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MICHAEL KENNA Legendary Landscape Photographer ROBERT WHITMAN 25 Polaroids of the 80s in Minneapolis- a Dirty Photo Essay


Page 168

Page 76 Page 156


BIZ: SELL YOURSELF- Print a book

Good printing companies worth checking out. PAGE 64

TECH: GEARHEADS- Killer Compacts Small is beautiful (and powerful too).


PRO: PHOTO PRO-FILE- Michael Kenna

A legend in landscape, landscape photography, that is. PAGE 112

RISE: EVENT- MAC-On-Campus Student Awards

2011 MAC-On-Campus Feature Student Photo Vision Award

Page 180

Page 40

PAGE 156

FEATURE: RESOURCE STUDIO GUIDE 2012 Some of our favorite studios from coast to coast.

PAGE 168

FEATURE: JESSE NEWMAN’S REBIRTH OF GAEA 6,000 images give birth to one photograph.

PAGE 180

FEATURE: ROBERT WHITMAN’S 25 POLAROIDS Polaroids from the 80’s party days.

Page 112

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 Jack Guy David Allen Harvey Ron Haviv Gregory Heilser Michael Jang Chase Jarvis Ed Kashi Gary Knight Vincent LaForet Lou Manna Tim Mantoani Joe McNally Doug Menuez Christopher Micaud Christopher Morris Janice Moses Lyle Owerko Troy Plota Claire Rosen Embry Rucker Davies and Starr Ted Tamburo Robert Tardio Miranda Penn Turin Jerry Uelsmann Mark Wallace Alex Webb Rebecca Norris Webb Brett Weston Lisa Wiseman Art Wolfe

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Image Courtesy of Mark Wallace

CONTENTS Page 6 YOUR ESSENTIALS 6 10 18 22 162

Masthead Editors’ Letter RE:Sourced Shoot Talk Directory

Page 30 BIZ 30 34 36 38 40 42 44 46 48 50 52

Breaking In: Jason Tuchman, retoucher, has always been ahead of the curve Get Smart: Tony Corbell Graph-Ic: What kind of photographer are you? Client File: Stacey Jones, Fashion Director Chicago Magazine Sell Yourself: Print a book SocioMediaPath: The photogs advantage of Facebook Timeline Going Pro: Part II - Networking is everything Street Smarts with Sal Cincotta: The value of our time How I Got The Job: Peter Rad’s The BAM Project Behind the Biz: MAPS works the Miami scene Pro-Pinion: Online marketing tips - Fill in the G.A.P.S

Page 54 TECH 54 56 59 60 62 64 67 68 69 70 72 73 74

Ask a Geek: The DNA of a Canon T3i Gear and Gadgets: Military grade - The conflict photographer’s essential kit Do It Yourself: Pinhole camera Camera Corner: Canon 5D Mark III + Nikon D800 What’s In Your Closet: Where’s your EQ, Ruedi Hofmann? Gear Heads: Killer Compacts + Video Innovation Do It For Fun: Lytro camera Software: Tiffen DFX Do It With Style: Lady Cammy Bags - Epiphanie handbags Rigged: Film Matters Behind the Scene: Photographers vs. Videographers Sick App: Camera Awesome On the Scene: I spy at WPPI

Page 76 PRO 76 88 92 96 98 102 104 106

Photo Pro-File: Michael Kenna, a legend in landscape History: The art of getting Marilyn Monroe in bed Editor’s Pick: Fredrik Odman Photo-Graph: America’s Next Top Model by Brakha x2 Master Class: Food photographer, Andre Baranowski Crew Pro-File: Matin, Makeup Artist People in Motion: Steven Poster, Director of Photography Videography: Developing characters

Page 108 RISE 108 112 130 136 150 152 154

Emergent: The unreality of Malcolm Brown Awards: 2011 MAC-On-Campus Featured Student Photo Vision Award Mobile Photo: Lorenzo Bassotto Rising In: Sport photographer, James Farrell Retouch That: The Principles of Depth (Part 3 of 4) Capture This: Tethering Unleashed Filmster: “ORANGE” by Three Headed Monster Productions

Page 192 ARTS & ENTERTAINMENT 192 196 198 200

Gallery: Lucien Clergue in America Fine Art: Getting your (photo) show on the road Book Club: The latest titles Movies for Photographers: Jules Dassin COVER AND END PAGES Shot by Robert Whitman:










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AN NO OIISSSSEEFOR LLA P FORP ogacihC | dnalevelC EDITORS IN CHIEF Alexandra Niki, Aurelie Jezequel CREATIVE DIRECTORS Alexandra Niki, Aurelie Jezequel

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1981 ecnis yaw eht gnithgiL DESIGN 981Leviste, ecnisRebecca yaw eLewis ht gnithgiL Chris Brody,1Mercy TECHNICAL ADVISOR Adam Sherwin CONTRIBUTING PHOTOGRAPHERS Andre Baranowski, Lorenzo Bassotto, Malcom Brown, Trent Chau, Sal Cincotta,Tony Corbell, Jennifer Coudron, Brad Curran, M. David Farrell, Ruedi Hofmann, Sergei Isaenko, Michael Kenna, Douglas Kirkland, June Korea, Kyle Makrauer, Jesse Newman, Maria Nikolis, Fredrik Odman, Youngkyu Park, Cassandra Plavoukos, Nicholas Schwartz, Robert Whitman CONTRIBUTING WRITERS Alex Baker, Aimee Baldridge, Sophia Betz, Sal Cincotta, Skip Cohen, Kori Davis, Charlie Fish, Christina Fong, Clint Hild, Ross L. Hockrow, Ruedi Hofmann, Jesse Newman, Warren Parker, Stephan Sagmiller, Adam Sherwin, Ashley Shufelt, Lewis Van Arnam, Robert Whitman CONTRIBUTING ILLUSTRATORS Johanna Goodman, Kelly Kaminski, Mercy Leviste, Emil Rivera, Shirley Hernàndez Ticona INTERNS Eldar Davranov, Christina Fong, Jessica Manley, Eboni Merriman, Warren Parker, Silvia Reyes Rangel, Rachael Tucker, Kathryn Turner PUBLISHER - REMAG Inc. DISTRIBUTION - ADVERTISING Alexandra Niki Adam Sherwin Resource Magazine is a quarterly publication from REMAG Inc. 20 Jay Street #735 - Brooklyn, NY 11201 SUBSCRIPTIONS: $40 in the U.S., US$50 in Canada, and US$60 globally. For subscription inquiries, please email us at info@resourcemagonline. com or go to our website and look for the subscription link: 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 is ©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.

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1. Robert Whitman : Robert


Whitman’s passion for photography has taken him all over the globe. He photographs what inspires him, from the hottest nightclubs in Moscow to children receiving dental care in rural Haiti. He has shot numerous award-winning ad campaigns and his work has been featured in Departures, Travel and Leisure magazines.

2. Sal Cincotta :

Sal Cincotta is an award-winning photographer, author, and speaker. In his words, “My goal is to empower photographers everywhere to find their own success and get their businesses on the right track.” This issue marks the start of Street Smart, a new article series in which Sal discusses the business of photography. Check out and

3. Michael Kenna : Michael


Kenna is not only a master B&W landscape photographer but also a really nice man. He took the time from his busy schedule to answer our questions, while traveling from one gallery opening

3. to the next. His work is collected by various museums and he has numerous awards and books under his belt.

4. Clint Hild :

Clint Hild has over ten years of experience in the digital photography industry and is the owner of Bitfire Inc., a full service digital imagery studio. Hild has worked with top fashion photographers and is best known for his simultaneous on-set digital teching and photo retouching.

5. Johanna Goodman :

Johanna Goodman lives and works in Nyack, New York. A Parsons School of Design graduate, her illustrations have been commissioned by the likes of Rolling Stone, The New York Times, The Wall Street Journal, Sports Illustrated, Playboy, The Rock & Roll Hall of Fame, MTV, and many more.

6. Aimee Baldridge : Aimee Baldridge writes about the craft and technology of photography. She’s an author, editor, and content strategist, and she

enjoys nothing more than talking with interesting photographers and image creators about their work—except maybe exploring the world with a camera herself.

