn’t new to me. A lot of the headache-causing challenges that had been difficult to work through in the past had been learnt from. Painting out all the cameras in every selected forty-eight-frame

Ryan Enn Hughes:

rotation was time-consuming but allowed for maximum creative control in the final image. I worked with another photographer––a real Photoshop Wiz––to matte all the frames. The editing and soundscape design was a really exciting phase. I collaborated with a sound designer, Zelig Sound (zeligsound. com). They had approached me after viewing a few of my projects in 2009. I liked their sound; it was very fresh and sounded very complex. I collaborated closely with them––we worked back and forth, experimenting with sound textures, editing variations and effects. It was neat to see the concept evolve through this stage. While I had a solid direction in mind, I was open to new developments along the way. I learned a lot from them creatively, and as a result, I am thinking a lot more about sound design during preproduction now. I’m real happy with the result, which ultimately was a big team effort. HOW MANY SHOTS DID YOU TAKE? Every time I triggered the camera system, forty-eight frames of the same moment were captured, so the amount of individual frames definitely added up. By the end we had captured several thousand frames. Fortunately I anticipated this volume of data and was prepared with ample storage. This shoot was definitely techintensive. HOW MUCH PLANNING WENT INTO IT? There was a lot of prep work to make this project happen. In addi-

tion to the creative side, I was also producing so I had to oversee all the prep for the various departments. As mentioned earlier, this project was part of a six-month research and development fellowship I received. There was at least four weeks of pre-production to make the shoot happen and sort out all the logistics. WHAT KIND OF CHALLENGES OR DISASTERS CAN OR DID HAPPEN? WHAT SHOULD PHOTOGRAPHERS WATCH OUT FOR WHEN DOING A SHOOT LIKE THIS? The biggest obstacle was postproduction. I would highly recommend, before undertaking a project like this, to have an extensive knowledge of file management and software, or at least a solid team that has this skill set. DO YOU THINK THE PROCESS CAN BE “DUMBED DOWN” SO PHOTOGRAPHERS MIGHT BE ABLE TO TRY THIS IN THEIR OWN STUDIO OR ON LOCATION? Sure, absolutely. You don’t need forty-eight cameras to create the time-slice effect. There are some pretty cool DIY effects out there on Vimeo, YouTube, etc… I love researching that stuff online. DO YOU EVER GET QUESTIONED OR CONFRONTED BY VIDEOGRAPHERS ABOUT WHETHER OR NOT THIS SHOULD BE CONSIDERED “MOTION”? Ha ha, no, never. I think that question is reversed more often than not––with photographers asking whether this project is photography. I don’t think it’s relevant; it’s all image making in the end.

PRO: TECHNIQUE-”Ryan Enn Hughes on Shooting 360” Page 83



The John Engstrom Experience—Stories from LaChapelle to Scheimpflug By Isaac Lopez I Photos by Tim Dalton To put it simply, John Engstrom is a machine. I mean, yeah, he looks like a human being, talks like a human being and he won’t start malfunctioning if you pour water on him (although we wouldn’t suggest that for obvious reasons), but when you really get down to it, he’s a machine. How else can the former first assistant for big names such as David LaChapelle and Patrick Demarchelier travel all over the world, working as a lighting tech on set, while at the same time managing New York-based Scheimpflug, the equipment rental / digital services company he founded in 2004? Alright, alright, maybe the whole “machine” deal is a bit too far-fetched. But it’s a fact that Engstrom is quite the non-stop workaholic. Resource sat down with Engstrom, who was fresh from working on a movie shoot in Montreal, and asked about some of his most memorable on-set experiences and why he backed away from photography to start his own rental company. Even if the word “sleep” is not in his vocabulary, he has a lot more to say… ON DISCOVERING HIS PASSION FOR PHOTOGRAPHY. “My grandfather worked in the Manhattan Project. He was a scientist—nuclear physicist. Brilliant mind. His hobby was photography. After my father died, I spent a lot of time with my grandfather, and therefore pretty much grew up in a darkroom. So by the age of twelve, I knew.” ON STARTING OFF IN THE PHOTO INDUSTRY. “My first job as a professional was at a Sears Portrait Studio when I was fourteen years old. I would do it on weekends. I applied and they all kind of laughed at me [at first]… but they actually gave me a shot. I made a whopping $4 an hour. Then I started assisting a wedding photographer when I was about sixteen, and I did that until I was eighteen or nineteen. I moved to assisting car photographers and I was doing a lot of stuff out in the desert—out West, mainly on location, lighting cars. In the winter, we’d be in the studio.” ON GETTING THE BIG BREAK. “For the first job I had got [in New York City], I called a studio and I said, ‘I see you shoot some cars, I’m an assistant out of Detroit, I’ve been working for over ten years, and I think I can help you.’ I didn’t ask them for anything; I said, ‘I think I can help you.’ And it was off to the races from there. One job led to another; I met a bunch of assistants who were all like, ‘Jesus Christ!’ because the guys in New York don’t really know how to light cars. Not all of ‘em. It’s a very difficult thing. But I did pretty well with what we were doing, and one thing led to another, which put me into LaChappelle Land.”

ON WHO HE’S WORKED WITH. “David LaChapelle, Patrick Demarchelier, Mark Seliger, Michael Thompson, Michael O’Neill… I worked with a lot of people. But the main people that I was first assistant for were David and Patrick. [Meeting LaChapelle] was a weird, crazy incident. I was heart set on working for some certain people, including David. I had the right attitude and the right set of skills. I had been doing it for a long, long time. I never contacted the studio— they contacted me. It was all wordof-mouth.” ON HIS MOST MEMORABLE ONSET EXPERIENCE. “Probably the craziest shoot I was ever on was working with Peter Beard in Africa. That was the most amazing thing I’ve ever done. We shot the Pirelli Calendar. There were times when I was in the water up to my neck, looking over the waterfall. Just watching zebras getting taken down by lions and being out there with no Jeep, knowing something could come out of the bush at any time and eat me, and having Peter saying, ‘Don’t worry, they just ate yesterday.’ I did things like put an Octabank thirty feet in the air and ratchet-strap it to a tree to accomplish what I needed to accomplish. Then I hung a bunch of 7B’s off the tree and made it really do what I needed it to do. It was a lot of fun. That was probably the most amazing time I’ve ever had, because I felt very involved in the project. Peter makes you feel like you’re part of the shoot and he brings you into his world. And his world is pretty incredible.”

ON WALKING AWAY FROM SHOOTING AND STARTING SCHEIMPFLUG. “There was a point in my career as an assistant where I just knew that I wasn’t going to be a photographer myself. I don’t really have the social skill set, per se. Or maybe it’s ego. I see photography as a perceived value and you have to be able to say, ‘I’m amazing, I’m wonderful, I’m incredible.’ Whereas for me, renting my equipment was real value. Photography, after my father died, became very, very personal to me. I still shoot all the time, but I don’t like to shoot commercially. I shot a Nike campaign; I shot some things for Motorola; I shot some big stuff after I stopped my tenure at LaChappelle, but I sorta felt empty about it. I noticed that a lot of the photographers I’ve worked for don’t have lives that are very stable. If I submerged myself in that world, I thought I would just go full speed ahead and I would be just like them. And I would be divorced, I wouldn’t know my son. I’d just be flying all over the world, constantly. And even with [Scheimpflug], I do that now. But I can say no. I have the support network here built around me so that when I need a break, I can just take a break. I felt that in the photo world, I would just disappear. I have some amazing people that I surround myself with at Scheimpflug. They’re all over it. It’s a huge team here. We have more labor probably than most

of the other rental houses. It’s sort of a burden—a curse—but it’s also a blessing. [Why we have so many people] is primarily because we are coming to work on set. It’s not like we’re just packing boxes and putting them across the counter and saying, ‘Have a nice day.’ We’re packing truckloads of equipment. We’re driving it to set. We’re operating it all day. It all has to work, and we have to achieve the end goal.” ON BEING A WORKAHOLIC. “It’s funny because there are days when I come home late and I leave early, and my wife will e-mail me the next day saying, ‘Did you come home? Was it a dream?’ I try to sleep, but it’s chaos. It’s absolute chaos. We got punch clocks, but I just stopped [punching in and punching out]. I wanted to keep track of my hours and log them, but when it goes up over a hundred, I just don’t want to know. But luckily the staff around me is good and they take off a huge burden… They all work their asses off.”


Tim Dalton:



Backing up the Shoot and What to do with the Files By Elizabeth Stacy, Freelance Digital Tech I Illustration by Mercy Leviste

First, know what you need. You should never have a shortage of external hard drives—having a backup system in place in case of drive failure while shooting is crucial. You will need a minimum of two external hard drives for backing up your files efficiently during any job. When on location, the best option is small external drives with a fast connection such as Firewire 800 or, as it becomes more widely supported, USB 3.0. These will work also in a studio or in an indoor location, but when power is more readily available, larger, more powerful drives can be used. The brands I have had great success with are Lacie and Weibetech. A 500GB is usually plenty of storage space for your on-set backup needs, and these drives are widely available and affordable. There are more expensive options if your budget allows—this is definitely one area of the shoot you don’t want to cheap out on. Buying cheap hard drives is the digital equivalent of buying your film from the bargain bin and getting it processed at your local discount store. You get what you pay for. You now have the drive; what’s next? The first thing to know about backing up during a shoot is this: do it frequently. After you complete each shot—back it up. Now, you may not have had time during the day to backup everything as you went, but please, for the love of all things digital, do it as often as possible. Remember, it’s always better to take a few minutes to backup than to have to re-shoot an entire day or tell the photographer five shots later that something is missing. The best way to ensure that you’re backing up as often as possible is to use software that will automatically sync and backup the files as your shoot progresses. When transferring the files to the backup drive, you don’t want to use the drag and drop method—the slow process of copying over to an external drive is very inefficient and can interfere with the progress of your shoot. The software will sync folders and files automatically, finding only the new items to copy instead of wasting time copying files that already exist. This will help you save time and stress as you won’t need to remember what you have and have not backed up yet. There are several software options to choose from: ChronoSync, Synk Pro, and File Sync are all great, but it’s best to test them out first and decide which one fits into your workflow. Don’t try out new software on a job. Always test it before going in to an actual job. And always, always, always backup everything before leaving the set. It may have been a ten or twelve-hour day, but spending that little bit of extra time will help you sleep that night, knowing the entire shoot is safe.

What’s the next step? Backing up your backup. No, you didn’t read that incorrectly. Let’s talk about your main backup system. This is the system that keeps all your folders and files from all your shoots, the system you use when you return to your studio. Now, instead of having mountains of external drives stacked up around the office, daisy chaining them together, you should use a RAID (Redundant Array of Independent Disks), a set of hard drives in one enclosure that creates copies across all of the drives when information is transferred. There are several different levels of RAIDs; the one to start out with is RAID 1, which consists of two drives (in one enclosure or box) that are mirrored or exact copies of each other. You copy to the RAID enclosure and it does the rest of the work. For a really big job or, even, your entire archiving system, go with a RAID 5. It has an array of several disks—usually four or five in one enclosure—and the data you copy to the system will be automatically dispersed over all the disks, achieving an incredibly efficient system of several backups. This will ensure that your most important information is stored safely in a digital vault. A key element of this RAID is that, if one of the drives in the enclosure fails, you can replace it with a new drive and it automatically will rebuild the lost information from the other enclosed drives. Although this may sound like a much more complicated system, don’t worry—it is still just you copying files and the RAID doing the rest. These setups allow you to worry less and make sure your work is stored away safely. When the drives are full, just put new drives in and remove the full drives. Many systems offer dust-free, moisture-proof storage boxes that you can stack on a shelf like books. The key is to have them clearly labeled by the job, month, or year—whatever works best for your organization. There may be times when you need to find files from an old job. It doesn’t matter then how many backups you have if the files are named and archived improperly—finding them will be such a torturous experience that you will beg the digital gods to kill you on the spot. Clients almost always get the original delivery, but what if something happened later? To be safe, keep the files, at least for a few months. Most clients you work for will discuss this with you prior to the job, but you should bring it up if they don’t. It’s suggested that you keep your clients’ files for six months, but if they need them stored longer, there may be an opportunity to charge them for backup and storage fees. Lastly, try to make sure to keep at least one copy off-site. If the world ends, it won’t really matter, but if your neighbor’s dishwasher floods and rains down on your hard drives, you and your clients can sleep soundly, knowing the files are tucked away snuggly, waiting for the gentle touch of the post-production team. Again, you never know what can happen, so it’s always better to be prepared.

Elizabeth Stacy:

Backing up your files is an essential part of any digital shoot. Backing up means having not just one copy of the files, but saving your work at least two or three times. Corruption, crashing, accidental deletion—so many things can lead to loss of data. So, we have to prepare for the worst and hope for the best.



A Note to Aspiring Filmmakers By Ross L. Hockrow I Illustration by Isba Edwards

FILMS ARE PUZZLES, PUZZLES HAVE PICTURES AND PICTURES HAVE PIECES The subtitle about puzzles may have you puzzled. What on earth is he talking about? Good question. I almost confused myself when writing this. However, this concept is important to understand when making a film. When putting together a puzzle, we are given all its pieces, which fit together seamlessly to create an overall image—the image we see on the box. We place that box in front of us and begin assembling the pieces, one by one. Each piece has a purpose in the grand scheme of what we are creating. If one is missing, it can compromise the entire vision. Now let’s translate this concept to filmmaking. Before you go and create a film (story), you need to know exactly what you are making. Whether shooting an event, wedding, birth announcement, short film or feature-length Hollywood movie, you need to have a vision of the end result—i.e. the picture on the outside of the puzzle box. That picture is a seamless image (story), but when we analyze it we know several things make up that final piece. When you have your overall idea—concept, story, whatever you choose to call it—make it simple. Break down your vision into as many pieces as possible. Make a mess of it. Stories and films are very large concepts with a great amount of details. Thinking about this is overwhelming. It’s like thinking about the meaning of life—there’s so much involved that we can become confused and in turn be turned off of the entire concept altogether. Let’s break down the story/ film conundrum, starting with the structure of the story. We know that every film needs a beginning. How do we introduce our idea in such a way that it is intriguing to an average viewer? Then comes the middle part: let’s get to the point and get there quickly. Don’t waste your viewers’ time. Next comes the climax, the pinnacle moment—every film has one. What is this thing all about? Where does the emotion lie? Last, we need an ending and to wrap everything up. Close it out. Don’t leave any stones unturned… Let’s break these elements down even smaller.

We need to figure out what visuals we need to effectively tell our story. Imagine telling your story using only visuals. Understand the true essence of delivering a message with an image. We need to create the “puzzle” pieces so that viewers can see the overall image. Think of this: everyone can put a puzzle together, not just the guy who invented it. The inventor made it easy enough for the average human to recreate and understand his vision. Approach every clip you create with that in mind. Watching this scene, will your neighbor down the street understand what’s happening in your film? Then, of course, there is audio. Puzzles don’t have audio but films do. Audio enhances the visuals we’ve created, but if you need audio to make a point, the visual is lacking. Audio enhances, it does not explain. Treat the audio like a puzzle within a puzzle. There’s music, dialogue, ambient sound, sound effects—all to be eventually pieced together. Which brings us to putting Humpty Dumpty back together again. This is the puzzle-building part. Everything above is just what goes into creating the pieces. Now we have to put together our puzzle. Editing is arguably the easiest part because, as filmmakers, we are the visionaries behind the puzzle. We know what pieces we have. We know the final product—we’ve seen the image on the puzzle box. Don’t stray off the path—stick to your vision. Editing is no different than putting together the puzzle pieces you’ve created. Filmmaking is a long, complicated process. It takes months to put together a puzzle. However, putting one piece in place takes only a moment. Don’t think of a film as a big puzzle, think of it as little pieces of a puzzle. If you break it down, that big mountain you once saw becomes much more manageable.

Ross L. Hockrow is a Washington, DC cinematographer. Want to know more? Visit and check out CineStories DSLR filmmaking tour. 40 cities, 4 1/2 hours, cheaper than film school.

PRO: VIDEOGRAPHY-”A Note to Aspiring Film Makers” Page 87



sTylist. com

STYLING outside the box



“Inspiration, information and tips for emerging photographers.”


Ed James-Still Life With A Sense Of Humor Ed James is a man with a mission: to do what he loves. Part photographer, part videographer, James is living his dream and shows no signs of stopping. And with a thriving career in both advertising and editorial photography, it looks like he has nowhere to go but up. We sat down with James to discuss his motivations, his inspirations, and how he became a photography sensation.

By Resource I Photos by Ed James

RISE: ASPIRE-”Photographer Ed James” Page 89

HARD SCHOOL OR SCHOOL OF HARD KNOCKS? DID YOU START BY ASSISTING OR DID YOU GO THE EDUCATION ROUTE? I left school at sixteen and worked on a building site for a while. One day, the roofer I was working with told me that I should go back to college and do something I had a thirst for knowledge for. I always liked art in school so I decided to take art classes—still life drawing, painting, and sculpture. I went on to study photography, film, and television for a further five years. Then I did a bit of assisting for one year or so in London before deciding to venture out on my own. I was shooting mostly illustrative stuff and book covers for Vintage Books and Penguin. I also worked for the Royal Shakespeare Company and the Royal Opera.

WERE YOU SUCCESSFUL ON YOUR OWN WITHOUT A REP? WHAT MADE YOU DECIDE TO SIGN UP WITH ONE? WHY GIVE UP THE PERCENTAGE? I had an OK business without a rep and never thought about getting one until someone approached me. [When it happened,] I thought it was the next step in my career. As far as their commission, you need to think of your career: do you want to keep going and try to build a studio with staff, or do you want to concentrate more on your photography? For me, it was more important to leave the paperwork, negotiating, and sales to someone else, which freed my time up to focus on the photography.

Find Ed James photography on Facebook. Ed James: /

HOW DOES IT WORK WITH A REP? I have two reps: Anderson Hopkins, in New York City, who covers North America, and Morgan Lockyear, in London, for the UK market. Both my reps are permanently out with my portfolios at agencies for meetings, breakfast shows, and portfolio reviews. You and your rep should be a partnership—no one party should think that the other works for them.

The big problem that all photographers face is lighting. I use Profoto flash for stills then switch over to Arri or Joker Bugs for the moving portion. For the film or video part, the lights are big, powerful, expensive continuous light sources that I need in order for the stills and motion to have continuity. In commercial photography land, this can cause budget problems as the lighting costs for the day can triple.

HOW DO YOU WORK WHEN IT COMES TO POST-PRODUCTION? I do manage to hold onto 90% of the post-production work, and I use Happy Finish ( out of London. I’ve also been using them for post on my videos, working with them to establish a new side of their business.

ANY RECENT INTERESTING PROJECTS YOU’VE BEEN WORKING ON? I am currently working on a self-funded project, photographing people performing telekinesis [the act of moving objects with one’s mind]. I am also shooting video on these, with two cameras running at different angles and some sound work as well. The stills are complete but the video is still in editing and postproduction. I am very excited to see the final result. Then one of the biggest and best campaigns that I have had the pleasure of working on this year has been the Zinc ads for American Express through Ogilvy and Mather. It’s for the launch of a new card aimed at the younger generation. Rewards and benefits are based on your interests, whether it is fashion, restaurants, music, etc… The concept is that life leaves room for you to create in, so everything we photographed had empty white spaces that followed the aspect ratio of the Zinc credit card. I ended up shooting about forty-five stills for various ads and electronic media. Then we shot one of the first ever i-ads specifically for Apple devices. It was all shot in about three weeks.

IS MOST OF YOUR WORK EDITORIAL OR ADVERTISING? DO YOU HAVE TO TONE DOWN YOUR PERSONAL STYLE WHEN YOU SHOOT COMMERCIALLY? Most of my work is for advertising but I do a bit of editorial work as well. As far as toning down the work, that depends on the agency and clients. I will always try to create for them the look that they saw in my portfolio. But if that is not what they are looking for, I would ask for more direction and go from there. At the end of the day, we are all professionals and work together to get a successful campaign. WHAT ARE YOUR WEAPONS OF CHOICE WHEN IT COMES TO ACCOMPLISHING YOUR VISION? WHAT GEAR DO YOU USE? I use a Hasselblad H1 with a leaf Aptus 75 back for stills, and a Canon D5 Mark II for video. I started shooting video about two years ago; however, I had directed some television commercials earlier on in my career. HOW DOES VIDEO COMPARE TO SHOOTING STILLS? ARE YOU AN HDSLR SHOOTER OR TRADITIONAL VIDEO CAMERA MAN? When I shoot video, I use an HDSLR because I find it to be the most user-friendly video camera. I shoot and direct my own imagery. As most of the moving content takes place on the back end of my still shoots, the images are often used for online banner content or, say, an i-ad. I usually shoot the stills first followed by the moving images, as I find that doing it in this order helps me foresee the problems that I will face when translating the subject to a moving image.

HOW DO KEEP GOING AND WORK YOUR WAY THROUGH THE TRIALS AND TRIBULATIONS OF THE PROFESSIONAL PHOTO INDUSTRY? What inspires me to keep going is the fact that I feel like I have the best job in the world for me. I especially like the new changes that we all have to face with [the rise of] electronic media. It is great to learn the new skills that are required to carry on a successful and creative career within the photographic industry. IF YOU COULD PASS ON ONE PIECE OF ADVICE TO ASPIRING PHOTOGRAPHERS WHAT WOULD YOU TELL THEM? Not to let success get to them; the world does not need any more egotistic photographers. Make sure that everyone enjoys the shoot in your studio and in your company. Treat everyone with respect, and try to be nice even under pressure.

RISE: ASPIRE-”Photographer Ed James” Page 91


Phase One Digital Artist Series Will Change Your Photography By Benjamin Gutsfasson I Photos courtesy of PODAS

Widely considered the best photography workshop money can buy, the Phase One Digital Artist Series, or PODAS, is staged in exotic locations—from Death Valley to New Zealand. For passionate photographers looking to make the leap from a 35mm DSLR to the higher-resolution medium format Phase One camera, the workshops offer an end-to-end experience like no other. PODAS is all-inclusive, providing participants with everything they need to get the most out of the workshop. Photographers are picked up at the airport and transported to their resort classrooms where they are introduced to a dream-team of instructors—recent workshops have included Christian Fletcher, recipient of the 2011 AIPP Australian Landscape Photographer of the Year award, and Miss Aniela (Natalie Dybisz) who became an international sensation for her pioneering use of Flickr and her surreal images and self-portraits. Limited to twenty-five participants, each group of five is assigned a personal coach. After a course on using the Phase One camera system, instructors speak about their careers, images, and aspirations. Often, this is the beginning of close relationships that form between students and instructors during an intensive week of classes, location shooting, mealtime, and travel. Each workshop has a particular emphasis. During fashion and por-

trait sessions, models are expertly styled and coaches show participants how to get the most out of their subjects. For the PODAS workshop on fashion and portrait photography, PODAS rented a castle in Weston Park, UK, guaranteeing a dramatic backdrop. During landscape sessions, instructors hone their students’ composition and acclimate them to the Phase One sensor and its state-of-theart features. Some workshops cater to users who already own a Phase One system and would like advanced training—many of these go beyond training in photography to include sessions on printing, photo sharing, and, in some cases, canvassing prints. But the signature of the workshops (and their main appeal) is being able to use the camera itself. Participants are presented with a complete Phase One IQ160 (60-megapixel) camera system, along with a comprehensive array of world-class lenses. After opening these weatherproof treasure chests, the bet is they’ll never want to let go. Speaking to Kevin Raber, landscape photographer, vice president of Phase One and founder of PODAS workshops, he recalled what he’d told the attendees at the end of the first workshop in Death Valley: “We didn’t even advertise it, but at the end we offered to sell them the cameras they’d been using. We said, ‘Now that they’re here, we’d much rather not have to ship them back.’ And people

and Your Mind

bought them.” But to reduce the workshop to a structured sales pitch would be to sell it short. “Our main intention is to give a great instructional experience,” explained Raber.


Raber said beginners are often surprised by the dramatic improvements in dynamic or tonal range they get. High-contrast photographs of landscapes—which would normally be achieved only by bracketing exposures and doing some advanced post-processing— can be achieved in-camera and brought to their full potential with the help of Phase One’s native photo editing software, Capture One. To this end, the workshops usually involve three courses on Capture One—an introduction and two sessions dedicated to improving pictures captured in the field. Throughout the week, photographs are shared and critiqued in slideshows by instructors and fellow participants, creating a synergistic learning environment unique to the tightly knit PODAS workshops. Raber described how, over time, it had become clear “that there was this category of camera enthusiasts out there who wanted the best camera gear possible and the highest image quality, but didn’t know much about it. I realized workshops were a way to reach that market.” Raber used the analogy of cars to describe the difference between the high-end, medium format cameras made by Phase One and the standard DSLRs used by many hobbyists: “It’s all relative: bigger engine, faster car. Bigger pixel, more detail.”

But the difference between selling a world-class car and selling a world-class camera often comes down to learning curves: if you can drive a Honda Acura, you can drive a Lamborghini Diablo. The same isn’t necessarily true of cameras. When asked about the challenge of learning how to use the cameras, Raber downplayed the learning curve. It isn’t a question of being able to use the cameras but of getting the most out of them. He said, “Within a half hour of opening their cases, our attendees are using the cameras… It’s actually so simple with the touch screen in the back. You can control everything about the image the [same] way you would interact with an iPhone. If you can use an iPhone, you can use the camera.” What Raber wants to show his attendees is how much better their images can be. “It’s about having a reference point,” he explained. “You’ve got no basis to know what you’re missing until you’ve seen the results. You use your 35mm DSLR and you say, ‘This looks great!’ But you just don’t know the difference until you see the handle of a doorknob half a mile away, or the peeling paint and the shingles of a roof, or the dew on a blade of grass.”

2012 PODAS CALENDAR - Mexico - Iceland - Scotland - Ireland - Namibia - China

RISE: GET SMART-”Phase One-PODAS” Page 93


Making The Most Of Low Light Situations By Adam Sherwin, based on Anne Mourier’s tips I Photos courtesy of Flickr via Creative Commons Licenses Photography is all about light. In fact, the word “photography” is derived from the Greek “photos,” meaning light, and “graphe,” meaning to draw. And, much like translating from Greek, low-light photography can be a challenge. For the most part, this is because the human eye does not perceive light the way the camera does. Our eyes quickly adapt as we move from a light environment to a dark one and are so sensitive that they can perceive even minute amount of light—unlike a camera. The following tips aim to make shooting in low light conditions a little easier. First, while flash or strobe may seem like the answers to your problems, they are not always the best solutions. There are a couple of reasons for this:



If you are shooting indoors during the day, remember that natural light reacts differently than artificial light. You can’t dial the sun up or down, so move your subject closer or further away from your light source. If it’s an overcast day, you want to try to let in as much light as possible to improve your chances of getting a decent exposure. Move your subject closer to a window or an open door, or pull back all the curtains. On the other hand, if it’s an extremely bright day, you will want to leave the curtains closed and let them act like a natural diffuser.

Set your camera on aperture priority mode, which allows you to choose your F-Stop while the camera automatically chooses the corresponding shutter speed. Use your fastest lens and keep the aperture nice and wide. Besides getting the exposure you need, using the aperture priority mode also creates a soft background. The higher your F-stop, the more depth of field you have, so using a wide F-stop like F2.0 or F2.8 gets you a shallow depth of field, which keeps the focus on the subject and can eliminate distracting backgrounds. The aperture priority mode is also useful when shooting outdoors. If you find yourself shooting a landscape or architecture, your aperture becomes very important for controlling your depth of field and making sure your focus is tight. Pick a high F-stop like F11 or F16. As long as your camera is on a tripod, you can use very slow shutter speeds. Let the camera decide which one to use.

Indoor: Flash can interfere and distract your subject—especially if you are photographing a person or a group of people. If you are trying to capture candid moments at events like birthdays or weddings, flash can be your worst enemy instead of a valued ally. If the subject is an inanimate object, a single strobe will illuminate it from the front and will compress the depth of your photo. Without adding multiple flashes, this can make your image appear very flat. Outdoor: Simple on-camera flashes are very rarely effective past five feet. So, unless you want to haul around a few hundred pounds of battery-operated strobe gear, you might want to try a few of our low-light shooting tips.


Anne Mourier gives photography classes to both parents and kids. More info here: 1. Giulio Bernardi 2-3. Stig Nygaard 4. gingerpig2000 (or Trevor) 5. Alyssa L. Miller 6. Varun Suresh




If the lighting conditions in the room are still too low or it’s getting dark outside, use the fastest lens you own. A great lowlight lens will have a maximum aperture of F1.4, F2.0 or F2.8. A lens like this costs a bit, but if you find yourself doing this type of work often it’s definitely worth the investment.

Shoot RAW if your camera permits. Whether shooting outdoors or indoors, shooting RAW is like shooting a negative or transparency as opposed to a Polaroid (or in this case a JPEG). The RAW file contains more information and allows you to make more exposure adjustments during post-production.

Setting the ISO to a higher speed helps you achieve better photos in low light. ISO refers to the sensitivity of the camera’s sensor to the light in a particular scene. A higher ISO is like shooting a higher speed film. If using the “auto” setting, the camera will choose the appropriate ISO for the scene you’re shooting. This is very useful but it doesn’t guarantee the results you desire, as the camera doesn’t see what you see. Unfortunately, there’s a downside to using a high ISO. Similar to shooting higher speed films on analog cameras, digital camera’s ISO creates its own version of “film grain,” called noise—the pattern of tiny colored specs seen in digital photographs. Some photographers like the effect, feeling that it adds a unique element and echoes the look of film, but if you don’t, there are softwares available for noise reduction, such as Neat Image or Noise Ninja.

Be aware of color shifts. Lights have different color temperatures, ranging from cool to warm, which can affect the color of your photos. Sometimes you’ll want that effect: warm light in a restaurant and cool greys and blues on a rainy day for instance. Most cameras offer a variety of preset white balance settings for different situations—such as tungsten or fluorescent—that will assist you in balancing the color of your shots. Try to shoot in RAW if you can as this will allow you to make more effective color adjustments during post-production.

RISE: TIPS-”Shooting in Low Light” Page 95


Photocation- Where the Photo Students Roam

employment of photographers expected to grow over 12% between 2008 and 2018

292 photo schools in the U.S.

Illustration by Kiley Ong

Top 10 Photo Schools in the U.S. 1) 2) 3) 4) 5)

Yale University Art Institute of Chicago Rhode Island School of Design Rochester Institute of Technology University of New Mexico

6) California Institute of the Arts 7) San Francisco Art Institute 8) School of Visual Arts 9) University of California Los Angeles 10) Arizona State University

SOURCES: National Center for Education Statistics, 2009 + http://grad-schools.usnews.rankingsandreviews. com/best-graduate-schools/top-fine-arts-schools/photography-rankings +

Top 5 Industries with Highest Photo Employment 1) 2) 3) 4) 5)

Scientific and Technical Services Radio and Television Newspaper, Book, and Periodical Personal and Wedding Photography Colleges, Universities, and Professional Schools RISE: GRAPH-ITE-”Photocation” Page 97


Pinhole Photography by Michael Falco Words and Photos by Michael Falco

About two years ago, after years of shooting exclusively digital, I felt like I needed to slow down. I wanted to trade, at least occasionally, the ease, precision, and instant gratification of digital photography for something that required me to spend more time with my subjects—to really immerse myself in the meaning and composition of each frame. I missed the mystery of photography, the magic that happens in the box. I wanted to put some of the guesswork and intuition back into my image making. What resulted is an ongoing obsession with pinhole photography. A pinhole camera is the most rudimentary camera one can photograph with: a simple black box with no lens, no viewfinder, and no shutter. Just a pinhole to let light in, and film in the back of the box to record the image—it can be made out of a shoebox.