7. Matt Hill :

Matt Hill is a marketing communications/ SEO professional at MAC Group, teacher of night photography workshops, film editor & colorist, cut paper artist, and he really digs Canadian indie bands. As a member of the photo industry for nearly two decades, he’s dedicated to photography, technology, art, and cupcakes. Find him at

Stories are everywhere.

Blurb Mobile story by Dan Cristea (@konstruktivist) of

Blurb Mobile for iPhone and iPad. Stories. To go. Blurb Mobile is a fun, fast, public or private way to create stories featuring all your personal media. Using an iPhone and Blurb’s new mobile app, you can easily capture and sequence your photos and videos into short engaging visual stories that can be instantly shared and viewed by friends and family...anywhere, anytime. • Import your photos, video and audio assets. • Direct access to iPhone’s camera and camera roll. • Easy editing of media: rotate, crop, scale, drag and drop sequencing. • Attach audio clips to images and entire story. • Text caption each image. • Layout Editor allows the creation of multi-image grids • Add hashtags to your story for topic discovery. • Engage with friends by posting comments. • Reshare your favorite stories with your friends. • Share a story on Facebook, Twitter, Tumblr, or, eMail.

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Blurb Books



Do you love photography? Video? Dancing? Well, we can’t help you with dancing, but we’ve been staying up late to bring you Resource Magazine V3.0, which hopefully will answer some of your questions pertaining to the first two. This issue is one step closer to being the ultimate, all-encompassing photo magazine of your wettest dreams. In fact, it may even be the one. Through our on-going redesign process, we have narrowed down our content to topics we feel will get you the most bang for your buck and will help advance your career, keep you up-to-date on the latest gear and news, and inspire you with great photography. Here’s the skinny: SHOOT TALK: A briefing of the last quarter’s news and updates in a timeline format. Want to sound well informed at industry events? Is keeping up with blogs and news sites becoming overwhelming and too time-consuming? Well, chill out and stop getting all worked up about missing a beat: just read SHOOT TALK. BIZ: Business is the ultimate black hole for many photographers—clearly, there is a need for information here. Learn proven business techniques from top professionals like Skip Cohen, Sal Cincotta, Matt Hill and more. Don’t know who they are? Then you really need to read this section. TECH: We live in an age of technology where new gear, new software, and new gadgets come out on almost a daily basis. Some offer huge advancements that can revolutionize your vision or workflow (or even both). And with the integrated use of video, you cannot afford to be unaware of what’s happening. Stay tech savvy. It’s good for you. PRO: Some people got it right, you know? Would you really question Michael Kenna’s ability to capture landscape? We didn’t think so. Our PRO section acts as an official record of inspiring photography, great minds, and brilliant visions, and aims to provoke and move you—or at the very least, to show you beautiful images to muse on. RISE: Don’t take the next generation lightly. Rising talents are coming in from all directions and they are here to stay. See cutting edge new photographers etch their names into what we call the RISE section. You never know, you might be looking at the first published works of the next Avedon. Not to mention our mind-blowing feature articles. This issue brings you the bawdy polaroids of Robert Whitman’s life in the 80s, the 2012 Resource Studio Guide, and our very first centerfold, the better to display Jesse Newman’s Rebirth of Gaea—one of the most impressive retouching adventures of all time. Had enough? This is just the beginning… Happy reading!


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A preview of all the pages in the issue.

Share by email, facebook, twitter or you can social bookmark it.

Table of Contents, an advertiser index and a list of all the links in the whole magazine.

Search for anything you want in the whole magazine.

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RE:SOURCED THE DAILY DOSE APP: Can’t get enough of Resource Magazine? Does your busy

schedule have you scouring the Internet late at night just to try to keep up with everything that is happening in the photo industry? No more! Get your Daily Dose of Resource Magazine on the go. Soon to be available on the iTunes store, the Daily Dose offers all the best content from the Resource website in an easy to access mobile form from any smartphone or tablet device.

A VISIT TO VEGAS: The wedding and portrait photography event of the year,

WPPI, took over Vegas in February. Photographers from across the world came to network, share, and learn from top manufacturers and industry leaders.

Resource Editor-in-Chief, Alexandra Niki, and Tech Editor, Adam Sherwin, spent 5 days meeting with industry insiders and scouring the trade show floor. Somewhere along the way we ran into some old friends and had a chance to catch up and discuss all of the great things happening in the photo industry this year. See some of the cool gear we found on page 74.

COMING UP... NYCFOTOWORKS JUNE 19-21 2012 Resource returns to Canoe Studios from June 19th to 21st to support NYC Fotoworks’ 6th bi-Annual Artists in Motion portfolio review and networking event. NYC Fotoworks pairs pre-selected photographers with top editors, art buyers and creative directors in 1-on-1 portfolio critiques, helping open that difficult first door. Watch for special events and giveaways from Resource.

SKIP’S SUMMER SCHOOL AUGUST 5-8 2012 From August 5 to 8, Skip Cohen will host Skip’s Summer School in Oakbrook, IL, right outside Chicago. Hands-on workshop, presentations about both technique and business-related topics, a film-making class… there’ll be a lot to learn and Resource and RETV will be right there to soak it all up. As media sponsor, we will report from the floor. Looking forward to seeing you there!








As a photography student, one of the biggest challenges you face is launching your professional career. The number of obstacles and personal sacrifices photographers have to make in their first few years can often make or break your decision to pursue your dream. Enter EDU2013. A contest dedicated to the advancement of emerging photographers. Free for photography students across the USA, Resource Magazine and its sponsors are launching an unprecedented effort to find the next big talent. The best part is that the one grand-prize winner will walk away with just about everything they need to launch their career as a professional photographer.


PRINT IS NOT DEAD EPISODE #2: The second episode of the RETV


original web series, Print Is Not Dead, is live. Photographic printing connoisseurs, Peter and Ryan of Gotham Imaging in NYC, join NY based photographer Elinor Carucci. The three of them get together and discuss her incredible journey from darkroom to digital printing and the work they did together to produce her exhibition. They review the printing process behind her work and her popular exhibition “Born”, recently featured at the Sasha Wolfe Gallery in NYC. A 5-year journey covering her pregnancy and the birth of her twins, Born, is an intimate look in to Elinor’s family life while working as a professional photographer.



“My idea of a good picture is one that’s in focus and of a famous person. “ -Andy Warhol


You will find icons throughout the magazine now. Here is the guide for what they represent. APP EXTRA will be coming along shortly when our second app is released. Enjoy the Resource multimedia experience!







In the Winter 2012 You Are Here article, lists got mixed up and some people ended up in the wrong category (i.e. Photographers appear under Hair/Makeup etc.). We are sorry that this happened and apologize for the confusion it may have created. We have corrected it for our online edition.

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JAn 10

A photographic timeline of the last Quarter

Eve Arnold, passed away at the age of 99. The American expatriate lived most of her life in Great Britain and had an illustrious career, photographing among other subjects Harlem’s black fashion in 1948 and Marilyn Monroe.

JAn 1-18


The 33rd annual Dakar Rally, an off-road race for cars, motorcycles, and trucks, crowned champions from France, the Netherlands, and Argentina. Drivers trekked a course through Argentina, Chile, and Peru. The two-weeks rally takes place in stages, with drivers going roughly between 500-550 miles per day over a wide range of terrain.

JAn 18

legend photojournalist The online world rallies eve Arnold dies. Photo of Eve Arnold by Robert Penn against SOPA and PIPA. Magnum’s first woman photojournalist,

JAn 12

lauren greenfield sued for defamation.

Photo by David Berkowitz To protest the Senate and House’s anti-piracy bills, Protect IP Act (PIPA) and Stop Online Piracy Act (SOPA), major sites such as Wikipedia and Reddit shut down or “went dark” for 24 hours. The outrage from the online community brought the bills to a halt.

Photo of Lauren Greenfield by Robert Leslie Lauren Greenfield, noted photographer and filmmaker, was sued for defamation by one of the subjects of her latest documentary, “The Queen of Versailles.” The plaintiff claimed that the original press release for the film, a story about the Siegel family’s attempt to build the largest house in America, made defamatory statements such as “the film tells a rags-to-riches-to-rags story.”