Below is a list of materials and instructions to help you create your own pinhole camera and begin taking soft, nostalgia-inducing photographs.

Equipment you need:


Pinhole Camera. Any box you can make light-tight, stick some film in, and add a pinhole can be used. Pinhole cameras can also be purchased and are available in 35mm, 120, 4x5 and 8x10 film formats.

Exposure time. Because there is only a

Film. You have the choice between celluloid film and photosensitive paper (see below the films’ pros and cons).

Tripod. Exposure times can be long; although handholding the camera can give you interesting results, having a tripod will guarantee a sharper image. Light meter. This piece of equipment is helpful in determining your exposure times. Although not necessary, I find having one is like having picture insurance. Michael Falco:

Pinhole images are at once panoramic and dreamy. Everything is in focus, but that focus is uniformly soft, even gauzy, capturing not just what’s before you—not just a particular pinpoint in time—but an image deepened by the creep of time, the stirring of the wind, the rotation of the Earth. Where digital photography is like great non-fiction, pinhole photography somehow has the emotional honesty and subjective truth of a great novel. I have found that a pinhole photograph is more about what it “feels like” to be in a place, then what that place actually “looks like.”

Darkroom or film changing tent. Necessary to load your film.

Procedure: 1. Load your film into the camera or film holder. 2. Find a subject and set up your tripod and camera. 3. Make a light reading and add reciprocity failure calculation of the film to your exposure (see variables below). 4. Take some pictures. 5. Develop your film and look at the results!

pinhole of light entering the camera, exposures can vary quite widely. With the long exposures required, we run into the issue of film “reciprocity failure”—films generally become less light sensitive over time so, during long exposures, you need to add time to the ambient light reading to compensate for this. Many films come with documentation listing their reciprocity failure (check the reference links below).

Box size. The size of your pinhole camera “box” and the distance from the pinhole to the film plane determine your focal length. For example, one of my 4x5 pinhole cameras is 6 inches from the pinhole to the film plane, or 152.4 millimeters. This is equivalent to a 150mm lens or a normal lens for a 4x5 camera. I also have a homemade 10-inch 4x5 pinhole camera, 254 millimeters, which is equivalent to a 250mm lens for the 4x5.

Film vs. Paper Negatives Two issues to consider: - Exposure times. Photo paper tends to have low ISOs, which require very long daylight exposure times. Film on the other hand is available in higher ISOs, requiring shorter exposure times. - Ease of use. Loading a pinhole camera with paper negative can be inexact and require

changing the film every time you take a photo, while some pinhole cameras accept factorymade film canisters or large-format film holders, allowing for multiple pictures in one outing.

Results: The pinhole camera creates very soft, “moody” images. Conclusion: Working with a pinhole camera has been a revelation for me. After twenty-plus years of being a professional photographer, I relish the days I can spend with these cameras. I have found that, in daylight, good exposures can occur at varying exposure times—anywhere from 4 seconds to 1-2 minutes. I use this variable in exposure to effect motion subjects in the frame, like moving clouds.

My Kit: I use large-format 4x5 pinhole cameras that require 4x5 film holders. I shoot on color negative film, which offers wide latitude in exposure. Photography is an active art. Go out and shoot. References: htm

Wanna try it? Send your photos of this experiment to We’ll publish the best one in the next issue. RISE: EXPERIMENT-”Pinhole Camera” Page 99


5 Photography Associations To Consider Joining By Sam Chapin

American Photographic Artists (APA) Website: Mission: APA’s goal is to help professional photographers, with a focus on advertising shooters.

Chapters: Atlanta, Los Angeles, Midwest, New York, San Diego, San Francisco. Annual Fees: From $55 for a student to $500 for an entire educational institution.

American Society of Media Photographers (ASMP)

American Society of Picture Professionals (ASPP)

National Association of Professional Photographers (NAPP)

Professionals Photographers of America (PPA)





Mission: ASMP specializes in helping people explore photography as a trade and encourages businesses to grow and networks to expand.

Chapters: 33 in the U.S., including Alaska, Baltimore, Florida, Houston, Los Angeles, and New York. Annual Fees: $45 to $335 Mission: ASPP strives to impart their experience and knowledge of the picture licensing industry onto others, and provides both education and networking opportunities.

west, New England, New York, West Coast.

Annual Fees: $99 (1

Annual Fees: $25 to $135 Members: Anyone related to photography.

to professional photographers.

Benefits: Discounts on

Benefits: Ranging from

Benefits: Varied—from

discounts on photo-related products to a comprehensive health insurance plan.

copyright law discussions to discounts on photography workshops or car rentals.

Overview: ASMP puts an emphasis on networking. They encourage members to expand their network as much as possible, giving them access to a sizable database of professional photographers. They also offer comprehensive courses on various photography topics, from copyright issues to property releases’ fine prints.

Chapters: Online and via mail.

Members: From students

tion is not for the casual photographer. If you are looking to join a group to help fulfill your creative desires, you should probably stop reading now. But if you are aiming to make a career in photography and want an organization that will answer your business needs, then APA is your man.

NAPP is to train anyone who wants to learn how to use Photoshop.

Chapters: DC/South, Mid-

Members: Students, teachers, professionals, emerging photographers, established pros.

Overview: This organiza-

Mission: The goal of

various brands, from Apple to Adobe, and access to industry job postings.

Overview: ASPP’s members come from all over the photography spectrum. From art buyer to photo editor, they pride themselves on their diversity of photographic fields. More than many of the other organizations listed, they are a community of artists, business people, and technicians who have come together for a common passion: to create pictures.

year), $179 (2 years)

Members: Anyone who wants to learn Photoshop.

Benefits: Discounts on computer and camera equipment, and free classes and tutorials. Overview: This organization focuses on a very specific demographic: people who want to learn Photoshop. On top of discounts, members get access to exclusive Adobe programs, as well as ten free issues from the top Photoshop tutorialbased magazine in the industry, Photoshop User Magazine. But, if you aren’t interested in Photoshop, then you’re not interested in NAPP.

Mission: PPA aims to create a community of professional photographers by providing individuals with the necessary education and resources they need to succeed.

Chapters: Headquarters in Atlanta, Georgia. Annual Fees: $194 to $323

Members: From aspiring to professional photographers. Benefits: Insurance for camera equipment as well as a plethora of business discounts. Overview: Unlike some other photography organizations, PPA strives to familiarize photographers with the business side of photography. They offer specialized business education workshops that teach members how they can get the most out of their craft, both financially and artistically-speaking.


Digital Technician MD- Tool Kit for the Prepared By Elizabeth Stacy, Freelance Digital Tech I Illustration by Mercy Leviste

“Digital Tech MD” has a catchy ring to it, doesn’t it? Unfortunately, it’s unlikely anyone will be referring to you as “Doctor” on set any time soon. However, that doesn’t mean you don’t need to bring your bag of tools in order to be ready for the smallest capture task or a big digital emergency. Working as a freelance digital tech is like making house calls; from providing the missing cable for an AD’s hard drive to the recovery of lost data, you have to be ready for anything and adapt at a moment’s notice. It’s a tough job, and staying focused while making sure all goes smoothly can be stressful. Relax. One of the easiest things you can do for yourself is to be prepared. Grab a bag and fill it up with all these essentials—you might not be a doctor but if the shoot goes off without a digital hitch, you’ll be a hero to everyone on set.


CLEANING SUPPLIES Be ready to clean a digital sensor and carry a cleaning kit with an air blower and medium format digital cleaning solution and wipes. If you have never done this, learn how to do it properly (most rental houses and retailers can teach you).

CARD READER AND CF CARDS Although you may shoot tethered, be prepared to shoot to cards. Don’t forget: some of the new cameras take SD cards as well so you want to include both CF and SD cards in your kit.

Use it for backing up files during the shoot as often as possible. You also want to have a second external drive or jump drive that contains important software, such as monitor calibration, diagnostic, file syncing and the capture system you use, in case you need to install or re-install one of them.


From a simple 3-step QP Card with white, grey, and black patches, to ColorChecker Classic (xritephoto. com) with twenty-four colors, the advanced SpyderCHEKR from Dataclor (, or X-Rite’s Color Checker Passport, you’ve got options.


This means all kinds of cables: Pocket Wizard cables; Firewire and USB cables; and camera tether cables. Cables break easily so it’s best to always have two or three of each.






You never know how far you’ll need to go to get A/C power. (You should discuss this beforehand in case you need to bring external batteries for back up, or even a small generator.)

Elizabeth Stacy:

MONITOR CALIBRATION DEVICE X-rite offers a couple of solutions, including the ColorMunki Display or the i1 Display Pro. Datacolor has three different calibration tools in their Spyder3 line: Elite, Pro, and Express.

Just because you work in a digital world doesn’t mean you don’t need them.

GAFFER’S TAPE EXTRA AA BATTERIES For Pocket Wizards—Very important.

To mark hard drives and other gear from your and the photographer’s kits that might get mixed in with the slew of rentals. Losing a cable might not seem like a big deal but every little piece of gear costs money, and it adds up over time.

Keep your kit neat and tidy. It’s great that you have all this stuff but if the cables are all in knots and the white on your ColorChecker is more grey than white, you’re sending the message that you are not very organized when it comes to gear (and, by extension, files). I also add to my kit a set of Pocket Wizards, a Wacom Tablet, and a Mac laptop. It might sound like overkill but, as a wise photographer once told me, “It’s better to be looking at it then looking for it.” You never know what you might need, so be prepared for anything, do a great job, and you’ll get hired again. Make Mom and Dad proud, even if you‘re not a doctor.

RISE: CAPTURE THIS 1.0-”Digital Tech Kit” Page 101


retouch my brain RETOUCH 1.0

A Photoshop Foundational Primer On Layers and Masks By Stephan Sagmiller, Lead Retoucher at CYANJACK

As the intricacy of your work grows and deadlines pile up, fast and fluid handling of layers becomes really important. Not only for the sake of efficiency—many images are, simply, not possible without it. I frequently work on composited files with 100+ layers and those couldn’t exist without groups, naming, and shortcuts. Here, I put together a handful of the most essential layer techniques that should keep you on track through even the gnarliest of files.


Adjustment layers are probably the most commonly used tools by retouchers. Oddly, there are no shortcuts by default so let’s add them: Go to (Edit -> Keyboard Shortcuts) Click the black arrow on Layer then scroll down to New Adjustment Layer> Click on Curves and add the short cut Shift+Ð+M—this is pretty intuitive because the regular curves shortcut is Ð+ M. Try adding this kind of shortcut to other layers: Shift+Ð+U for Hue/Saturation adjustment layer, Shift+Ð+R (Selective Color adjustment layer). Don’t forget to save your changes. When you use these shortcuts, a “New Layer” dialog box, with name field highlighted, will open. So immediately after creating a new curves adjustment layer you can name it, fast!


layer groups:

These are a good way to organize all adjustments made to a single area of your image. In fashion, it’s common to have groups like “skin,” “clothing,” and “background.” To make a new group, simply select a layer or multiple layers (hold shift and click to select more than one layer) and press Ð+G—this will add them to a new group. Give your group a name. If your group should be isolated to one area (i.e. skin), add a mask to the group. With only the group layer selected, click the add layer mask button. This technique will reduce clutter, lessen the number of masks, and allow the flexibility of having two masks effecting one adjustment. Also, nested groups will open up a whole world of non-destructive masking.

nested masks:

Can’t decide if you should use a vector mask or a raster mask? Use both! If you click on the add layer mask button once it will add a raster mask; if you click on it again it will add a vector mask. You can paint with a brush on the raster mask, feathering edges for organic shapes, and you can use the pen tool inside of the vector mask to mask out hard-edged or inorganic shapes.

group colors:

Even if your files are relatively small, it’s a great organizational help to set up a color for each layer group. At a quick glance you can see where you are in the layer stack given each color. To add color to a layer in your layer stack, Right Click or Control + Click on the layer group and select the top option Group Properties. Inside of the pop-up dialog, change the color from “none” to your desired color. You can also color individual layers, but I find this less useful and too time-consuming.


Have you ever seen that down arrow in front of a layer? That arrow means that layer is being clipped by the mask below it—in other words, it has a clipping mask applied. You can plug any layer into the layer mask of another layer by putting the two layers next to each other, holding the Option/Alt + click. To unlink it, just hold Option + click again. I use this if I want a couple of layers to use the same mask but don’t have enough layers to justify putting them in a masked group.

Custom layer SHORTCUTS: Shift+command+M = Curves Adjustment Shift+command+U = Hue/Saturation Adjustment Shift+command+R = Selective Color Adjustment

OTHER USEFUL SHORTCUTS: command +J = Duplicate Layer Shift+command +N = New Layer command + E = Merge layers Shift+Option+command+E = Stamp all layers.




“Splash Garden” by Alex Koloskov Words and Photos by Alex Koloskov


CANON 5D MARK II W. CANON 24-70MM F2.8 @ ISO 100, 1/200 F18.0



Alex Kolosov:

Capture: LIGHTROOM 3 TETHERED Post: PHOTOSHOP CS5 While working on a shot for Godiva Liqueur we experimented shooting with many different liquids, including water colored with fabric dye. During that particular photo shoot, I started developing different techniques to achieve splash shapes and I learned how to throw liquids to attain a consistent effect. The colors in the Splash Garden image are an almost perfect match to the liquids we used, and the shapes were only slightly adjusted in

Photoshop using masking and the Liquify plugin for Photoshop CS5—this plugin is particularly helpful when making slight adjustments to the shape of you splash. One of the more important elements of the image is a completely black background. The desired effect was achieved by moving the background further away from the shooting area, about 6 to 7 feet away. By moving the background this far back, we avoided having to use a flag to cut down light on the background and we were able to control light on the splashes more efficiently and make them stand out more. The light was aimed at the splash, and I used strip boxes to increase reflective areas for the clear water—only direct reflections from the lighting sources are visible in the image. Water does not obviously glow naturally so we use lights and other effects to create this illusion, like coloring the water with fabric dye. It was after implementing these techniques that the splash started to glow, slightly. Which helped of course. The final file is huge; the full size resolution is about 300 megapixels! Because each splash was shot on a full size 22 Mpx sensor and we combined many of them without downsizing, the resulting image is 20000 pixels wide by 14000 pixels tall.

RISE: ITECH LITE-”Splash Garden” Page 103

A PPE RECAP THAT WILL MAKE YOUR MOUTH WATER This year’s PPE, like many before it, was not a disappointment. We saw a slew of new and innovative products from the top manufacturers and up and coming companies. The editors of Resource braved the crowds on the trade show floor to speak with the insiders and attendees alike to find the best of the best. Here’s is our selection for the best of PPE 2012. Drum roll please…….