Sony unveils new, highspeed XQD memory cards. JAn 2

Samsung’s debuts DualView DV300F camera.

Samsung’s release of the DV300F builds on the success of its Dual View point-and-shoot. This camera sports a 16-megapixel, a 3-inch rear LCD screen, a 1.5 front LCD screen, and WiFi capabilities, making uploading a breeze.

Photographers are going to play catch up with their cameras now that Sony’s new XQD memory cards provide highspeed and high-performance digital capture, high-speed data transfer capabilities, and reliable protection for users’ data and images.

JAn 11

Polaroid launches SC1630: the world’s first Android HD smart camera

Sharing, editing, and uploading photos just got better with Polaroid’s new HD smart camera powered by Android. With this ultra-portable camera, people won’t have to choose between the ease of a social network-friendly camera phone or quality of a digital camera.

JAn 18

Sigma Founder Michihiro yamaki dies.

The 78-year-old Michihiro Yamaki passed away in Tokyo, Japan, after a fight with liver cancer. Yamaki founded the lens corporation in 1961 and almost single-handedly created the third-party lens business as it stands today. He was head of the company up until 2011, on its 50th anniversary.

JAN 20 JAN 19

Leaked video of Adobe Photoshop CS6.

The newest version of Photoshop is set to be released this summer but those anticipating its upcoming release got but a taste of what they are in store for when this leaked video of the new software hit YouTube. Screenshots were taken before the video was pulled from the site.

Singer Etta James dies.

Photo by Joe Seer / Grammy winner and Rock and Roll Hall of Fame inductee, Etta James, passed away at the age of 73 from complications with leukemia. The singer was well known for her smooth, soulful voice, and classics such as “At Last” and “I’d Rather Go Blind.”

Andrew MacNaughtan dies.

Toronto-based photographer Andrew MacNaughtan, most remembered for his work with bands Rush and The Barenaked Ladies, died at the age of 47. It was reported that he suffered a heart attack while he was on location shooting Rush.

JAN 31

JAN 23

The Canon EOS C300 is out.

Sony To Acquire Newly Issued Olympus Stock.

Sony is among the top contenders for Olympus’ newly issued stock worth $1.28 billion, with Fujifilm and Panasonic also interested in acquiring it. This move by Sony may save the scandal ridden-company from their highly public financial woes.

JAN 30

JAN 24

Vimeo unveils its new layout.

The Canon EOS C300 made its first appearance in Japanese retail stores at the end of the month. The interchangeable lens video camera caused quite a stir thanks to its modular design, EF mount, and $16,000 price tag.

The well-known and beloved video sharing site, Vimeo, rolled out a new layout, which features a larger video player, the ability to play videos from members’ homepages, and improved navigation features.

SHOOT TALK: ”A Photographic Timeline of the Last Quarter” Page 23

FeB 10

Jason Lee Parry‘s defamation suit dismissed. FeB 7

Canon’s counterannouncement. On the heels of Nikon’s D800 announcement, Canon was ready when they announced two new versions of its Wide Angle Lenses and a new version of its popular 24-70mm Standard Zoom Lens.

FeB 11

Photo by Jason Lee Parry A federal court in New York dismissed the $28 million defamation lawsuit brought by a model who claimed photographer Jason Lee Parry failed to obtain a signed model release. The dismissal was based on legal technicality— Parry turned out not to be subject to New York jurisdiction as he is a California resident.

whitney houston, 48, dies.

FeB 8

Sigma slashes the price of the SD1.

When it was introduced in June 2011, the SD1 kept potential customers at bay with its daunting $9,700 price tag. This year, Sigma decided to re-release it as the SD1 Merrill with a significantly reduced price tag of $3,300.

FeB 15

Bowens launches limelite.

Lighting equipment manufacturer Bowen launched Limelite, which is focused on the video and broadcast marketplace. Bowen hopes the launch will diversify its product range and also allow them to continue producing innovative solutions for those in the lighting industry.


Pentax Optio WG-2 camera leaked.

News of Pentax’s new 13th generation adventure camera got out when a listing for it was spotted on Adorama. This water/ shock/cold/crush/dust-proof monster can push the limits as far as the madman behind the camera can and is now currently available.

FeB 10

Samuel Aranda wins the 2012 world press photo of the year Award.

Photo by Samuel Aranda Spanish photographer Samuel Aranda received the 55th annual World Press Photo of the Year award. His photo, which was taken at a field hospital in Sanaa, Yemen, was of a Yemeni woman holding a wounded relative hurt during an anti-government demonstration. The image was singled out as being a “poignant, compassionate moment.”

The 2012 New Museum Triennial.

“The Ungovernables” is the 2012 New Museum’s exhibit and features over 50 artists, born between 1970 and 1980. The title suggests resistance to the conflicts this generation witnessed. The show runs through April 22.

FeB 13

Craig Walker wins Newspaper Photographer of the Year.

Photo by Craig Walker The Denver Post contributor won the award of Newspaper Photographer of the Year in the 2011 Pictures of the Year International competition. The 2010 Pulitzer Prize winner’s portfolio was cited as having a “balance of esthetics and journalistic content” and featured war veterans who suffer from PTSD.

FeB 15

Court approves Kodak’s Dip financing.

After filing for Chapter 11 Bankruptcy Protection in January, Kodak received court approval for $950 million between Kodak and its lenders and second lien bondholders, giving them time to reorganize the company and business plans.

FeB 20

FeB 24

PocketWizard Plus III announced. FeB 16

Former executives arrested over Olympus fraud.

The on-going financial scandal came to a head when Tokyo prosecutors arrested expresident Tsuyoshi Kikukawa, former executive vice president Hisashi Mori, and former auditor Hideo Yamada, along with several bankers and financial advisors. The three are considered the main suspects in the $1.7 billion accounting fraud.

Shepard Fairey pleads guilty to criminal contempt charges.

Here’s a new photo gadget launch to be added to the list. In addition to featuring 32 channels and Selective Quad-Zone Triggering, the new and improved transceiver can do more at a lower cost. Expected availability: March 30, 2012.

FeB 21

Sony A35 discontinued.

Following the fates of the Sony A33 and A55, the Sony A35, which featured a semitransparent mirror and Xtra Fine EVF, was discontinued. There has been speculation as to what the next entry-level SLT camera Sony will replace it with.

FeB 20-22


The wedding and portrait tradeshow extravaganza took over the MGM Grand in Las Vegas. With over 15,000 attendees, 330 exhibitors, and 150 speakers, everyone went home happy, full of educational enlightenment and with new toys to shoot with.

Image by Shepard Fairey Back story: the Obama campaign “Hope” posters designed by Shepard Fairey was based on an image the Associated Press owned. The artist never cleared his redesign with AP and then tried to cover up his initial lies. Fairey could face up to six months in prison and a fine of up to $5,000. His sentence will be finalized on July 16.

FeB 29

FeB 16

the Kodak theater in search of a new sponsor (and name).

Due to bankruptcy, Kodak had to withdraw its name from the famed LA movie theater, home of the Academy Awards. The sponsorship started in 2000, with Kodak signing a $74 million deal for the naming rights to the prestigious venue.

FeB 22

Photojournalist Rémi Ochlik is killed in Syria.

The French photojournalist was killed in an attack in Homs, Syria, where he was covering the violence. The young photographer always dreamt of working on international affairs and had the opportunity to cover the war in the Democratic Republic of Congo, the Tunisian uprising, the Libyan conflict, and the Egyptian demonstrations.

FeB 25

Adobe photoshop touch for the ipad 2 launched prematurely. FeB 24

Cindy Sherman Retrospective opens.

From February 24 till June 11, the Museum of Modern Art in New York is hosting a major Cindy Sherman retrospective. This exhibit includes more than 170 photographs spanning three decades. Sherman is acclaimed as one of the most important and influential artists in contemporary photography; she spent most of her career working on self-portraits, adopting many different guises.

The Adobe photo editing tablet app was believed to have mistakenly launched several days before its official launch date but was immediately pulled. The app, which is only available for the iPad 2, contains popular Photoshop features designed specifically for the tablet.

Monkees Davy Jones dies at 66.

FeB 27


Sony generated some hype with the announcement of their new Cyber-shot cameras, which include nine new additions altogether to their H-series, T-series, and W-series. Longer zoom lenses, slimmer bodies, and improved megapixels are among the new cameras’ upgrades.

SHOOT TALK: ”A Photographic Timeline of the Last Quarter” Page 25

MAr 6

Photographer and advocate Paula Lerner dies.

MAr 6

new hasselblad cameras start shipping with Adobe lightroom.

Photo of Paula Lerner by Michael Grecco The photographer and past VP of the Editorial Photographers trade association passed away after a long battle with breast cancer. Paula achieved much during her career, including winning an Emmy for a multimedia piece she created. She volunteered most of her time at the EP trade association and was directly involved in the Business Week and Forbes contracts that became the standard for fair business practices for editorial photographers.

Hasselblad announced it will offer Adobe Lightroom 4 software, at no additional cost, to those who purchase its H4D cameras. But don’t think that this move means that Hasselblad’s Phocus software is being phased out. Phocus is still alive and kicking, offering highly specialized tools and the ability to connect wirelessly to the iPhone, iPad, and iPod Touch.

MAr 7

Lindsay Lohan “hearts” Terry Richardson.

After an alleged “major night of passion” following a photo shoot at the Chateau Marmont in Los Angeles, Lindsay Lohan is reportedly pursuing Terry Richardson, who is hesitant to start a relationship to say the least.

MAr 6

pentax K-01 now shipping. Announced in February, Pentax’s second K-mount mirror-less interchangeable lens camera is now available for shipping in limited quantities. Designed by Marc Newson, its retro look and chunky body already begun to polarize consumers.


paul graham wins the hasselblad Foundation international Award.

MAr 1

MAr 5

Whitney Biennial 2012.

Iranian photographer Tahmineh Monzavi is arrested.

The Whitney Museum of American Art celebrates its 2012 edition of its Biennial and takes a look at the current state of contemporary art in America, from sculptures and paintings to photography and video. The show is on display until May 27.

MAr 2

Photo by Tahmineh Monzavi The young photographer was arrested under unclear circumstances, but most observers speculate her work is the cause. In Iran, many do not approve of Monzavi, who is known for denouncing the Islamist regime abuses, especially of women’s rights.

photographer Stan Sterns dies.

English fine-art photographer Paul Graham received the Hasselblad Foundation International Award in Photography. Chosen by a panel of distinguished judges, Graham’s work will be showcased at the Hasselblad Center at the Gothenburg Museum in October and earned him a $150,000 cash prize.

Photo by Joshua McKerrow/The Capital, via AP The photographer best known for his iconic image of John F. Kennedy Jr. saluting his father passed away at the age of 76. Sterns was then a Washington photographer working for the United Press International agency and nearly won the Pulitzer Prize for journalism with the image.

MAr 16

iPad 3 set to be released.

MAr 9

Apple releases the third generation of their trend setting mobile device. The iPad 3 features Texas Governor Rick Perry spilled the beans and revealed that Apple will build a $304 million campus in his state’s capital, with a $21 million help (spread over a new Retina display, Apple’s new A5X chip with quad-core graphics a decade) from the state’s Texas Enterprise Fund. The mega-building will host and a 5 megapixel iSight camera customer support, sales, and accounting, totaling 3,600 employees. with advanced optics for capturing stunning photos and 1080p MAr 9-11 HD video.

Apple plans to build a $304 million campus in Austin, TX.

Fountain Art Fair.

The 7th annual New York exhibition opened with an unparalleled platform of nearly 60 exhibitors, artist projects, performance artists, and musical guests. Its DIY attitude has allowed the fair to tap into a niche that thrives on the raw and fresh spirit of art.

enD OF MArCh

Canon set to release 5D Mark iii.

MAr 11

MAr 8-11

Instagram hits 27-million user and teases us with its Android app at SXSW.

the Armory Show.

Photo courtesy of the Armory Show A leading international modern and contemporary art fair, the Armory Show features an international list of artists and an Open Forum program with major art figures.

Instagram is heading to Android “very soon,” according to founder Kevin Systrom. The Android version is currently being tested and it’s reported to be superior to its iOS counterpart. “It’s really, really fast,” Systrom said.

The photo community is buzzing about the anticipated release of the new Canon 5D Mark III Camera. B&H will be one of the first retailers to offer it on a preorder basis. The new and highly anticipated 5D Mark III camera retails for $3,499, and comes full of surprises and upgrades.

MAr 29

Sony A77/Sony A65 firmware updated version 1.05 to be released.

MAr 8

The silver Zeiss Ikon rangefinder camera discontinued.

Following the discontinued Ikon SW (Super Wide) last year, the silver Zeiss Ikon film rangefinder has been discontinued—but the black version is still available.

MAr 8

phase One may be working on a new medium format camera with video recording.

Rumors are circulating that Phase One is working on a medium format digital back with live view and RAW video recording. We’re holding our breath until Phase One confirms.

MAr 9

leica Appoints new Chief Financial Officer.

Ronald Marcel Peters was named the new CFO of Leica Camera AG. Peters will assume the financial duties of Andreas Lobejäger, who left the company at the end March of his own accord. Lobejäger was responsible for much of the restructuring and turnaround of Leica Camera, which resulted in a profitable year in 2011.

The updated features include improved responses, AF accuracy for low contract objects, compatibility of Minolta lenses, and an expanded number of automatic compensation compliant lenses.

MAr 13

Sony’s new Alpha A57 translucent mirror camera.

The Alpha A57 will replace in April the Alpha A55. New and improved, the camera boasts a 16000 ISO and can shoot 12 frames per second (compared to the measly 10 its predecessor did) and has lots of bells and whistles worth checking out.

MAr 29-Apr 1

AipAD photography Show new york.

The AIPAD Photography Show New York gallery event showcases photographs, video, and new media from over 75 of the world’s leading art galleries. The show includes a number of contemporary, modern, and 19th century photographs.

SHOOT TALK: ”A Photographic Timeline of the Last Quarter” Page 27

WHAT’S COMING UP IN Q2 On now through April 26, 2012

The Senior Project, 25 City US Tour After his 2011 very successful wedding photography boot camp series, Sal Cincotta is showing you the in and outs of high school senior photography. From techniques to make everyone look like a million bucks to tactics on how to break into that expanding market, he shares it all. Check for dates in a city near you.

March 24th through June 11, 2012

How to Photograph Everyone Tour, 33 City North American Tour Traveling across the U.S. and Canada, renowned photographer Clay Blackmore brings his passion to the learning masses. Focusing on portrait and wedding photography, he explains the cardinal rules of a good image: posing, lighting, and refinements through 4.5hr Seminars or full-day Master Class with hands-on training.

March 31-April 30, 2012

MOPLA ’12: Month of Photography, Los Angeles, CA Bigger is better as MOPLA, the LA-based month-long photo extravaganza, demonstrates. This is the third inception of the festival and represents a massive undertaking for the LUCIE Foundation that started it. With exhibitions, panel discussions, talks by famed photographers, and parties, consider your dance card filled.

April 28, 2012

Shoot LA, Los Angeles, CA Brought to you by the good people at Broncolor, Smashbox, and Hasselblad, Shoot LA is the West Coast pendant of Shoot NYC, which started two years ago as a “boutique trade show.” The daylong event is chockfull of workshops, talks, product demos, and networking opportunities. It’s free (yay!); you just need to register.

May 16-20, 2012

NYPH’12, New York, NY Curated by gallerist Amy Smith-Stewart, social documentarian Glenn Ruga, TRACE Magazine founder Claude Grunitzky, and DJ Spooky, the festival promises to be eclectic. In its fourth year, NYPH will once again take over DUMBO (where our offices are located) and transform the neighborhood into a photo Mecca—and we love them for it!

June 8-9, 2012

Vimeo Festival + Awards, New York, NY Vimeo started its annual festival last year to recognize the best emerging talent in online video. Built around the theme “The End of the Beginning,” Vimeo put together an incredible panel of judges; finalists and a breakdown of the full program will be announced on April 7.