KUPO AND GRIP EQUIPMENT Taking something old and making it new again is always a challenge. Photo equipment is no exception. Kupo is a Taiwanese company distributed by the MAC Group in the USA. It is a new and innovative line of support and grip gear for the photo, film and broadcast industries. They offer traditional gear with the kind of innovations we’ve all been thinking about for years. shouldn’t we actually give an example of an innovation they offer? we open with that but the review doesnt really explain why we think it’s so great



1 WINNER 20 1












1 WINNER 20 1





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TECHNOLOGY 1 WINNER 20 1 $1,599.99 (body only)

SLT-A77 Sony is aiming for the top with their new top-of-the-line DSLR and its impressive list of features, including a 24MP APS-C CMOS sensor, 12 fps full resolution shooting, on-board GPS, and the highest resolution OLED EVF viewfinder known to the photographic community. The A77 is a translucent mirror camera that offers HD 1080p video with fast AF thanks to Sony’s powerful BIONZ image processor. $1,999 with 16-50mm lens





2011 N



The Canon 1Dx is Canon’s new flagship HDSLR. With an 18MP sensor that shoots up to 14fps, 12fps with AF, it has been deemed as the replacement for the popular 1Ds MKIII and 1D MKIV. Despite looking the same, the 1Dx has been completely reworked to include, among other things, the most comprehensive set of video features of any Canon HDSLR to date. The release date is set for March 2012.




The VG20 is SONY’s second generation of this large sensor Handycam camcorder. It has the same E-Mount for use with SONY’s line of NEX lenses but a higher resolution CMOS APS sized sensor. The VG20 succeeds in achieving a similar depth of field as an HDSLR but the ergonomics give it the feel of a real video camera. Unlike its predecessor, the VG10, it has the ability to shoot 24p and 60p at 1920x1080, but it has the same incredible quad-capsule microphone.









If you’re looking for a digital back with plenty of pixels and features, this is it. The IQ180 offers 80MP, a 3.5” touchscreen, USB 3.0/FW 800 port for fast tethered shooting, and Phase One’s Sensor + technology that allows you to drop the resolution, shoot faster and shoot more confidently in low light at higher ISO’s. The Focus Mask feature also makes focus-checking a breeze in shallow depth of field situations. It’s not cheap, but then again, you often get what you pay for. $44,000



The M9P is a reflection of the excellence that comes standard in every Leica camera. It has an 18MP full frame 35mm sensor and all the digital bells and whistles but it’s the rangefinder style, solid construction, beautiful lenses and full manual control that make this camera an item of desire for many photographers. $6,995.00




The little brother to Fuji’s popular X100 offers sleek looks and many possibilities–for almost half the price. With a 12MP 2/3” sensor and a fast F/2.0-2.8, 28-112mm lens, the X10 gives you an incredible image with amazing depth of field control. The ability to shoot 1080p HD video and in-camera RAW conversion make it even more appealing, while a slew of manual controls and a bright, optical glass viewfinder seal the deal.





OLYMPUS $599.95






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The E-PM1 is a micro 4/3” camera with classic styling in a very portable size with tons of features. Olympus offers up a 12MP live MOS sensor with a wide range of interchangeable lenses in both prime and zoom formats. It carries the innards of larger more expensive models in the Olympus line but its affordability speaks to a wide range of photographers looking for a point and shoot with the lots of room for growth. $499.99

The J1 is minimal in design but maximized in features. A mirrorless, interchangeable lens camera with the ability to capture 1080HD video, it also features Nikon’s unique Motion Snapshot, a hybrid motion and stills capture. The J1 has 10MP CX format sensor that is smaller than micro 4/3 and APS but still larger than most compact cameras. $646.95 Page 107

The SpyderCube is a pocket-sized tool for balancing not just color but exposure, brightness and black point in your images. The 3D shape captures lighting conditions from all angles to ensure an accurate reference for correcting your images and calibrating your camera. $48.49



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Lensbaby is a creative effect lens system for most major DSLR camera brands. The Composer Pro with Sweet 35 offers a sharp point of focus to photographers and videographers who, when using HDSLR, can move around the image by tilting the durable, yet incredibly smooth, all metal swiveling lens body on the Composer Pro. The Sweet 35 with 12 blade internal aperture is the widest focal length in the Lensbaby line.

CREATIVITY 1 WINNER 20 1 $399.95






PLAQUE OF EXCELLENCE IN FUNCTIONALITY Protecting valuable gear is important. With Gary Fong’s innovative design your point and shoot or iPhone is not only protected, the Flip Cage acts as a tabletop tripod that can lock your camera in to vertical and horizontal positions for capturing images or talking on Face Time. It can also add stability to hand held video while the included movable flaps can act as reflectors for macro photography or reduce glare and shade your camera. $21.59


MANFROTTO PHOTO-MOVIE TRIPOD HEAD Hybrid shooters need hybrid equipment. This tripod head is designed for HDSLR shooters. It offers all the features of a typical ball head in photo mode but flip the switch to video mode and it offers precise panand-tilt operation with fluid movement. It’s also reversible for left hand users. $349.00







OR $129.95


If you play hard then the Kodak Playsport is definitely something you’ll want to add to list of gear. Besides taking 5MP stills, this ultra portable 1080HD video camera is shock proof, dust proof and water proof up to 10ft. The built in stabilization means great footage on even the roughest rides.




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Raise your HDSLR production value with Cinevate Atlas sliders. The Atlas 10 is a 35” mini-dolly with adjustable all terrain legs. Remove the legs and you can mount it to a tripod and use it as a crane to swing your camera up and down or left to right in a circular motion, or slide your camera up and down vertically. $829

Built to free you from the neck and shoulder strain of carrying your camera on a traditional strap, the Black Widow is designed for point-and-shoot or lightweight DSLR’s. Its pin mount fits in the bottom of your camera, which is then securely locked and yet still able to move freely as you work. It has an additional attachment that allows users to mount a small tripod plate with the pin. The pro version available for larger DSLR cameras comes in single and double mount. $49.99 Page 109

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NORMAN ML400/ML600 MONOLIGHT 40 years of history and service in the photo industry has resulted in one of Norman’s best products to date. The ML400 and ML600 offer a powerful and durable strobe in a compact shell for photographers looking for a cost-effective lighting solution on location with a ton of accessories. Norman also offers a version of each with a built-in radio slave. ML400 $589 ML600 $679.95

POCKET WIZARD FLEX TT5 AND MINI TT1 We work in a wireless world and the Pocket Wizard system helped pioneer this entire movement in the photo industry. The TT5 and TT1 are part of this rich tradition of superior control and versatility in flash photography. Having better control means having more choices. Pocket Wizard offers a bevvy of dedicated features for both Canon and Nikon users to help take their level of control up a notch.





B TT5 Canon $229




MANFROTTO The ML360H is another piece of important gear in the race for hybrid HDSLR shooting. This light mounts to the hot shoe of your camera and provides a continuous beam of 60000K for balanced shooting video under daylight conditions–or switch to photo mode and get the flash function with 4x the output.



OR $169.89


2011 OF PERFECTIO N $2,615



The long-standing tradition of excellence in the Profoto line of products has reached another high point. The ProDaylight is an 800w HMI continuous daylight source that is compatible with the entire line of current Profoto light shaping tools. The “AIR” label means it can be controlled remotely. Videographers can now experience the limitless creativity offered by the outstanding line of rock solid Pro Foto products.





The reliability and durability of Speedo’s Blackline can now add portability to its list of innovations. With asymmetrical power distribution and a maximum output of 1500w/s, the Explorer is a cost effective solution for lighting on location. It offers approximately 225 flashes with a single 103 Head on a fully charged battery. $1,649.00 Page 111




The Kiboko line of bags started as a drawing on a napkin but has evolved into one of the most well designed photo bags on the market. The 30L weighs in at only 4lbs, making it one of the lightest bags in its class. The butterfly opening allows for great customization and configuration for your gear, all in an incredible shell with a custom-fit rain cover and support from a stow-away harness and removable waist belt.

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Two former military commandos design the Kata line of bags and it shows. The Bumblebee is tough and lightweight with plenty of room for gear. It holds 2 DSLR bodies and up to 8 lenses or a rigged-out HDSLR. The integrated camera strap and harness make this one of the most comfortable and ergonomic backpacks available on the market.



ONION A $429







LOWEPRO $279.99

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These are 2 outstanding entries in the LowePro line of camera bags. Both offer an incredible amount of freedom for photographers on the go with still a ton of storage for professional level DSLR set-ups with all weather protection. Fastpack 250AW $99.95 Pro Messenger 180AW $169.95

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The 200AW is photography’s answer for the outdoor sports enthusiast. The “ultra cinch camera chamber” keeps your gear safe and secure, the built-in all weather cover keeps it dry in rainy conditions, and the side pocket gives you quick access to your gear. It will keep you on the move and capturing beautiful images on every adventure.


Acme Made has created a laptop bag so we can all jet around the city negotiating busy buses and trains with a ton of style and enough space for the essentials for a day at the office With room for laptops up to 16”, a separate dedicated tablet compartment, an outer shell designed with their unique Bombshell™ textile and handles on the top and side, the Union Pack offers protection and functionality. $79.99 $149.95



It’s small, compact and offers just the right amount of space for carrying the essentials for a day of casual shooting. Room for a 13” MacBook Pro or iPad, a DSLR with lens and additional lens and flash along with a few important accessories. It has adjustable dividers for a number of configurations and it’s available in 7 colors. $93.95

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No need to carry around a bag full of filters anymore. Photographers and videographers can now make creative decisions after the fact by adding effects and corrections with Tiffen’s Dfx 3.0. Dfx mimics the Tiffen line of 2000+ glass filters as stand-alone software or as a plug-in for popular imaging and video editing software applications.

SMUGMUG Standalone $169.95 Photo Plug-in $199.95 Video Plug-in $599.95



Sharing and selling your photos online is common. Doing it with the quality and style expected of a serious professional takes a product like SmugMug Pro. Unlimited bandwith and storage combined with hi-res downloads from any machine in the world as well as full CCS customization and HD video support, SmugMug allows for a level of personalization and monetization not offered with other online photo sharing services. $20/month or $150/year









As far as apps go this is one of the best we’ve seen. Blurb mobile is a free app for iPhone users and a $1.99 for iPad users (the Android app is in development). There is an in app purchase to add more video, audio, and image capabilities. People can create mobile stories using their photos, videos and audio clips, then share them via all of the popular social networks we use daily.








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ONONE SOFTWARE The new secret weapon in photographers’ arsenal is onOne Software’s most recent release. PPS6 is a major upgrade in their suite of photography post-production tools. Retouching portraits, adding borders, resizing lo-res images and removing cluttered backgrounds are just a few clicks away and available as stand-alone software or as plug-ins for Aperture, Photoshop and Lightroom.




B $299.95


CRU DATAPORT RTX400-QR As portable as it is secure, the RTX400-QR offers up to 12TB of storage and a RAID controller capable of RAID 0, 1,10, 3 and 5! Quiet, temperature controlled fans, TrayFree technology for replacing or adding drives, quad interface for connectivity and an LCD screen with built-in alarm means the RTX400 is making sure you feel secure and your data is safe and accessible when you need it. $899.99 (enclosure only)



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In studio or on location, backing up your files is the most important part of your digital workflow. The Tough Tech Duo QR is a portable RAID storage solution for photographers and videographers. It offers 2 2.5” slots for drives, and the SMART software/firmware along with an LCD means you’re always up to date on the status of your data. The ability to quick swap drives and quad connectivity means the drive can be bus powered via Firewire while you backup your data via eSATA safely and securely. $499 (enclosure only) Page 115





Barcelona has become a major production destination in Europe in the last ten years—but who’s to say that American clients can’t go there to shoot too? The exchange rate might be in favor of the euro right now, but production expenses and people’s rates are lower than what we are used to in the States so you still end up winning. The weather is mild, which makes shooting outdoors (almost) year-round possible. Landscapes are varied with beaches, forests, mountains, and desert all nearby. And Barcelona offers incredibly diverse architecture: from an old gothic neighborhood straight from the Middle Ages, to classically European-looking streets, to über-modern buildings, you feel you could be anywhere and everywhere in the world. Models are on par with models here but command lower fees, making a five-year worldwide campaign suddenly possible. Add to that great crews, fancy studios, and all the gear your heart desires, and you’ve got everything you need to make your shoot a success. Page 117

Barcelona is a city with a remarkable Mediterranean temperament. Its unique location—framed between the sea and mountains—provides a wide range of different landscapes in a small area, from the amazing urban beaches in La Barceloneta to the pinewoods of Collserola’s Park. The Catalonian capital is a city full of contrast; the elegant and rich architecture of the Art Nouveaux buildings (including some of the most important Gaudi works) contrasts with the bustling narrow streets in El Born (the old quarter and one of the trendiest areas in Barcelona). Barcelona is eight hours away by plane from New York, and direct flights are available. The airport is really close to the city (thirty-five minutes by train or Aerobus, a shuttle bus, or twenty minutes by car). Word to the wise: avoid Girona Airport, as it’s 53 miles away from the city.


Barcelona’s mild weather is ideal for shoots year-round. Although October, November, and April can get pretty rainy, the rest of the year (especially from January to September) is generally sunny. Temperatures don’t fall below 50 degrees in winter.


Only a few miles from the center of the city is El Delta del Llobregat, one of the two rivers that flank Barcelona. The landscapes are beautiful there, with salt marshes, reed beds, and the last pristine beach in the area. There are some interesting buildings such as Casa la Ricarda, or the stunning, ghostly settings of Carrabiners and Semàfor. 1 hour away from Barcelona Monsteny Mountain offers a wide variety of locations, from small rural villages to deep oak woods crossed by crystal-clear streams. Also within an hour drive is Banyoles Lake, a green water pool surrounded by shady woods. 2 hours away If you guessed that La Costa Brava is on the coast, you win! There you can find small, Mediterranean-looking villages such as Begur and secluded creeks with pristine waters and pine tree woods, as in Aiguafreda’s cove. On the southern side of Catalonia is the Delta de l’Ebre with its never-ending golden beaches surrounded by sand dunes and rice fields. The setting here is very diverse depending on the season and weather. 3 hours away Cadaqués is one of the most beautiful and iconic villages in Catalonia—a classic fisherman hamlet with tiny white houses facing the the harbor, narrow winding streets, and small boats along the beach. Olot is a volcanic area in central Catalonia. Its peculiar geological characteristics account for its red-colored soil and birch trees forests. Monegros is an astonishing arid landscape next to Zaragoza. Dry land, limited vegetation, and expansive vistas make for a real desert-like setting. 5 hours away The landscape switches there from sunny beaches to the snowy, rocky mountains of the Pirinées. This is the perfect location if you are looking for a winter setting: tiny villages with slopped roof houses, lakes surrounded by woods, and spectacular backdrops of white cliffs in winter.

SAGRADA FAMILIA: ©Pep Daudé/Basílica Sagrada Família



The best and easiest way to find your crew is to hire a local production company or producer, as they will recommend the right people based on your needs and budget. Going through a local producer also means you won’t need to collect W8s and send twenty wire transfers to pay the crew at the end of the shoot! If you want to do it alone, check out Production Paradise ( or Le Book (, where you can find a selection of every production department based in Barcelona. SOME RECOMMENDATIONS: PRODUCER: Lucia Simsan – LOCATION SCOUT: Toni Duch – Manel Manteca – CASTING DIRECTOR: Lucia Simsan – Evelyn Leon at Presumo Castings – WARDROBE STYLIST: Alberto Murtra – Fermin y Gilles – HAIR & MAKE-UP: Victor Alvarez – Sonia or Esther Zaragoza – PHOTO ASSISTANT: Amets Iriondo – Jose Antonio López – PHOTO EQUIPMENT RENTAL Boris Pokorny at Loclum – Noe at LaCapsula –


Jose Luis Chicci – Dani Boronat & Quim Molinos


Barcelona’s taxis are easy to identify thanks to their characteristic yellow and black colors. Normally, stopping a cab is as easy as raising your hand and signaling the driver. Finding a taxi can get complicated in special circumstances such as holiday nights or when the city is holding festivals or big trade meetings. In this case, there are several different taxi companies to call to request a car. English is not the most common language among taxi drivers in Barcelona, although it’s becoming more prevalent, especially among the younger generation. Showing your address written on a piece of paper is enough to get to your destination without any problem.