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

Like a master chef adding just the right amount of seasoning to bring out the flavor in a carefully prepared dish, there is a subtle hand that puts the finishing touches on the most expertly prepared photographs: the retoucher. It’s the retoucher who whisks the photographer’s raw image files away to a magical Technicolor land where their weaknesses are overcome and they become the images they were meant to be. We brought our questions about the craft to Jason Tuchman, who at 31 not only works at the highest levels of his field, but also runs his own shop, Pistol Studios. HOW DID YOU BECOME A RETOUCHER? My family owned a photo lab where they would colorize black-and-white photos. That was my introduction to the idea that you could take a photo and manipulate it. My education stemmed from being from a family of creative artists. Then, straight out of high school, I started working at Shoot Digital. They were a big retouching company back when I started, around 2000. To do physical retouching and work with a photographer on a photo—there was something about it that I just completely fell in love with. The people who were working there were phenomenal retouchers. And the things that they taught me—that was my education. It was like a master/apprentice situation. TELL ME ABOUT THE RANGE OF IMAGES YOU RETOUCH. It’s everything. Somehow I got known as a very good beauty and fashion retoucher, but the reality is that if you’re a good retoucher, you can retouch anything. The range of things that I’ve worked on has been very broad, but beauty is the hardest. WHAT’S HARD ABOUT BEAUTY? What’s hard is that everybody has a preconceived notion of what a person looks like. If you’re retouching a car or something abstract, you can do whatever you want with it because there isn’t an idea in everyone’s brain of what it needs to look like. But when you spend your whole life looking at somebody’s face, you have this idea of where everything should be—eyes, ears, nose, mouth. When you start manipulating that too much, it very quickly stands out. So you’re restricted in what you can do, but that restriction forces you to get really good at it, to make [the image] even more beautiful and interesting.


Retouching Starts DIRTY and Ends DIRTY Jason Tuchman, retoucher, has always been ahead of the curve.

By Aimee Baldridge I Photos courtesy of Jason Tuchman

BIZ: BREAKING IN-”Retouching Starts DIRTY and Ends DIRTY” Page 31

going to be until I start my day. When I wake up, I’ll speak to my production manager or look at my e-mails and say, “Okay, this is the problem-solving part of the day. Let me take a step back and figure this out.” That’s really fun, actually.

WHAT DO YOU DO DURING A TYPICAL DAY ON THE JOB? As a retoucher, I spend the majority of my day retouching. I’m a bit of a workaholic, so I will work and work. But I like it. My studio is my home and my office, and my wife’s also a retoucher, so we put on music and retouch all night, and it’s fun. Being a business owner makes things a little different because I do have that responsibility. There’s definitely a major creative problem-solving aspect to every single day, and I don’t know what it’s

DO YOU WORK WITH CAPTURE TECHS? Every day. Especially if the techs are doing something special in the capture program, I’ve got to make sure that when I get their files, I get those capture settings. If I’m not on set, and I don’t know what they’re envisioning, they need to send me a reference. When I get the raw file, it’s flat. There’s no color applied to it. It’s miles away from what the photographer is thinking. So that’s where we have to start communicating about what the photographer wants.

DO YOU EVER GO ON SET? I prefer working in my studio. I get asked to come on set just to see what’s going on, and to get an idea of the job I’m about to get, especially if it’s a high profile campaign. Everyone needs to get ready for those things, see what they’re shooting, and look at the art director’s layouts and the images they’re using for inspiration. When retouchers are working on set, it’s for instant gratification. It’s never full-blown retouching. It’s just for the presentation purposes of that day. Then you take it to your office, undo what you did on set—because it’s usually sloppy—and do it properly.

WHAT’S THE LONGEST YOU’VE EVER SPENT ON A IMAGE? If you spend a long time on an image, something’s going wrong. That means you’re doing a bad job or the creatives are getting out of control. I’ve spent a month on an image before, but it was because the days of digital weren’t quite here yet. It was still analog scans, and you had to do things back then that took a long time. Now, no one has that time. If you can’t do it fast, they’re going to give it to someone else. The average turnaround for an editorial these days for us is running around a week for final delivery, which is very, very fast for an editorial. It’s a quarter the amount of time it was five years ago. HOW DOES 3D IMAGERY COME INTO WHAT YOU DO? The obvious, easy stuff. It can be used very effectively when it comes to products or backgrounds. If you shoot a woman in a studio, you can have a 3D set made without having to hire a set stylist and get props. 3D people aren’t quite there. I get a lot of 3D elements from advertising agencies and other 3D companies. They look very 3D, very fake, because there’s no texture. They’re too perfect. I know people have this idea that retouchers make things perfect, but that’s the complete opposite of what we actually do. So when we get this perfect-looking 3D image, we’ve got to make it look like it fits in the real world in a photograph. I think when 3D starts

taking off, it’s going to be part of the service. Clients are going to come to a retouching house, and we’re going to have to offer 3D services. That seems to be where things are headed. IS RETOUCHING A GOOD FIELD FOR PEOPLE TO GET INTO FROM A PRACTICAL STANDPOINT? CAN YOU MAKE A LIVING DOING IT? There are two things you can do as a retoucher. You can make it your absolute life, love, and passion, and go very far with it. To me, this is my art form, and I’ve taken it very far for what it is. But if you know how to retouch, and your passion isn’t to become the greatest retoucher in the world, it’s a great way to make easy money. There’s a lot of retouching out there that doesn’t need to be these really high-end images. There’s quick work that’s going on the Web and just needs to look pretty. It’s a good gateway to other things that you may want to do creatively. People always think there are just good retouchers and bad retouchers, but there are a million shades of gray in between. 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

Jason Tuchman:

WHAT DO PEOPLE HAVE TO LEARN TO BE GOOD RETOUCHERS? The word “stop.” The most important thing any retoucher needs to know is when to stop. You don’t always have to retouch. You can go in and fix up some small blemishes, but you don’t have to change the image completely. Like any other artists, retouchers want to be able to say, “This was my contribution to this image.” But sometimes you just have to serve the image for what it is. A good photographer should be able to capture it all in-camera. So we’re just here to make sure it prints properly and to enhance it. Too many people take a good image and think they have to inject their 15 cents into it. They think they’re making it an amazing image, but what they’re doing is making a good image bad by doing too much to it.

Calumet NY WelComes

Jim Reed

PhotograPhy by Sarah Silver to see more of Sarah’s work, visit

Calumet Photographic is proud to welcome Jim Reed into our family. As the new general manager of our NYC store, Jim’s 30 years of commercial shooting and 20 years in the city’s professional photo market, provide a unique blend of experience, motivation and enthusiasm. His vast knowledge of high-quality photography and intimate insights into Broncolor and high-end digital products in particular, promise to bring a new level of technical expertise and sales support to our customers’ in-store experience.


22 W. 22nd Street

Captured with:

Lighting by: | 212.989.8500 | M-F 8:30 to 6, SAT 9 to 5:30, SUN 12 to 5


TONY CORBELL By Christina Fong I Photos by Tony Corbell

From the middle of nowhere Texas, Tony Corbell managed to carve out an impressive photography career that’s taken him around the world and placed him in the company of many notable figures. “When I opened my studio in Midland, I photographed a lot of celebrities—I was the only game in town,” Corbell recalled. “All of that stuff led me to stories with a little bit of press coverage, and pretty soon I’m getting calls from different places.” If from a distance, his career resembles a desert flower that blossomed overnight, that’s not the way Corbell sees it. “I think I could’ve progressed quicker. It took me a long time to sort of become an overnight success,” he said. He’s one of a few who’s able to claim a great amount of success with no formal education to back him up. He had never even taken a photograph until his early 20’s when his brother-in-law asked him to join his San Angelo studio. “I sat in dark rooms, studied from workshops all over the country--I went to as many of them as I could afford to go to,” Corbell said.