Car or Van Rental Renting is easy, but there are some requirements you need to meet: drivers must have had their license for at least two years and be older than twenty-three. International driving license are accepted, but be sure to bring a Spanish translation of the document. Car rental companies at Barcelona Airport: ATESA – AVIS – EUROPCAR – HERTZ –


There are different permits depending on where you shoot. You either get: 1. A “generic street permit,” which takes three days to process, is free and covers you for thirty days, but it doesn’t allow you to set any type of equipment on the street—not even a tripod. 2. Or a specific “street permit,” which lets you use gear and takes three days to get. You will need to list all details pertaining to your shoot (equipment used, number of vehicles and people present, square meters used, space reservation, etc.) and pay 323,03 €. If you have a building in the background of your shot, you might need to get their OK and pay a fee. You can also block a road (for a car shoot for instance); the permit will take twenty days to process so plan ahead. Depending on what you are looking for, parks and monuments are dealt by different organizations. We highly recommend hiring a location scout who can navigate the permit maze.


Exchange rate with the US $ US $1 = 0.72 €

Where is it best to exchange money? Banks can seemingly be found on every street corner (especially in the touristy areas) and are the best choice for currency exchange. They offer better rates than hotels or foreign exchange offices, but their business hours are shorter and many close at 3pm.

Cost of living Living costs have increased quite a lot during the last ten years, especially in the most touristic areas of the city. However, Barcelona still costs less than other European cities like Paris or London. If you avoid the obvious tourist places, Barcelona offers a good value for your money.

Food Breakfast on a budget bar – 5 to 7 € Hotel buffet breakfast – 8 to 25 € Lunch on a budget / middle range / upscale restaurant – 12 to 35 € Dinner at a budget / middle range / upscale restaurant – 15 to 60 €

Drinks Espresso Coffee – 1.30 (up to 2.50 € in touristy/ fashionable places) Glass of beer in a bar – 2.50 to 5 € Glass of wine – 2.50 to 6 € Cocktail – 7 to 14 €

TIPPING POLICY Tipping in restaurants is not a must but it’s a good way to express that you’re happy with the service. The norm is to leave between 5 and 10%, although there isn’t a specific rule. For taxis and bars, just round up the cost and leave the change.

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Images courtesy of Ajuntament de Begur

La Florida Hotel


Hotel prices listed here are for reference only. Please note that prices fluctuate greatly when trade meetings are being held in the city. For this reason it’s important to look up if your shoot coincides with any major event (check out If it does, book your hotel as early as possible.

BIG PRODUCTION, SMALL BUDGET Hotels Hotel Jazz – (from 100 €) Pelai 1, in the center of the city – B Hotel, on Plaça Espanya – (from 100 €) Hotel Cram, on Rambla Catalunya – (from 110 €) Hotel Villa Emilia – (from 100 €)

Restaurants Can Kenji – Picnic – Bar Lobo – Kiosko Burguer –

BIG PRODUCTION, MIDDLE BUDGET Hotels Hotel Granados 83, close to Rambla Catalunya (from 120 €) Barceló Raval – (from 150 €) Hotel Murmuri, near Rambla Catalunya – (from 140 €)

Restaurants El Mordisco, on Rambla Catalunya Kibuka (Japanese cuisine with a Western influence), in the Gràcia neighborhood – L’agut (typical Catalan cuisine and paella), in the Gòtic neighborhood Cal Pep –

SMALL PRODUCTIONS Hotels The 5 Rooms, in the center of the city – (from 115 €) Hotel Boria BCN, in El Born – (from 140 €) Hotel Ohla, also in El Born – (from 190 €) Hotel La Florida, (shown above) in the Tibidabo Mountain, 10 minutes outside of Barcelona - (from 155 €)

Restaurants El Bestiari (Mediterranean menu), in El Born – Tickets (where you can still get chic tapas by Ferran Adrià of the famed former El Bulli) – Biblao (Cathedral Square) – they have “pinchos” (typical small snacks) Tenorio (Passeig de Gràcia) – Tragaluz (Passatge de la Concepció, close to Passeig de Gràcia) Salamanca (Barceloneta) for seafood – Tramonti (Francesc Macià Square/Diagonal) an Italian restaurant

Cocktail bars Milano (classic and classy), in the center of the city Bobby Gin (all things gin are served there), in the Gracia area Negroni, in the center of the city –

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Escape the craziness of your shoot and take a couple of hours to walk down La Rambla, wander among the stalls of La Boqueria market, go see La Sagrada Famìlia cathedral, or spend some of your hardearned euros on photo books and prints at these cool bookstores-slash-art-galleries: MUTT – Kowasa –


MNAC (Catalan National Art Museum) CCCB (Barcelona Contemporary Culture Center) MACBA (Barcelona Contemporary Art Museum) Picasso Museum - Loc: Born Quarter


TO WALK AROUND: Las Ramblas (Barcelona’s fun version of the Champs Elyssées, with La Boqueria midway and la Plaça del Rei and Columbus Statue just at the end of the avenue) Gothic Quarter (with the Cathedral and nice squares) Born Quarter (Picasso Museum and a good place to have a cocktail at night) Ciutadella Park (to spend a sunny day, with Barcelona’s Triumph Arch) Passeig de Gràcia (good shops) Gaudí Park (nice views of the city) Sagrada Familia Church (by Gaudí) Passeig de Gràcia boasts Barcelona’s three most important buildings: La Pedrera and La Casa Batlló (both by Gaudí), and La Casa Atmetller (a spectacular Modernist building).

For more ideas, check out these online city guides: Le Cool Book is an alternative guide to the secret Barcelona hotspots. Tiny bars, rare vintage shops… the kind of places you won’t find in your Lonely Planet. Barcelonés is a quarterly magazine about lifestyle, politics, and other topics. Although it’s not a city guide per se, it has some good restaurant and nightlife reviews.

Additional city guides: (daily listings of things to do and see) (proving that Time Out is everywhere!) guide/museums_barcelona (the official website of the city)


Barcelona has a free wifi system that allows you to connect your phone or computer to the Internet throughout the city. Although the network is quite extensive with 417 hotspots, there are still some areas where it’s difficult to get a free Internet connection. Most hotels provide free wifi access to their guests, and some bars are starting to do the same.


•Stores hours: From 9 or 10am to 8 or so. Small stores usually close between 1:30 and 5pm.


• Nightclubs and bars hours: Pubs and bars are usually open from 6:30pm to 2:30am. Clubs open at 11.30pm and close around 5am. Have fun!

American and European citizens are not required to have any special visa for stays shorter than ninety days.

• Video format is PAL.

•Electricity supply is 220 volts throughout Spain, with two-pin wall sockets. So yes, you need an adapter. • Languages: Both traditional Castilian Spanish and local Catalan are spoken interchangeably. In touristic areas you will find people who speak English but that will not be the case if you go to more remote places. Barcelona is a very cosmopolitan European city with millions of visitors each year so you should not have any real problems communicating. • Time zone: GMT + 1 hour. •Timetables for meals: Breakfast – 8 to 10am Lunch – 2 to 4pm Dinner – 9 to 11:30pm (days tend to be long when on a shoot and people often just want to crash early but most kitchens don’t even open before 8pm) • Office hours: From 8 or 9am to 6 or 7pm. The lunch break is much longer than in other European countries; some stores and most administrations are closed during one to two hours.

• Public holidays: January 1st: New Year’s Day January 6th: Epiphany April 6th: Good Friday April 9th: Easter Monday May 1st: Labor Day June 23rd-24th: St John’s Day Festival (otherwise known as Sant Joan– fireworks on the 23rd, and beach parties on the 24th) August 15th: Virgin Mary’s Assumption September 11th: Catalan National Holiday September 24th: La Mercè Festival (the biggest, most colorful and wildest festival in Barcelona–make sure you are in a party mood!) 12th October: Columbus Day 1st November: All Saints Day (the Catalan version of Halloween) December 6th: Day of the Spanish Constitution December 8th: Day of the Immaculate Conception December 25th: Christmas Day December 26th: Boxing Day

Imagine, if you will, that you are a photographer (not a big stretch so far). You just got booked for a shoot on the other side of the world. Beside looking for your passport and bracing yourself for flight delays, you also need to figure out where to get your favorite gear. Lucky for you, Bron is everywhere you want to be. Read on.

az to

By Resource I Photos courtesy of Broncolor, Bron Distributors and Bron Shooters


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NEW YORK, NY Atlanta, GA





MOREL STUDIO SUPPORT 585 Wells St. SW - Atlanta, GA 30312 404.664.6948 Why and when did you start carrying Bron equipment? We really started about a year ago. We’ve always loved the gear, but it wasn’t until we did a head-to-head test between Broncolor Scoro pack and Profoto 8a pack that we realized what we were missing out on. We took a bit of a risk investing in a whole new system, but we were confident that if our clients could see how well the Bron equipment performed they would be happy to use it over and over. It’s been an amazing success. What’s the most often rented item? The Para 170 and 220 umbrellas always look amazing. They work great for portraits, but we’ve seen them used for a huge variety of things. When they are paired with the Scoros and the ringflash inside, you get a beautiful light that outruns anything else out there. Where’s the best place to go in your city? I like the places that locals frequent, tourist spots never suit me. There are little places like Elliott Street Pub ( where you can get a great beer and sandwich, or Octane Coffee ( where they French-press every cup of amazing coffee. But, in the end, we still have a world-class aquarium and host cool stuff like Dragon Con.


ATLANTA BRON SHOOTER Name: Gregory Miller Website: I shoot editorial location portrait and advertising. I love Atlanta because Atlanta is a growing market. The growth of the film industry here is expanding the resources available to photographers. The Atlanta airport makes easy travel to almost anywhere with direct flights. The cost of living is reasonable and the photographic community here is very friendly. I grew up around here, so it’s always been home for me.

SCORO A2S | SCORO A4S • Automatic stabilization of the color temperature (ECTC) over the whole control range and up to 6 f-stops • 3 lamp outlets, individual power output distribution over 3 channels • Photocell, infrared and RFS receiver for flash triggering (can be switched off) • Choice of flash duration and triggering delay • Individual choice of the color temperature shift • Can be switched to fast charging (speed mode) • Additional function flash sequences (serial flashes) • Powerful modelling light with 8 different proportionality levels • Modern LCD • Automatic adaptation to the respective mains voltage • 8 memory functions • TIPA Award Winner 2009

CHICAGO, IL/CLEVELAND, OH CHICAGO BRON SHOOTER Name: Brian Kuhlmann Website: My main photography style is described as “dramatic” or “high energy.” I create images of sports, portraits, and lifestyle. I love Chicago because it is a great world-class city. It is easy to navigate and offers a large variety of assignments. It is easy to travel to and from because it is in the center of the country.

DODD CAMERA 2840 W Armitage Ave. – Chicago, IL 60647 773.227.3633 DODD CAMERA 2077 E 30th St. - Cleveland, OH 44115 216.361.6811 What has carrying Bron added to your rental business? Unique light shapers, advanced functionality for special uses, and the ability to provide specific solutions to complicated situations. How much Bron gear do you have? Packs: Scoro A4S packs, Verso packs with battery docks, and the new Mobil A2L with Lithium batteries. Heads: Pulso, Pico, and the new MobilLED heads. Specialty Fixtures: Ringlight, Striplight/Lightbar, Boxlite. Modifiers: Para 220, the new Para 88, Satellite, Soft Satellite, Flooter, Beauty Dishes, and a full line of reflectors. What’s the hottest item / most rented one? The Scoro A4S and Para 220. Where’s the best place to go to Chicago? Beer: Maproom ( Burger: Kuma’s Corner ( Drinks: The Violet Room (, The Whistler ( Dinner: Arami (, Girl & The Goat (, Lula Café (, GT Fish & Oyster (, Hot Doug’s (www., Sultan’s Market (

CRAZIEST BRON STORY FROM CHICAGO DODD. We had a customer shooting motion with Kobold HMIs and the Para 220. His clients told him at the end of the first shoot day that they intended to pull frames from the final product, which was not going to be ideal with the current setup. The photographer decided to shoot stop-motion frames. So, we loaded up the van with another Para, half a dozen Scoro A4S packs, a dozen heads and various reflectors and modifiers. After the first test-burst of 10fps, everyone on set was a little shell-shocked. The rapid pace of 10fps actually turned out to be too fast for the model; ultimately the photographer decided to shoot at a slower frame rate of 6fps, but the Scoro packs and Bron equipment had no problem keeping up with 10fps!

Best places on Cleveland? Best meal I have had in Cleveland in a long time: Fahrenheit in Tremont. Great place to grab a beer: Bier Markt or Market Garden in Ohio City, or Buckeye Beer Engine in Lakewood. Classic Cleveland eats: Slyman’s (corned beef sandwiches as big as your face), West Side Market.

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BOLT PRODUCTIONS 1346 Chemical St. Dallas, TX 75207 214.234.8423 How much Bron gear do you have? We have some Scoro Packs, Grafit Packs, bi-tube heads, Pulso and Unilite heads. I have most of the lighting modifiers, like the Pulso spot, Para 220, and the Pico kit. I think we are one of the few rental houses to offer a complete Pico kit with all the attachments offered. This kit comes with gridspot snoot, optical spot, and fresnel lens attachments. Many of our still life shooters love this kit. It gives them the ability to get the light for a small product set in a way they can’t with other lighting gear.

Para 220 FB | 33.485.00

What’s the hottest item? It would be a toss up between the Para 220/ ringflash/Scoro kit and the new Senso Kit with Senso A4 pack and 2 litos heads. Photographers love the new Senso kit for the performance and price point.

F-stop at 2 m / 6 1/2 ft (10 m / 33 ft) distance: focused: f:128 3/10 (32 8/10)

Where’s the best place to go in your city? While Dallas is most famous for the Grassy Knoll where Kennedy was shot—they even have and X in the road where the bullets struck—there is quite a few other attractions and things to do. Texas is known for it barbque and TexMex cuisine. Here are a few restaurants to choose from: - For Barbque: Sonny Bryants, Off the Bone, Bakers Ribs, Mike Anderson’s, and Red, Hot, and Blue. - For TexMex: Ojedas, Matt’s Rancho Martinez, Mexitopia, Avila’s, Mia’s(brisket tacos), Taco Diner, Mi Cocina.

Inside coating: silver

Other great things to see while in Dallas: The Sixth Floor Museum, The Dallas Performing Art District Featuring the Windspere Opera House, Dallas Museum of Art, Myerson Symphony Center, and the Charles Wyly Theater

Scope of delivery: incl. bag, suspension ropes

There are also several neighborhoods that feature local bars and nightspots popular with the locals: The Henderson Knox street area, Bishop Arts District, and Victory Plaza where the House of Blues, Hard Rock Cafe, and W Hotel are located.

DALLAS BRON SHOOTER Name: Rusty Hill Website: I shoot food, beverage and still life. I love Dallas because a large number of restaurant headquarters and food distributors are based here. We also have an impressive amount of very creative advertising agencies. We are centrally located, which makes it easy for clients to get here from anywhere in the country. I won’t mention the summer, but the fall and winter are beautiful here.