Corbell learned early on that his skills lied not only behind the camera but in front of students as well. “For me at least, I’ve turned out to be a pretty good teacher. I don’t know that I’ll ever go down in history as a great photographer, but I think people will say that I do understand my craft,” he explained. He began teaching in 1984 and takes pride in being able to take something very technical and complex and make it easier to understand. Corbell’s success as an educator has led to several books and videos, notably his “1, 2, 3 Lights” series. He’s now also all over the Internet; with the help of, an entire online course hosted by Corbell was released in March 2012. His workshops focus primarily on lighting as Corbell stresses the importance of understanding the foundations and physics of light. Photographers need to understand what’s possible and what’s not possible. Having taken a great deal of portraits and wedding images, Corbell understands what lighting can add or take away from a subject. “I learned a long time ago that, generally speaking, a photograph is of someone but a portrait

Tony Corbell:

“You can take an average picture of an extraordinary thing or an extraordinary picture of an average thing.”

is about someone. You have to find a way to visually tell a story. And if you’re missing that then it’s just a documentation of what they look like,” he said. Lighting provides emotion and makes you feel a certain way. Although Corbell finds it unfortunate that everyone’s teaching marketing, Lightroom, and Photoshop but not elements of the craft like lighting anymore, that’s not to say he is against the digital revolution. He’s now able to do more than he ever thought possible, especially in post-production. Corbell is a major Nikon supporter and lives and dies by Profoto, with the Profoto D1 monolights being his favorites. While the transition to digital was at times vexing for a man used to working with negatives, Corbell didn’t want to go the way of the dinosaur. “With this new technology, I’m getting better every year,” he said and added humbly, “I learn stuff every day, and I’m open to that.”


What Kind of Photographer Are You? By Resource | Illustration by Mercy Leviste

Don’t know what you want to be when you grow up? Follow our graph and answer our questions to discover what kind of photographer you were born to be.


Get one, we’ll talk when you do.


Do You own A Camera?

YES Are you anal-retentive?




Do you like to eat?

NO Do you like to drink?

Do you like people?


Do you like the outdoors?




Did you cry when you watched the Wedding Planner?


Do you like wrinkles?


NO Do you know who Victor and Rolf are?


Do you have a subscription to oK Magazine?



TRAVEL Does the idea of a ten hour plane ride scare you?




CELEBRITY Do you own a DVD of Almost Famous?


Do you own more than 10 grooming products?


Do you know who Mick Tayler is?

Is Red Bull oNLY a drink to you?



Do you prefer it with vodka?



Do you believe “less is more”?




Are cars sexy?










Do you collect Martin Schoeller prints?


NO Is it to cover your existential pain?




Do you feel Gregory Crewdson is done and over?





Are you afraid of lions?



q 1

1. B&W shots with splashes of color in them 2. Solarized effects






4.Decrepit houses in the middle of a field 5.Clowns


Does Chucky from Child’s Play give you nightmares?


6.Gas Masks 7.Raindrops or Dew 8.Close ups of insects or flowers 9.Running makeup 10.Pigeons



3.Close up of rusty things

11. Close up of somebody’s eye



12. Use of school portrait painted backdrop 13. Double exposed images (unless



done impeccably)




14. Old broken dolls 15. Dandelions 16. Sunrise or Sunset 17. An entire portfolio of one subject (esp if its clearly shot

NO Have you ever wiped out?

in one day)



18. Kids dressed up like adults


19. Bathtubs or Toilets 20. Colorful frames or borders

BIZ: GRAPH-IC-”What Kind of Photographer Are You?” Page 37



Images above by Sean Kennedy Santos, Images below and on right hand page by Brian Doben

NAME: Stacey Jones POSITION: Fashion Director, Chicago Magazine CLAIM TO FAME: I hope I am known for being honest and having tremendous integrity (talent is a given!). YEARS IN THE BUSINESS: Just entering my 12th year. LOOKING FOR IN A PHOTOGRAPHER: A brilliant vision in how to bring life to a fashion story. DEAL-BREAKER WHEN HIRING: When the photographer is not able to understand clothes and the vision I see for the story. I have in-depth conversations with them before we shoot so that I know they understand what the designers had envisioned when they created their collection. I understand it is editorial, but if a photographer does not understand and really feel the clothes, we can’t go anywhere because it is personal for me. FINDS PHOTOGRAPHERS IN: All different ways. Some email me; a few I email directly; some I meet at parties; some in a subway in Paris. I am always open to meeting new people everywhere I go—you never know where it will take you and how the collaboration will evolve. I love that about my life.

This is a story about chemistry. In the world of fashion, great photographers need great editors, and great editors need great photographers. The resulting personal chemistry yields a creative confluence, tempered with just the right amount of mutual trust, which may actually best be described as alchemy. Fashion is ultimately about selling, and at the end of the fashion photography rainbow (a prism of initiative, creative vision, resourcefulness, and careful timing) there is, indeed, a pot of gold. Ironically, the tighter the nature of this relationship, the looser and unencumbered are the results, and the rewards are substantial given the industry validation awarded to published work. There once was a girl in Chicago who, at age ten, decided to wallpaper her bedroom with the pages of W Magazine. No, this is not a fairy tale but the story of a successful career rooted in that bedroom, born from a dream—a dream of becoming. Stacey Jones knew that fashion was her future, and her internal drive to become that dream found early wings. She is today the Fashion Director of Chicago Magazine. Thinking that this magazine is not a credible fashion showcase is an admission of not knowing it. Although the Second City might not be considered an international market, Stacey’s influence has brought the magazine’s fashion posture to a world-class level. It’s a ten-year investment of her life, and a true labor of love. But the road to success is never a straight line, and Stacey’s rise is no exception. Engineering School is a surprising anomaly on her resume, followed by a not so surprising job at the citadel of Chicago publishing, Playboy Magazine. There, Stacey got her feet wet and after a couple of years of “un-fashion” decided to go out on her own as a stylist. This

Stacy Portrait by Tom Corbett Stacey Jones: /

decision (which coincided with the new millennium) was quickly validated when she meet photographer David Anthony. Their chemistry was immediately evident, and opportunities started to blossom. Their first collaboration for Spanish Harper’s Bazaar put Stacey on the map as, in her words, she went from 0 to 60 in four months. And zero is not an exaggeration, as she had no real training or umbilical relationship with another stylist, the traditional path. Rather she had to find the willpower and perseverance to teach herself how to call in clothes, deal with PR agencies, and build a story. The dormant internal drive, born in that childhood bedroom, was ignited, and over the next year she and David added Marie Claire, Elle and more Harper’s Bazaar to their monthly achievements. Together they kept the “pedal to the metal,” and their success did not go unnoticed. In 2001, Stacey heard from then fashion editor of Chicago, Stacy Wallace-Albert, and the subsequent assignment offered, and accepted, marked the beginning of her tenure at the magazine. They collaborated on several stories until, in late 2001, SWA retired. Stacey was the obvious replacement, and she accepted the position with little deliberation. Her influence on the magazine’s fashion offering has been nothing short of remarkable, as she pushed boundaries and incorporated the influences of the stylish, well-traveled, and fashion-savvy readers of her hometown. In 2005, Stacey created the Chicago FASHION issue, a bi-annual supplement that has been immensely successful. It has allowed her to further press the creative limits with photographers, locations, looks, and layouts usually found in international fashion magazines. The results were, and continue to be, embraced by both readership and advertisers.

Although a sagging economy has increased budgetary restraints, Stacey’s resourcefulness abounds. Recent issues have featured dreamy, sexy, and aspirational editorial stories shot on the streets of Shanghai and on the Faroe Islands, off the coast of Iceland. She professes that anyone would be amazed at what she is capable of accomplishing on a tight budget. The results certainly support that claim. But there’s another form of chemistry that plays a big part in this story— the chemistry of two mutually supportive, intertwining careers. While at Chicago Magazine, Stacey has maintained her freelance status very successfully and is represented in New York by Bernstein & Andriulli. It’s a magic formula, although not unprecedented, that yields a unique symbiosis of relationships in a business that thrives on relationships. Subsequently, she lives in a vortex of assignments that keeps her on a whirlwind schedule. I had no idea what good fortune was present when we were able sit together, for an hour, at a Chicago coffee bar on a blustery November afternoon. The conversation was both uplifting and engaging; I quickly discovered that the aspirations she injects into her work are genuine reflections of her life’s goals. When I attempted to speak with her in December, it was a no-go as she was on assignment in Las Vegas, then traveling to Palm Springs, Thailand, and Bejing. Case in point! Perhaps the best part of this story is yet to be written. There is no apparent ceiling to Stacey’s potential, and the next chapters are sure to be filled with new relationships, undoubtedly spawning the next generations of fresh and exciting chemistry.

BIZ: CLIENT FILE-”Stacey Jones: Fashion Director Chicago Magazine” Page 39


Print a BOOK As a photographer, a beautiful book is a great way to show off your work. Using it as a portfolio or giving it to clients as a promotional piece or thank you gift, a book means you’re serious about your craft and images. A growing number of quality printing companies now makes it easier than ever to print in small, limited editions. If you’re having trouble deciding which one is right for you is, here are a few we’ve selected to help you get started in your own print ventures—but even we didn’t have enough room to list all of our favorites!

< A & I BOOKS • • •

A division of A&I Studios, a famous LA photo lab. All printing and binding are done in-house. Print-on-demand, with consistent quality from one print run to the next. Using HP Indigo machines, which deliver the highest quality in digital printing. Free online software with professional tools and unique templates for sophisticated graphic design (yet easy to use). Publishing services available (editorial, copy editing, and consulting on marketing, publicity, and distribution).

• • •

ADORAMAPIX> • • • • • • • •

Each book is individually handcrafted. All pages are printed on silver halide photo paper, no press. Leporello lay-flat binding, panoramic spreads. Pix Publisher: browser-based drag-and-drop software. Hundreds of template designs to choose from. Share or sell your books from our website. Fast, 3-day turnaround (sometimes faster). Affordably priced.

< ASUKA BOOK • • •

• •

Free software to assist you with color calibration and design. Their 6-color printing press is calibrated every 100 pages for color consistency and accuracy. They use a specialized ink that outlasts other widely used inks, and a varnish coating or laminate to increase the durability and quality of the books. Books are assembled by hand with complete quality control and care. Great customer service, knowledgeable and helpful not only with their products and services, but also with a deep understanding of the industry.

BLURB> • • • • • •

Millions of professional quality books produced each year for photographers, designers, galleries, and museums. Easy to use templates or full book design and customization tools available. On-demand means you can publish one book… or 500. Global network of printers enables fast publishing and delivery. New platforms, such as Blurb Mobile, introduce storytelling from iPhone and tablets. eBook conversion allows you to turn your book into an iPad eBook.


Over 30 years of experience. Numerous industry awards (2 time Benny Award recipient, the highest award given by the PIA, Printing Industries of America). Complete in-house production, equaling exceptional quality control. Low volume publishing options. Quality above and beyond. Price points for every client.

• • • •

MPIX> • • • • • • • •

Fast turnaround (books shipped within 24-48 hours). Pro quality press printing, ensuring beautiful image reproduction. Templates available for quick and easy design. A variety of premium paper types available. Cover choices include popular custom printed options. Start at just $20 for a Suede Hard Cover Book. Add up to 50 sides/25 pages in increments of 2 pages. Foil stamping available for a completely custom treatment.

< PINHOLE PRO • • • • •

Beautiful press products with a modern design and aesthetic. Panoramic Photo Books, a gutter-less book perfect for landscape photography. HP Indigo printer and Mohawk Fine Papers result in sharp beautiful imagery at archival quality. Unique complementary products (brag books, notepads, frames and prints). Intuitive ordering software with several template options for every professional product.

BIZ: SELL YOURSELF-”Print a Book” Page 41

The Basics

1. Check the resolution of all your images. Standard printing

expectations are for images to be 300dpi. As a photographer, you should have files that big.




2. Each printing company may request a different file format.

Although a common file type will be CMYK TIFF, double-check with your printer and format your images to their specifications. If you’re a color freak (as you should be), there may be some color adjustments needed after making a conversion.

1. Use your cover image as you would a splash page on your website. It will be a visitors’ first impression of your work so make it a good one.

2. Sure, it was a pain to

get accustomed to yet another Facebook update, but the Timeline format is actually ideal for us photographers. Your fb page now looks more like a blog and has more visual capabilities. Scrolling through it should be like seeing your career flash before your eyes.

3. Some printing companies have online layout services, which

are usually very user-friendly. If you use them, you need to check how they let you upload the photos. Particular file names may be required for each image. Also batch uploads in a zipped format may be requested, which could change how you organize your folders.

4. Some companies give you templates in which you can layout your images on a software system like Adobe InDesign. In this case, read up on how they want your pdfs exported as this could change the quality of your printing drastically if done incorrectly. only choose this option if you are very comfortable with the software of choice. Export PDF

General Compression Output Security Summary

3. Self-promotion goes down

easier when you mix in some tips and inspiration. Nobody wants to go to your page ONLY to look at your work. So give your subscribers a peek into your creative mind by showing them what inspires you. Include gear, exciting moments in your life, other people’s photos, etc.

All the benefits of your own studio with none of the hassles. Personal, elegant, sophisticated & private. 205 hudson street, penthouse, new york, ny 10013 • 212.344.1999 •


NETWORKING IS EVERYTHING. PART II By Skip Cohen I Illustration by Shirley Hernàndez Ticona

In our last episode you were thinking about becoming a professional photographer and I was giving you a lecture on passion and understanding the craft. I’m assuming I didn’t scare you away—you’ve got the bug and you’re doing everything to make sure you build your skill set as a photographer. In the process, you need to ask yourself the following:

• What kind of photography do you enjoy the most? Photography is an art form; if your heart isn’t in it, no matter how talented you are you’ll never capture images that tug at people’s heartstrings. Be it weddings, portraits, photojournalism or fine art (to name a few), spend whatever time it takes to identify your niche.

• Got your niche? Now match it up with your skill set. What else do you need to learn to guarantee outstanding images every time you click the shutter?

• Last, match up your skill set with your gear. Don’t be too quick to buy everything you think you need. Most photographers start out with two to three focal lengths in their lenses, a couple of camera bodies, a strobe, … and that’s about it. You can always rent what you need and expand your gear as your expertise and the demand build.

You now need to start laying the foundation for your network and marketing. Your network, which in turn supports and helps you develop your marketing plans, is an important part of your overall framework. It’s time to get to know the industry:

• Get yourself to a good trade show and convention! Attending these events will give you a feel for the industry and the multitude of companies that support your passion for imaging.

• Join an association. Look for a state chapter of PPA, ASMP or APA, the three biggest associations in professional photography. Their state convention, monthly meetings, and newsletters will keep you in touch with other professional photographers.

• Social media will give you an edge that years ago none of us had. Start following other photographers, especially the icons of the industry. Just about everybody is on Twitter and/or Facebook. Read their blog, look at their website, and listen to their podcasts.

• Look for professional workshops to keep your skill set tuned to the latest techniques in capture, post-production, marketing, and business. Make it a point to meet other photographers each time. It’s often as simple as just talking to the person next to you! SmugMug meet-ups are an outstanding way to meet your peers while continuing your education. Check out to find out what’s going on in your area. They usually meet monthly and almost always have a guest speaker—one more person for you to add to your network!

• GoingPro ( is loaded with information to help you with marketing and business. In fact, it’s everything but photography. There’s also GoingPro Bootcamp and over sixty-five podcasts to help you through the process.

Shirley Hernàndez Ticona:

At this point you should see a pattern developing in your thought process. You’ve met lots of people, visited exhibitors at trade shows, and have been reading what other photographers are saying about different aspects of the business. Keep an open mind to new directions and don’t be afraid to take a different path now and then. You’re work in progress—being the best professional photographer you can be, requires a neverending flow of educational experiences. Getting hands-on experience is next on the list, but it should be something you’ve been doing all along. You need to build your portfolio and that means getting experience actually shooting. Nobody’s portfolio was ever built overnight. Look for opportunities with friends, family members, and local events where you can volunteer your services. Every image you include in your portfolio has to be a showstopper. Here’s a great question to ask as you review your images, “If this was the only image I could show people, would I hire me?” If the answer is

“No,” don’t be upset—the process is about practice and education. Your portfolio is an important part of your marketing: you’ve got to have great material for your target audience with the goal that the work you show becomes habit-forming. As you’re shooting and building your portfolio, remember the hierarchy of why people hire a professional photographer. The top three categories for consumers are brides, babies, and pets, in that order. There are an estimated 4,000,000 new babies born every year in the U.S., just over 2,000,000 weddings a year, and over 160,000,000 dogs and cats! That’s a huge market, but your ability to grab a piece of it as a professional photographer will depend entirely on your skill set and your marketing. Tune in next issue as we’ll start talking about the key elements of your website, marketing ideas to target your niche audience, and how to build your business.