Allowed max. energy: 3200 J

Dimensions (without stand): open Ø 220 × 160 cm (86,6 × 63“) closed Ø 28 × 120 cm (11 × 47“) Weight: 9,1 kg (20 lbs)

SAN FRANCISCO, CA CALUMET 2001 Bryant St. San Francisco, CA 94110 415.643.9275 PRO CAMERA 1405 Minnesota St. San Francisco, CA 94107 415.282.7368 LOS ANGELES

SAMY’S CAMERA 431 S. Fairfax Ave. Los Angeles, CA 90036 323.938.2420 Six locations located throughout Southern California

CALUMET 1135 N. Highland Avenue Los Angeles, CA 90038 323.466.1238 MILK STUDIOS 855 N. Cahuenga Blvd Los Angeles, CA 90038 323.469.8900

Why and when did you start carrying Bron equipment? When Sam originally brought in the line in the mid 80s, he wanted to separate himself from the competition. We have found that Broncolor packs have always been the pack to use when dealing with any lighting situation involving flash duration and programmability. The packs take the guesswork out of shooting high speed and any fashion application you can think of. We have been thrilled with the line’s performance over the years, as well as with the durability and length of life of the packs and heads. They have been virtually bulletproof. How much Bron gear do you have? We have an extensive inventory of packs, heads and light modifiers. We most likely have the largest supply of Scoro packs in the country, and we are the only true stocking dealer with rentals and sales in Southern California.


THE OFFICIAL Bron story Bron Elektronik AG is an Allshwil-based company formed by brothers Pierre and Joseph Bron in 1948 in Basel, Switzerland. Originally marketing products designed by Dimitry Rebikoff and under the name of “Bron and Co.,” the brothers took over the manufacture of Rebikoff’s flash units after his retirement in 1953. After becoming the sole proprietor in 1958, Pierre Bron and his team coined the term “broncolor” as its main brand, named after the increasing popularity of color photography. In 1962, Bron used electrolytic capacitors for the first time to reduce the weight of flash units, and thereafter produced the first flash unit with symmetric and asymmetric power distribution. From 1970 to 1980, Bron Elektronik established distributorships in Germany, France and USA. 1976 marked the introduction of infrared flash synchronization (power pack 404) and in 1984 Bron launched the first microprocessor-controlled power pack (Pulso). After forty-two successful years in business, in 1990, Pierre handed over the company reigns to his son, Jaques, who is currently the head of Bron Elektronik AG. 1993 and 1999 marked the entrance of product lines Visatec and Bron Kobold GmbH. In 1996, Bron introduced the first power pack with selectable flash duration and stabilized color temperature (Grafit A), followed by the creation of the first weatherresistant HMI continuous light for cinema and television (Bron 400).

BRONCOLOR is a mix of the founders’ last name (Bron) and Color (because of color photography).



ONE SOURCE 6440 NE 4th Court Miami, FL 33138 305.751.2556

Why and when did you start carrying Bron equipment? We started five years ago because no one else in Miami was offering it at the time and I wanted to separate myself from my competitors. It turned out to be a good business decision. In my experience, I have found Bron shooters to be very loyal to the brand; it’s almost impossible to switch them to something else (another reason I got into Bron). How much Bron gear do you have? We now have the largest inventory of Broncolor in South Florida, and it is constantly growing. What’s the most often rented item? The Scoro A4S Pak, in my opinion the best and most advanced pack on the planet—better than Profoto Pro 8A, faster, more reliable, more controllable, and the only pack that displays the flash duration, a valuable asset when shooting actions shots. They also have the widest range of light modifiers available. Where’s the best place to go in your city? There are a lot of places to hang out in Miami from South Beach to Downtown, but my favorite is The River Seafood & Oyster Bar (www. located in downtown Miami. Fantastic seafood, best oysters flown in fresh from all over the world. I love to go there for happy hour (4pm to 7:30pm).

Lifespan of a Pack.

Bron ran once this little experiment: - 5 Grafits shooting every day - 10 seconds apart - 18 hours a day - 7 days a week - 52 weeks straight = 2,358,720 exposures Salomon Rafael, from Broncolor service department, said that he has repaired power packs with 20,000 registered flashes, but believes a pack could get well into the millions flashes, depending on the equipment that is used.

OTHER NY BRON DEALERS K&M CAMERA 385 Broadway New York, NY 10013 212.523.0954 MILK 450 W. 15th St. New York, NY 10011 212.645.2797

SPLASHLIGHT One Hudson Square 75 Varick St. - 3rd Fl. New York, NY 10013 212.268.7247 TREC 443 W. 18th St. New York, NY 10011 212.727.1941

FOTO CARE RENTAL 43 West 22nd St. - Ground Fl. New York, NY 10010 Contact: Fred Blake 212.741.2991 How much Bron gear do you have? We have over 100 Broncolor power packs and the complete Bron accessory range, including Para reflectors (both for strobe and Kobold HMI), Flooters fresnels optical spotlights, Fiber optics, Satellite reflectors, and a large assortment of parabolic reflectors. We also stock the full line of HMI Kobold lights. Describe your city in three words: Resilient, Fast & Tough. Best places: To eat: Eatily’s rooftop beer garden, Birreria (, For coffee: Grumpy’s ( Hotel: Ace Hotel (


SCHEIMPFLUG 236 W. 30th St. - Ground Fl. New York, NY 10001 212.244.8300 Why and when did you start carrying Bron equipment? Flug has been a broncolor rental house since 2007. We bought into Broncolor because there were light shapers and modifiers that were not available from any other manufacturers. What has carrying Bron added to your rental business? It has made our inventory much more diverse and has brought us solutions to solve special lighting problems that can arise. It has also expanded our market considerably as many European photographers request Bron. How much Bron gear do you have? We have all of the basic inventory covered, and we’re building up on our modifiers and special lights. We also carry the full line of Kobold HMI’s.

CRAZIEST BRON STORY. The Broncolor Satellite dish has saved us numerous times when we’ve needed MASSIVE amounts of light thrown from great distances, such as a cascading rim light from the upper balcony of a huge theater, or from off the top of a bridge onto the ground. They call it a satellite reflector because you can pretty much light from space–I can’t think of anything in this world to compare this particular piece of equipment to, and no other manufacturer has anything like it. The RFS system and the use of software to control all of the packs has also gotten us out of a few jams on some of the larger setups. It’s never fun to have to leave an assistant in the rafters just to dial packs up and down all day.

Accidents Happen

A photographer recently dropped his Mobil A2r power pack into a lake. He fried it bad, but bron replaced a few circuit boards, and it was back up and running again.




PARIS BRON SHOOTER Name: Ali Mahdavi Website: I shoot fashion and portrait. I’m also a director and the Creative Director of the Crazy Horse in Paris. I love Paris because it is the reigning and incontestable capital of glamour.


STUDIO DAGUERRE 56 rue Daguerre 75014 Paris +

RVZ LOCATION 21 rue du Faubourg Saint-Antoine Impasse du cheval blanc 75011 PARIS +33 1 46 27 52 27

Why and when did you start carrying Bron equipment? We decided a few years back to better our offer by getting the best gear available, and that’s how we chose to work with Broncolor. Our studio is 100% Bron equipped. How much Bron gear do you have? We have Scoro flashes, Graphit, Verso, along with most accessories. In all we have 40 complete flash sets available for our 5 studios. Where’s the best place to go in your city? I love going out in two Paris neighborhoods: Saint Germain des Prés near the Saint Sulpice church, and around the place Colette. The first is filled with small streets where you can find great bars, restaurants, stores and cute hotels. The other is in the heart of historic Paris with Le Louvre museum, the Opera, the Halles. The café Le Neumours with its terrace right next to the Comédie Française theater is the perfect place to look at nearby monuments and passerby, and just “breathe Paris.”


- A theme park in Orlando, FL, has been using broncolor for the last four years. - broncolor is used by NASA to photograph jet engines at high speeds, at 5,000 feet up in the sky.


CRAZIEST BRON STORY. A client asked once for a Para 220 for a twoweek period, but he didn’t include any packs or heads. So we asked him if he forgot to order them and he told us that he was an artist who used the Para 220 in an art installation as an under-construction of a big dress for a giant doll. I guess there are lots of different possibilities to use the Bron stuff!

DELIGHT RENTAL SERVICES Lützowplatz 1, 10785 Berlin +49 30 - 26 39 14 510 Saarbrücker Str. 37, 10405 Berlin +49 30 - 26 39 14 520 tel Why and when did you start carrying Bron equipment? We brought Bron into our stock in 2007, one year after we opened up our rental service, because we wanted to be an all-around professional rental house. Bron had to be part of our offerings in order for us to meet this standard. How much Bron gear do you have? We always feel that we need to offer pretty much everything in Bron catalogue. Because when you work with different photographers, you quickly see how many different ways they use the gear. So, we have Mobilites, Picolites, Grafit, Verso and Scoro packs. The light shapers range from standard reflectors to Litepipes, paras, satellites, zoom spots up to bag’o’lites. What’s the most often rented item? One of the most interesting ones are the bag’o’lites; they were specifically manufactured for us and are 6.5 up to 9.8 feet long. Photographers who want to shot moving objects appreciate the twin heads a lot! Where’s the best place to go in your city? There are lots of different places we like. For bars: Neue Odessa Bar (, Trust Bar, Tausend Bar (, White Trash (, and many more. To eat: there’s a brand new Vegan Restaurant in Mitte called Kopps at Koppenplatz—delicious...

THE LITEPIPE 1. Portability – The Litepipe is one of the most portable Kobold products. It fits a case smaller than most carry-ons. It is also fully collapsible—the units can be assembled or disassembled in minutes. 2. Unique light shaper – The great thing about the Litepipe is that it offers a unique light shaping quality. It can be used to throw light in 360 degrees or used with the counter reflector for a unique lighting option. Its color balanced plexi, when used with a Kobold head, is completely balanced through the output range. 3. Compatibility – The Litepipe is compatible with the 400 Par HMI heads from Kobold. These heads are able to withstand rugged terrain and harsh weather conditions. The Litepipe fits seamlessly into the line enhancing users favorite HMIs. 4. Cool to the touch – Unlike other soft tubes, the Kobold Litepipe stays cool to the touch, making it easy to change and adjust. 5. Replaceable parts – The plexi is fully replaceable, making the Litepipe an incredible investment considering that you do not need to buy a completely new unit when the plexi gives out. Page Page135 18

STUDIO EXIT Via Cenisio, 68 20154 Milano +39 02 34 51 333 staff@



STUDIO NM ul. Karolkowa 28 01-207 Warszawa +48 226314878 - Why and when did you start carrying Bron equipment? We’ve been a Bron distributor since 2004 and work with the Polish photo, film and TV industries. We decided to start this cooperation because Bron products perfectly meet our professional expectations. Additionally, Bron company is our best supplier, always taking care of us and our needs. It’s a very big privilege for us to have joined the Bron “family.” How much Bron gear do you have? We are using all our inventory as demo, replacements to rent in case of trouble, and as rental units. For demo purposes, we are trying to have all actual products (Scoro, Senso and Verso power packs, all types of standard and effect lamps, HMI and reflectors). We have a very wide offer but not necessarily in big quantities—but in case of a large request, we get the extra gear from our network of World Light rental companies.

CRAZIEST BRON STORY. It was in 2009 for “F50 Barcelona”—a five day-shoot in Barcelona with famous soccer players for an Adidas worldwide ad campaign. They needed a lot of units with extremely short flash times. The rental studio in Barcelona was equipped with Profoto, which was supposed to be used as the main equipment. Our Bron packs were ordered to cover the action shots. We heard of this job about two weeks prior to the shoot started, but the client confirmed the order only four days before the first player was scheduled to arrive. This left us very little time to complete the order, check the equipment, pack it into our truck and drive the 1,500 miles between Warsaw and Barcelona—and it was winter! The trip took twenty-eight hours of continuous driving. When the photographer saw all the brand new gear we had, he decided to use Broncolor for all the main and most important visuals. The shoot went great: we were ready for any situation; nothing was missing, nothing damaged.

Interesting Places Where broncolor Has Been Used The Omo Valley of Ethiopia, the mountains of Rajasthan, Occupy Wall Street, Tutankhamun exhibition, World Cup championship, photographing a glassblower’s aquarium, Yuen Yang of the Yunnan province of China…

WHAT’S NEXT Broncolor is always pushing the limits in its R&D lab. They recently built a completely redesigned flash tube to match the speed and power of the Scoro power pack as traditional flash tubes could not keep up with the pack’s extremely fast recycling time. The R&D team’s goal was to design a flash tube which could not only handle up to 50 flashes per second, but also cover the Scoro’s 10 f-stops power output range (from 3.1 ws to 3200 watt seconds), and to continuously delivers light with consistent output from flash to flash and consistent color temperature across the range of output. Electrodes and metal alloys were newly adapted, new glass was selected, the gas mixture and pressure were altered and the electronics were optimized. This new development can not only flash more often and guarantee truer color, but it is also characterized by a high light output and a longer service life. For comparison: the next best competitors’ state-of-the-art today can supply approximately 20,000 ws per minute. The broncolor flash tube can supply 90,000 w/s per minute. This additional load capacity not only ensure that you won’t be pushing your flash tubes to the limit (thereby risking possible color shifts, output shifts, damage to the flash tube, or even damage to the flash head), but it also greatly enhances the service life of the tube making it last up to 5 times longer than the competition’s tubes. The new flash tube is identifiable with a star * on the socket. Actually it deserves at least 5 stars: * flash sequences up to 50 flashes per second * extremely short flash duration, up to 1/12 000 s at t0.5 * immense control range of 10 f-stops * constant color temperature and light quantity over the entire 10 f-stops and * long service life Source: Bron Blog –

LONDON, UK DIRECT PHOTOGRAPHIC 200-202 Hercules Road Waterloo – London SE1 7LD +44 20 7620 8500

DOWN UNDER DETOUR SYDNEY, AUSTRALIA SUN STUDIOS 42 Maddox Street Alexandria NSW 2015 +61 2 9641 5555 (also in Melbourne)

WARSAW BRON SHOOTER Name: Szymon Swietochowski Website: I shoot people, landscape, and still life.

The company Slogan “50 Light Years Ahead” (it’s also their goal for the next 50 years). Page Page137 18



TOKYO, JAPAN IINO MEDIAPRO 3-4-5 Hiroo, Shibuya-ku Tokyo 150-0012 +81 3 5467 7411



CENTRAL STUDIOS 1F, Building 1, 751 Huangpi South Rd Shanghai 200025 +86 21 63848088 hello@ Why and when did you start carrying Bron equipment? I personally started shooting with Broncolor around eight years ago. As I had a stock of gear when I opened the rental studio, making Bron the studio’s standard was a natural progression. It’s interesting to see that once local photographers have had a taste of using Bron, they prefer to use it to the locally made products; they really appreciate the quality of the European engineering. What has carrying Bron added to your rental business? It adds peace of mind to the photographer. When coming to China, there’s still an unknown regarding what kind of gear is available. So, when we send out our gear list to clients, they are relieved to see what we offer. Where’s the best place to go in your city? Around the corner from the studio is a hole-in-the-wall dumpling joint called Lin Long Fang that serves the best crab soup dumplings

CRAZIEST BRON STORY. I had a shoot in Harbin (far up north in China) at the Ice Festival a few years back. The temperatures were -22 so I had to use all kind of precautions to preserve the battery life of the Mobil kits. I ended up packing each battery in cooler bags surrounded by heat gel packs. The gear worked seamlessly.

(Xiao Long Bao) for a few bucks. If looking for more nocturnal activities, El Coctel is undoubtedly the best place to drink. It’s run by Willy, a crazy Spanish chef who is a good friend of mine. It’s table service only, no standing room allowed, and the cocktails are exquisite. Off the beaten path, you can find great markets that specialize in one thing, for example the Bird/Insect/Fish markets or the Tea or Antique markets. Worthexploring. We normally recommend our guests to stay at the Jia Hotel ( on bustling Nanjing West Rd. It’s a cool and cosy, with a great Italian restaurant and formidable service.

PRIMAIMAGING RENTAL (PIRENTAL) Jl Kran Raya Kemayoran no 28 Jakarta 10610 +6221 4265576 What’s the hottest item / most rented one? Mobilite A2R, Grafit, Scoro, Pulso G, Unilite, Picolite, Minicom C200, Para 170 FB, Softbox EM80X140, EM 30X110, C100X100, EM80X80, C70X70, C150X150, Psoft + honeycomb + diffuser, ringflash C/P, Spot attachment, Beauty dish, Masterstand, Reflector PAR. Where’s the best place to go in your city? You should wander the street of the historical district. Batavia Cafe is great for eating and drinking but it’s also a great location for a shoot.

Milestones in technical evolution JAKARTA BRON SHOOTER Name: Daniel Santoso Website: I love to shoot high fashion, to make other people dreams with my art. I love Jakarta because... actually I hate it here [laughter]. It’s hot and has terrible traffic.

1962 Bron uses electrolytic capacitors for the first time to reduce the weight of flash units.

1965 Bron begins to use printed circuits in flash units, making them easier to manufacture and service. 1968 Bron launches the world’s first monolight at Photokina. 1968 Bron produces the first flash unit with symmetric and asymmetric power distribution.


1971 Bron introduces the Hazylight area lamp. 1976 Bron introduces infrared flash synchronisation (power pack 404). 1980 Bron introduces infrared remote control for power packs und large-

area lamps (Servor).

1982 Bron introduces the impact flash unit with polymer shells. 1984 Bron launches the first microprocessor-controlled power pack


1996 Bron introduces the first power pack with selectable flash duration and stabilised colour temperature (Grafit A).

1996 Bron launches the first power pack that can be controlled with a PC or a Mac (Grafit A).

1998 Bron introduces the first weather resistant HMI continuous light for cinema and television (Bron 400).

2002 Bron uses RFS for the first time to remotely control power packs with a PC or Mac using radio frequencies. 2006 Bron introduces the Verso power pack with a revolutionary battery concept featuring short recharging times. Page 18



PHOTO HIRE & SOURCING 47 de Villiers St. - Zonnebloem Cape Town 8001 +0027 21 462 6933


CRAZIEST BRON STORY. Naomi Campbell and The ‘Wild Things’ in Harper’s Bazaar US shot by Jean Pierre Goude, shot with Bron gear from Photo Hire Cape Town. Naomi Campbell went up against a crocodile, elephant and cheetah all in the name of fashion. Legendary French photographer Jean Paul Goude, who is most well known for his 1980s work with Grace Jones, documented her jungle experience.

Why and when did you start carrying Bron equipment? We first started renting Bron gear in November 2007. We saw a gap in the local rental market and were getting requests from International photographers wanting to shoot with a shorter flash duration. The Bron Para 220 was an absolute must-have product. What has carrying Bron added to your rental business? It has helped us to give our clients more choice—all other stills rental houses in South Africa only carry Profoto, however we have a full range on flash lighting. How much Bron gear do you have? 2 Verso 2400 Battery packs, 4 Grafit a6 Studio Packs, 8 x Pulso heads, a full range of light shaping tools, including 220 Para. What’s the most often rented item? Bron Para 220. Where’s the best place to go in your city? Cape Town was recently named the Design Capital 2014, and Table Mountain is officially one of the seven natural wonders of the world, so you get both nature and cutting-edge design. Photo Hire is based right in the heart of The Fringe, which is a new Design district in Cape Town city center. There you’ll find the trendy Wembley Square, which houses numerous restaurants and bars for people to “see and be seen.”

Oldest Pack Still Working From Salomon Rafael, USA broncolor service manager: “The oldest pack I have worked on in 2011 was a broncolor 606, which was made back in 1976. This pack needed repair for the first time ever. We regularly see thirty-year old power packs coming through for repair—broncolor gear lasts a long time.”

Broncolor Company Headquarters Trivia -Located in Switzerland, in Allschwil. The facility spans about 5,000 m² (54,000 sq ft). -It has 90 employees. -The factory has a bunker in case of a nuclear attack (it’s standard practice in Switzerland).

SOUTH AFRICA BRON SHOOTER Name: Jacques Weyers Website: I shoot fashion. I love Cape Town because of its rich location value. For any shoot, Cape Town differs in landscape every kilometer you drive. You can experience a sunset and a sunrise half an hour apart.


RIO DE JANEIRO, Brazil STUDIO DO CAIS Rua Equador 476 – Santo Cristo CEP: 20220-410 Rio de Janeiro +55 21 25161545

Page 141


& entertainment

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

EVENT: 2011 APA PHOTO CONTEST By Tarah Tramontano I Visuals courtesy of the artists

The American Photographic Artists is like the older,

wiser mentor you’ve always wanted. An alliance run entirely by and for professional photographers, these guys want to make sure your work is seen, your voice is heard, and your image are getting recognized as intellectual property (not just as the masterpiece that it is!). APA welcomes all genres of photographers and supports its diverse group of members via education, inspiration, and the love of creating something amazing. Think of them as a union of sorts—banding together to achieve common goals while they fight for your right to be arty.

APA holds an annual photography contest to celebrate and recognize outstanding work and to bring extra visibility to the winners. While other competitions reach only other photographers, APA winners have their photo placed in the hands of the creative directors, art directors and buyers who can make all the difference in their career. The competition encourages submissions that have a message and exhibit forethought

as well as technical excellence. For a mere $15, entrants worldwide can submit as many photographs as they like, so long as the same photo is not entered more than once. Categories include: Lifestyle, Portrait, Fashion, Action, (Sports/Adventure) Still Life, Landscape, Architectural, Personal/Fine Art and Student. Prize package values range from $1,200 for Merit, $2,000 for second place, and $4,800 for first place winners, with a plethora of goodies that will make any photographer swoon!

2011 CONTEST STATS: Number of total images entered: 1,849 Breakdown of submissions: 462 entrants (235 APA members, 227 non-members) 1,186 single image entries 221 series entries

THE WINNING PHOTOS A. ACTION (SPORTS/ADVENTURE) Name: Morten Bengtsson Location: Denmark Website: or Email:



Name: Tim Griffith Location: San Francisco and Singapore Website: Email:



Name: Mark Leibowitz Location: Santa Monica, California Website: Email: Tumblr:


& ARTS & ENTERTAINMENT: EVENT- “2011 APA Photo Contest“ Page 143



Name: Steve Grubman Location: Chicago, Illinois Website: Email:


Name: William Hereford Location: Brooklyn, NY Website: Email:



Name: Robert DeRosa Location: New York, NY Website: Email:

G. PORTRAIT Name: Jim Jeong Location: New York, NY Website: Email: Blog:



Name: Mike Narciso Location: San Francisco Bay, California Website: Email:


Name: Tony Minas Location: Hollywood, California Website: Email: Blog:



L A N O I S PROFES Cleveland | Chicago

SALES | RENTAL | SERVICE Lighting the way since 1891




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Nation-wide service available


I’ve always been an advocate for personal creative projects. Inevitably, when I embark on one, the result is a

new portfolio piece, new confidence in a technique or piece of equipment, and/or new jobs and opportunities. My latest book, Kevin Kubota’s Lighting Notebook: 101 Styles and Setups for Digital Photographers, was the culmination of all these things, and it all started with a call I made to one of my photo buddies. I asked him if he wanted to work on a “Day of Lighting”—just us experimenting with different lighting styles and equipment for a day. The shoot was successful and, when I blogged about some of our setups, the feedback was very positive. Photographers loved the behind-the-scenes photos and the thought process behind the shoot. I thought, “This would make a great book.” And that was the beginning. The book has been one of the bestselling photo books since its release and received one of Amazon’s Best Books of 2011 awards. I think this success comes from the combination of my experience as an educator, the depth of the examples in the book, and the way it is all presented. From the start, I wanted the book to be fun to read, rich in education, and loaded with high-quality and inspiring imagery. I wanted it to appeal to pros as well as amateurs who were looking to improve their skills or preparing to turn pro—a broad market, but I think we’ve hit it just right. Creating the book required a lot of behind-the-scenes documentation, made possible by my enthusiastic interns and assistants. All of the im-

ages in the book were created specifically for it—they were not recycled from past jobs. I selected the scenes, lighting styles, equipment, etc., based on what would provide the highest educational value and variety to the reader. As an iApp geek myself, I wanted to create a companion app for the book. The app includes all 101 example images, with behind-the-scenes photos and diagrams, along with videos for each setup. You can search for any setup based on keywords, categories, and more. Once you find setups you like, you can mark favorites or tag them to reference later. The positive feedback from readers has been overwhelming. I am so thankful that the book has been educational and entertaining for photographers (and even quite a few non-photographers). It has been an “enlightening” experience to create it and a pleasure to see it empower photographers with new tools and inspiration.

Kevin Kubota’s Lighting Notebook: 101 Styles and Setups for Digital Photographers: available at, Barnes & Noble, and select bookstores. Kindle and iBook versions available. Autographed copies can be purchased exclusively at and the iApp is downloadable from the iTunes store.

CAUSE: THE F.I.L.M PROJECT By Jessica Yu I Photo courtesy of The F.I.L.M Project

“All of our photographers are here for [the] same reason,” said Hoskins. “They want to help cancer patients because they’ve been there themselves. Either they lost somebody to cancer or they’ve had cancer themselves… We are all kind of each other’s support system.”

This is a story about love:

the love of photography, the love of life, and the love that we have lost. But most importantly, this is about capturing that love before it is lost. The last few moments we have with our loved ones are cherished but eventually slip away into the back of our memory bank. It slowly becomes impossible to remember exactly how the moment was; we can’t remember people’s touch, their smell, their smile, or even their face altogether. We try to dig up those important images buried deep in our mind, but we just can’t.

The F.I.L.M Project:

That is precisely what Leah Hoskins, the creator and president of The Family Images for Lasting Memories Project, is trying to prevent. The F.I.L.M Project was started in a small town of 700 people in Indiana. 90% of everything done for the non-profit organization happens in Hoskins’ home office. Through F.I.L.M, a network of professional photographers from around the world donate their time and give portraits to families in need—particularly to families of cancer patients. After Hoskins lost a dear friend from high school to a rare case of cancer, she was inspired to bring lasting memories to people. “My friend was diagnosed in June and by Thanksgiving he was gone,” explained Hoskins. “I made a slideshow for his family for the funeral. I was going through pictures, putting together the slideshow—spent hours on it—and they only had one professional portrait, and it broke my heart [that I hadn’t had been able to do one for them]. So I vowed at that moment that I would never let that happen again. And so we launched.” Hoskins realized her love of photography early on and, while receiving an Associate’s Degree in business, she knew her true calling was in photography. As a part-time location shooter at her own business, she now dedicates most of her time to The F.I.L.M Project, which launched last January. A year later, she finds it hard to believe how the organization has gone from just three local photographers to reaching worldwide reach with approximately 350 volunteers, including Bob and Dawn Davis and Skip Cohen.

As beautiful and generous a thing The F.I.L.M Project is, the work does come with some difficulties. Many of the sessions with the patients and their families can become very emotional for some photographers. There are times when the patient is just too ill; it can be heartbreaking and it’s sometimes impossible to keep from losing your composure completely. Hoskins recalled a session they had with a little girl named Kensie. At the mere age of seven, she was going through intense chemotherapy; she was so weak she could barely hold her head up. The photographer called Hoskins afterward, “a complete mess,” and said she had been unable to hold back her tears. Hoskins herself admitted to tearing up at an earlier session, hiding behind her camera as she watched the frail grandmother, who was hooked up to an oxygen tank, read a book that had been passed on for generations. As her eyes filled with tears, there were many concerns on her mind. “There’s definitely a high anxiety on my end because in my head I’m thinking, ‘These are the last pictures this family’s going to have with their loved one and it’s all on me. I have to capture these moments,’” said Hoskins with a slight, weary shake in her voice. “If I mess up, we’re not going to get a second chance to shoot this. I walk into that type of situation and freeze—it takes a special person and a lot of experience to be able to [handle this].” Even when she can’t be at the session, Hoskins says the grateful e-mails and phone calls she receives from family members afterward make it all worthwhile. There are many stories surrounding this project, with photographers helping and making a difference in these families’ lives, but one of the best success stories yet, and a truly inspirational one, has to be Hoskins’ own. She was diagnosed with cancer herself and, although this was not the reason she started this project, Hoskins, who is now cancer-free, did acknowledge, “It is a drive.” “Cancer is cancer. It’s scary no matter how little or how big it is,” said Hoskins. “When you get that phone call saying you have cancer, the first thing that runs through your mind is: ‘What am I going to leave behind to my family if for some reason, I were to pass?’ And that does affect my drive for this organization because I have felt that. I have felt that fear.” When the dark shadows and sharp cold air of death are looming, the last thing on your mind is photography. But The F.I.L.M Project is here to remind you of how important memories are. All the volunteers are reaching out to patients and their families during these fragile moments, and offer their time to smile with you, to laugh with you, to cry with you, and to support you. “You have no idea how much photographs can help them,” said Hoskins. It’s giving people a gift that they will cherish forever.”


ARTS & ENTERTAINMENT :CAUSE- “The F.I.L.M Project” Page 147

GALLERY: BRUCE DAVIDSON’S ‘SUBWAY’ By Sophia Betz I Images courtesy of Aperture Gallery

Bruce Davidson’s photographs tell stories. Their

spontaneity transfixes while their details reveal larger truths about the people and places they depict. This October, New York Aperture Gallery curated a selection of images from Davidson’s remarkable series ‘Subway’ to celebrate the third edition of the book. Aperture “published books that no one else would publish,” Davidson said of the first edition of ‘Subway,’ released in 1986. The book now includes 118 images—twenty-five of which were previously unpublished. The gallery show’s striking, and sometimes shocking, photographs paint a flash-soaked picture of New York in the early 80s; the deeply personal images still resonate today.

To accompany the show, Davidson gave a talk to a packed house, detailing his experiences with some of the subjects he has chronicled over the years. The approachable, at times sardonic, account of his photographic adventures revealed a refreshing approach to photojournalism. For Davidson, taking photographs has never been just about the images; it’s a way to empower people.Davidson’s storied career began when he was very young; he dates his first photographic impulse to age ten. He began working with Magnum in his 20s and one of his earliest photo essays from the late 1950s depicted Brooklyn gang members whom he had followed for almost a year. He got to know many of them so well that he still keeps up with them to this day, a common thread throughout the projects he’s produced over the years. In the early-to-mid 1960s, as Davidson documented the sea change in American civil rights, he actively fought for equality as well. Participating

in protests, demonstrations and marches (including seminal events in Selma and Montgomery), he stayed close to the action—to get the best images he could, but also to partake in the movement. To properly do his job, he said, “I had to feel that I was part of the [police] arrest situations, the tension.” While many feel that journalists should strive for objectivity and that getting personally involved is ill advised, Davidson never hesitated to cross the photographer/subject boundary and to connect with those he photographs. He has always let his passion to understand and express lead him to his work, and his involvement and emotional ties to his subjects bring an arresting personal element to his portraits. Davidson’s desire to effect change led to his well-known ‘East 100th Street’ project for which he photographed poor New Yorkers living on one New York City block. Spending two years in East Harlem, he captured ordinary moments that spoke of basic human dignity and commonalities between people, regardless of race or living conditions. On his choice to use a large format camera, he explained, “I wanted to be eye to eye with my subject, no longer hiding behind a viewfinder.” Davidson gave away over 2,000 prints to the people he photographed during the course of the project. He felt the images were not only his work, but also the people’s record of their situation—a situation echoed throughout the neighborhood and city, symbolically represented by a single block. By producing this body of work, Davidson aimed to expose the inequality in housing conditions and demand action from city officials; the public outcry after the essay was published eventually helped spur material change in the neighborhood.

As with all of his work up to that point, ‘Subway’ was originally envisioned as a black and white project. But as Davidson witnessed the textures of the underground world, the vibrancy of the then-ubiquitous graffiti, he realized that color could bring a new dimension to the images. “All of a sudden... color had meaning in the subway, color penetrated,” he explained. He decided to photograph on Kodachrome 64 and to use a dye transfer process; his combination of flash and dramatic color in the dark, labyrinthine underground brings a realism and intimacy to ‘Subway’ that makes the series timeless. In both ‘East 100th Street’ and ‘Subway,’ Davidson showed what he calls the “cumulative effect” that a strong body of images can have as a collective whole. Each image in ‘Subway’ has its own story, but the series tells yet another tale of the city itself. Davidson photographed day and night, capturing almost every station and every line in the subway system. Toward the end of his stint, he convinced the NYPD to let him go along with a squad and work as a decoy to lure robbers; he brought his camera along, of course. “The subway was my studio,” he recalled. “I wanted to explore it, to understand it.” As a whole, ‘Subway’ captures New York City in a microcosm—starkly public yet isolating, always in motion, dangerous at times, a constant presence in the lives of millions of people. Casting the workings of the subway and its riders in a newly personal light, Davidson’s relentless documentation of the transit system resulted in a groundbreaking look at the city.



Subway, by Bruce Davidson (Aperture and Magnum Photos 2011)

Museum of Contemporary Photography Crime Unseen Now-Jan 15, 2012 The Limits of Photography Jan 21-March 25, 2012 The Art Institute of Chicago Light Years: Conceptual Art and the Photograph, 1964-77 Now-March 11, 2012

LOS ANGELES, CA. Edelman Gallery Viktoria Sorochinski: Anna & Eve Jan 6-Feb25, 2012 J. Paul Getty Museum Narrative Interventions in Photography Now–March 11, 2012 In Focus: Los Angeles, 1945-1980 Now–May 6, 2012


Kopeikin Gallery Kevin Cooley (Jan-Feb 2012) J. Bennet Fitts (Jan-Feb 2012) Kelli Connell (Feb-March 2012) MoCA Naked Hollywood Now–Feb 27, 2012

NEW YORK, NY 1500 Gallery Hirosuke Kitamura: Hitra Feb 2-April 28, 2012

Looking at Davidson’s work, you see not just a subject but also the connection Davidson made with a person, with a situation. His driving desire to communicate this relationship makes his work extraordinary from an artistic standpoint and allows him to create images that reach beyond the materiality of their specific scenarios and speak to the human condition.

ICP Gallery Anthony Weegee: Murder Is My Business Jan 20-Sept 2,2012 Magnum Contact Sheets Jan 20-May 6. 2012 Marian Goodman Gallery Jeff Wall: New Photographs Now-January 21, 2012 MoMA New Photography 2011 Now-Jan 16, 2012 Sanja Ivekovic: Sweet Violence Now–March 26, 2012 Cindy Sherman Feb 26-June 11, 2012

Bonni Benrubi Gallery Massimo Vitali: Arcadian Remains Now-Feb 4, 2012

Robert Mann Gallery Richard Steinheimer: A Passion for Trains Now–Jan 21, 2012 Holly Andres: The Fall of Spring Hill Jan 26-March 10, 2012

Brooklyn Museum HIDE/SEEK Now-Feb 12, 2012

Sasha Wolf Gallery Katherine Wolkoff: Birds March 8-Ap 28. 2012

Steven Kasher Gallery Vivian Maier: Untitled Now-Feb 25, 2012 The Jewish Museum The Radical Camera: New York’s Photo League, 1936-51 Now-March 25, 2012 Yancey Richardson Gallery Jitka Hanzlova: Project Gallery Jan 5-Feb 11, 2012

SAN FRANCISCO, CA De Young, Fine Arts Museum of SF Ralph Eugene Meatyard: Dolls and Masks Now-Feb 26, 2012 SF MoMA “Lunch Break” by Sharon Lockhart Now–Jan 16, 2012 SUBMIT YOUR GALLERY OPENING FOR APR-JUN 2012 Deadline is March 1st 2012


ARTS & ENTERTAINMENT: GALLERY-”Bruce Davidson’s ‘subway’” Page 149


Andrew Niccol is a dangerous man in Hollywood—he makes movies about ideas. Niccol is a social sati-

rist and commentator who works within familiar genres, usually sci-fi. His films Gattaca, In Time, Simone, and, to lesser degree, his screenplay for The Truman Show all share familiar story arcs and happy endings. But with Lord of War, Niccol took a more uncompromising approach. The movie has the gleaming surface of an action flick but the heart and mind of a scathing satire and anti-war film.

Niccol’s latest film, In Time (his first since Lord of War), also takes on a serious and topical issue—the state of the economy. However, the director returned to the more hopeful message of The Truman Show and Gattaca. As Lord of War struggled to find an audience, Niccol might have decided to revisit sci-fi, a genre that had brought him early success. In Time is his most mainstream movie to date although it’s hardly Transformers. The film is very much a companion piece to 1997’s Gattaca, itself set in a future where some people have been genetically modified to perfection, creating a society of “Valids,” who are modified, and “Invalids,” who are not. In Time shows us a future where people have been genetically modified to not age past twenty-five. The catch is you are given only one more year to live and you must work, steal, beg or borrow time to continue living. Visually, the films are very similar, making them sequels in spirit. Both open with extreme close ups that obscure what we are seeing, and then slowly pull back until we get the full picture. In Gattaca, it is Ethan Hawke’s fingernails and hair follicles, which he is disposing of to hide his Invalid status. With In Time, it’s the glowing green skin of the time code

Tomás Pichardo:

Nicolas Cage plays Lord of War’s “hero”—a smooth-talking, cynical arms dealer who would be the villain in a more traditional movie. The film has arguably one of the most powerful openings of any film in this decade—or any other, for that matter. The title sequence shows the life of a bullet from production to firing. We are given the bullet’s point of view all the way to its final destination: the head of a child. The expected trajectory of the film would be either an inevitable fall or a moral reawakening of Cage’s character, but neither happens. The film’s unapologetic message might have to do with the darker subject matter, or perhaps the issue was one Niccol felt couldn’t be watered down.

on Justin Timberlake’s arm, as it ticks off the remaining time he has to live. The parallels don’t end there; both films have key scenes involving swimming in the ocean and are often shot using orange-yellow or bluegreen filters, which create an interesting alternating feeling of warmth and cold. The futures in both films are presented as cool and detached, but there are moments of compassion and humanity. Both films explore the idea of what it means to be human, although Gattaca does this more so than In Time.

Gattaca is the less conventional film of the two. There is a murder mystery storyline, but it’s simply there to give a conflict for the protagonist to overcome in order to meet his goal: his escape to one of Jupiter’s moons. The film doesn’t include any chases or gunfights; it is an exploration of the human spirit—our limitations and our strengths. In Time, on the other hand, actually embraces the action elements of its plot and features many action scenes. Despite the fast-paced sequences, In Time, like Gattaca, uses its plot structure as the spine of the film. The film isn’t about the action, although it is competently handled; Niccol uses his “time-literally-is-money” allegory to comment on the economy. Using the shell of a genre movie to say something more seems to be Niccol’s signature—it is a slick way to get people to digest his ideas. He isn’t a flashy or overly stylized director. His direction is clean and relies on tried-andtrue continuity editing techniques. He makes films that are like precision machines, the better to get his ideas across.

Gattaca U.S. Release Date: October 24, 1997 Director: Andrew Niccol Writer: Andrew Niccol Main Cast: Ethan Hawke, Uma Therman, Jude Law Producers: Danny DeVito, Michael Shamberg, Stacey Sher, Gail Lyon Lord Of War U.S. Release Date: September 16, 2005 Director: Andrew Niccol Writer: Andrew Niccol Main Cast: Nicolas Cage, Ethan Hawke, Jared Leto Producers: Andrew Niccol, Chris Roberts, Nicolas Cage, Philippe Rousselet, Andy Grosch, Norm Golightly In Time U.S. Release Date: October 28, 2011 Director: Andrew Niccol Writer: Andrew Niccol Main Cast: Justin Timberlake, Amanda Seyfried, Cillian Murphy Producers: Marc Abraham, Amy Israel, Kristel Laiblin, Eric Newman






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

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

CHICAGO, IL EVENT PLANNING Ivan Carlson* 2224 W. Fulton Chicago, IL 60612 312.829.4616

PHOTO EQUIPMENT Calumet Photographic* 1111 N. Cherry Ave. Chicago, IL 60642 312.440.4920 800.453.2550 Dodd Camera* 2840 W. Armitage Ave. Chicago, IL 60647 773.227.3633 Helix Rental* 1205 W. Jackson Blvd. Chicago, IL 60607 312.421.6000 ProGear Rental* 1740 W. Carroll Ave. Chicago, IL 60612 312.376.3770

STUDIO RENTAL Morgan Street Studios* 456 N. Morgan St. Chicago, IL 60642 312.226.0009 Northlight Studio* 2023 W. Carroll Ave. #C304 Chicago, IL 60612 773.466.1556 Skylight Studio Rental* 1956 W. Grand Ave. Chicago, IL 60622 312.666.4345 Space Stage Studios* 2155 W. Hubbard Chicago, IL 60612 312.733.8017

MIAMI, FL EDUCATION (workshops, seminars) AD013 Studio* 329 NE 59th Terrace Miami, FL 33137 305.640.8758 PHOTO EQUIPMENT Aperture Studios Miami* 385 NE 59th St. Miami, FL 33137 305.759.4327 STUDIO RENTALS Aperture Studios Miami* 385 NE 59th St. Miami, FL 33137 305.759.4327

Carousel Studios* 3700 NE First Court Miami, FL 33137 305.576.3686 Little River Studios* 300 NE 71st St. Miami, FL 33138 305.632.1581 MAPS Studio* 212 Collins Ave. Miami Beach, FL 33139 305.532.7880 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 Splashlight Studios* 167 NE 26th St. Miami, FL 33137 305.572.0094 Trendy Studio* 196 NW 24th St. Miami, FL 33127 395.438.4244

NEW YORK, NY ARTIFICIAL FOLIAGE American Foliage & Design Group* 122 W 22nd St. New York, NY 10011 212.741.5555 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 CSI Rentals* 133 W 19th St. New York, NY 10011 212.243.7368

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


Scheimpflug* 236 W 30th St. New York, NY 10001 212.244.8300 TREC RENTAL* -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 LAB Duggal Visual Solutions* 29 W 23rd St. New York, NY 10010 212.242.7000

PROP STYLIST RENTAL STUDIOS 2 Stops Brighter* 231 W 29th St. New York, NY 10001 212.868.5555 3rd Ward* 195 Morgan Ave. Brooklyn, NY 11237 718.715.4961 16 Beaver Street Studio* 16 Beaver St. New York, NY 10004 212.425.4736

PRODUCTION COMPANY ajproductionsny, inc. 212.979.7585

Above Studio* 23 E 31st St. New York, NY 10016 212.545.0550 x3

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

Attic Studios* 1105 44th Rd - 3rd Fl. Long Island City, NY 11101 718.360.1978

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

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

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

Brooklyn Studios* 211 Meserole Ave. - 2nd Fl. Brooklyn, NY 11222 718.392.1007 Camart Studio Rentals* 6 W 20th St. - 4th Fl. New York, NY 10011 212.691.8840

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 Divine Studio* 21 E 4th St. - #605 New York, NY 10003 212.387.9655 Eagles Nest Studio* 259 W 30th St. New York, NY 10001 212.736.6221 Factory Studios* 79 Lorimer St. Brooklyn, NY 11206 718.690.3980 Fast Ashleys Brooklyn* 95 N 10th St. Brooklyn, NY 11211 718.782.9300 Gary’s Manhattan Penthouse Loft* 28 W 36th St. - PH New York, NY 10018 917.837.2420

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

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

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

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

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

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

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

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

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

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

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

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

s l a t n e rrr

.com ls talsny n e mercia r r m r o . c w , s w movie 20 w hoots, 242 61 s – , g 2 n 1 i 2 vertis 1 tel log, ad a y 1000 t n a c , , k r shion new yo tyle, fa th floor s e f s i l 1 1 th reet, oes for 29 st s & sh t e s i e r o w s s ce 245 obe, ac wardr

Pure Space* 601 W 26th St. - #1225A New York, NY 10001 212.937.6041 Root [Brooklyn]* 131 N 14th St. Brooklyn, NY 11211 718.349.2740 Root [Drive-In]* 443 W 18th St. New York, NY 10011 212.645.2244 Shoot Digital* 23 E 4th St. New York, NY 10003 212.353.3330 Shooting Kitchen* 13-17 Laight St. #12 New York, NY 10013 917.262.0816 Silver Cup Studios* 42-22 22nd St. Long Island City, NY 11101 718.906.3000 Some Studio* 150 W 28th St. - #1602 New York, NY 10001 212.691.7663 Splashlight* 75 Varick St. - 3rd Fl. New York, NY 10013 212.268.7247 Steiner Studios* 15 Washington Ave. Brooklyn, NY 11205 718.858.1600

Suite 201* 526 W 26th St. - #201 New York, NY 10001 212.741.0155 Studio 225 Chelsea* 225 W 28th St. - #2 New York, NY 10001 917.882.3724 Studio 385* 77 Franklin St. New York, NY 10013 212.393.1307 Sun Studios* 628 Broadway - 6th Fl. New York, NY 10012 212.387.7777 Sun West Studios* 450 W 31st St. - 10th Fl. New York, NY 10001 212.330.9900 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 PHOTO LABS A&I Photographic & Digital Services* 933 N Highland Ave Hollywood, CA 90038 323.856.5280 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

Lightbox Studio* 7122 Beverly Blvd Los Angeles, CA 90036 323.933.2080

Pier 59 Studios West* 2415 Michigan Ave. Santa Monica, CA 90404 310.829.5959

Pix Inc.* 211 South La Brea Los Angeles, CA 90036 323.936.8488

Milk LA* 855 N. Cahuenga Blvd Los Angeles, CA 90038 323.469.8900

Siren Studios* 6063 W Sunset Blvd Hollywood, CA 90019 323.467.3559

Quixote Griffith Park 4585 Electronics Place Los Angeles, CA 90039 323.851.5030

Smashbox Studios Culver City* 8549 Higuera St. Culver City, CA 90323 310.558.1460

RENTAL STUDIOS 5th & Sunset* 12322 Exposition Blvd West Los Angeles, CA 90064 310.979.0212

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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

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 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

3/4 of page Purebred Studio* 436 N. Canal St. #7 South San Francisco, CA 94080 650.952.6200 Sintak Studio* 2779 16th St. San Francisco, CA 94103 415.255.7734

EQUIPMENT BRON IMAGING GROUP 800.456.0203 CRU-DATAPORT 800.260.9800 SIGMA 800.896.6858 ORGANIZATION APA (Advertsing Photographers of America) 800.272.6264 PhotoCrew Production Paradise PORTFOLIO REVIEW NYC FOTOWORKS 917.470.9197 FILE SHARING WEBSITE We Transfer VIDEO SHARING WEBSITE Vimeo

WEBSITE BUILDER LiveBooks *Distribution sites.


EDUCATION / CONSULTING Marketing Essentials International














Ad Agency: Merkley & Partners Client: Fuse Music TV Art Buyer: Bev Don Art Director: Matt McKay ( now JWT )





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

Introducing The Kitchen Cupboard. One room filled with culinary equipment, tools and supplies for use by the home economists and food stylists that work in our studios.

A simpler way to shoot food in a rental studio...

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


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