Author of 6 books on photography, including Going Pro this article series is based 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.

BIZ: GOING PRO-”Networking Is Everything” Page 45


THE VALUE OF OUR TIME Words and Photo by Sal Cincotta


What is your time worth as a professional photographer? It’s like asking the meaning of life for some, but for others, they are staunch supporters of putting a significant value on their time. You might be thinking, “Who cares what my time is worth? I just want to go out and take pictures. Beautiful pictures! And my clients will pay once they see my gorgeous artwork.” Nothing could be further from the truth. In fact, it should come as no surprise to any of you that the price you charge for your time will directly relay the value of your product or service to clients. Translation: if you charge too little, you will be perceived as a low cost provider and thus, not very good. If you charge above average prices, you will be perceived as a top photographer—maybe even an artist. See, perception is reality. We have heard that saying way too many times, but what does it really mean to our business? Right now, our industry is going through one of the toughest transitions in its history. We have entered an age where everyone and their mother is a photographer, and if we don’t do something soon, the profession of being a professional photographer may no longer exist in five years. It will continue to be watered down by amateurs producing work that is “good enough” for clients. Regardless of whether you are a pro or amateur looking to make some extra bucks, we have to properly value our time if we are going to expand our industry and make decent money. If you want clients who value your work and your time, then pricing is where we have to start. And by pricing, I don’t mean we should compete on price; instead, we should use

Sal Cincotta, @salcincotta, is an award-winning photographer, author, and educator. This is the first installment of his new article series, “Street Smart with Sal Cincotta” in which he will discuss the business side of being a photographer. For more information, please visit

price to establish the value of our services. While my intent is not to tell you exactly where to price your services—every market and niche are different—it is however to guide you through the thought process when it comes to putting your pricing together. First and foremost, ignore the competition. It doesn’t matter how much your competition is charging. In my neck of the woods, we are in the top 10%. I am surrounded by photographers shooting and burning for $100. Yet, our studio still thrives. Why? Because we are not competing on price. We are competing on service and on experience. For our clients, the right clients, they see the value in service and quality over the cheapest price. Second, stop competing on price. You will lose this battle every single time! We cannot operate as professionals and compete on price. It’s a losing proposition. You are competing against weekend warriors and ignorant business people who think, “Wow, I just got $100 for an hour of work and handed them all the images… That’s $100/hour! Jackpot.” No, dumb dumb. That is not $100/hour. Not even close. Here is the trap some established studios have started to fall into. They see competitors advertising on Groupon and other places with low price points, and they start to panic. “Well, if XYZ is charging this, then we need to charge this,” and the vicious circle begins. In order to properly value our time, we have to understand everything that goes into a job and correctly account for it. Every minute we spend on a job is time we are not shooting, marketing, or running our business.

So, here is a simple checklist of tasks to consider on a job


Phone time. How much time did you spend on the phone with a client? Inbound and outbound calls. And for accounting purposes, round to the 15 minutes mark.


Email time. How much time did you spend with the client on emails back and forth on concepts, answering questions, scheduling the appointment, etc.?


Post Production. How much time did you spend editing and working on the images? This has to include time for downloading off your memory cards, backing up images to a secondary device (I am praying you are backing up your images), posting to a web gallery, burning to a dvd, etc.

4 5 6 7

Any additional client communications and emails about the job—thank you cards, feedback, follow-up, etc. Social media. Are you spending any time posting the shoot or those images?

Wow. That’s a lot of time for a 1hr job huh? In our studio, we cannot deliver the level of service we deliver and compete on price. We would go out of business in no time at all. I think that adds up to like $4/hr. Yikes. Just a few other costs, not built into the equation above.

1 Equipment. Rental or your own, still has to be accounted for. 2 Insurance. 3 New gear. 4 Marketing and Advertising. 5 Software. 6 Additional staff or help. 7 Cost of the actual products you are producing for a client. 8 PROFIT. Yes, profit—after all, that is the ultimate goal right?

You want to retire some day?

The time to travel to and from the shoot.

The time on the actual shoot.

So, I hope this gets you thinking a little differently about the value of your time. And while I can’t tell you exactly what your time is worth, I am hoping you can see that competing on price is the worst possible thing you can do. If you want to stand out from the crowd, don’t compete on price. Compete on your expertise, your service, and product offering. In the end, this will attract the right clients to your studio and help you prosper!

Community Inspiration Activism Education

80 exhibitors, 100 personal images, 1400 creatives and photo professionals




As told by Peter Rad The creatives (Joe Mongognia and David Black) and Art Buyer (Cheryl Masaitis) spent weeks researching photographers, looking for someone who could build a context for existing performance images and seamlessly incorporate them into a quasi-surreal New York environment. One of the goals of the campaign was for the images to literally stop people in their tracks. The protagonist in each image is having their BAM moment, and in that moment conjures up the performance into their environment. Only they can see it, but it’s most powerful. The agency eventually narrowed its selection down to four photographers, all with a fine-art/realist bent. We were each given the opportunity to present our thoughts and ideas on the campaign via a treatment. They handed us a slew of images of performances, which I then took to my favorite cafe to begin the fun process of creating stories around them. Initially it was going to be eight ads, but we had so much fun with it, they ended up going for eleven—five were released in the campaign launch, and the next six have just been released.

I think the treatment worked in my favor. I went into some technical details on the overall approach to the campaign. When working with seasoned creatives and a savvy client, these extra bits of information are appreciated on the receiving end. Once I was selected, I worked with the creatives daily and met with them several times a week in the two months leading up to the shoot. Shooting was fun but intense. Quite the production! All in all I worked on this job for over six months. Planning and shooting was just the first part. I did all of my own retouching and was given time and space to do it in a very considered fashion—not without the odd minor hiccup, of course. In the end though, I was most pleased with the outcome. It was a rare and unique opportunity to be allowed so much involvement, from very early in the concept stage through completion.

Photographer: Peter Rad Agent: Brite Productions Agency: McGarry Bowen Producer: William Carducci/Urban NYC Retoucher: Peter Rad

BIZ: HOW I GOT THE JOB-”Peter Rad’s The BAM Project” Page 49


MAPS Works the Miami Scene


Photo courtesy of MAPS

Paul Lardie got his start in the photo production industry with a foot on the gas pedal and his hands on the steering wheel of a motorhome. As Miami became the destination of choice for Northeast and European clients, he slowly built a mini-empire, which now includes a fleet of motorhomes, studio and equipment rentals and production services. Here’s his Cinderella-like story. HOW DID YOU GET STARTED IN THE BUSINESS? I came to Florida from Long Island and started working as a bartender, thinking I was going to be the next Tom Cruise in Cocktails. Instead I was recruited to become a motorhome driver by ACT Productions. I branched out on my own and, as years passed and requests came in for other services, we slowly started to provide them. We are now truly a one-stop shop for production–meaning we have in-house producers, a studio, a back lot location, in-house equipment rentals, and of course, our flagship motorhomes. HOW DID YOU EXPAND YOUR BUSINESS? MAPS has grown organically–meaning as money became available, I re-invested it into the company. I have never had a partner or outside investor, just the bank, so I could only grow my business as much as the profit margin allowed me to, which means we have never overextended ourselves.

HOW HAS THE INDUSTRY CHANGED SINCE YOU STARTED? There are a lot more players now. Back then there were only a handful of us. As a result of the increased competition, only people who provide the best service and experience stick around–it’s really a survival of the fittest. Because there are more players in the field, people have been able to find their niche. There are people who only work with German clients, others who have French or Italian clients. We are the only one of our kind in that we own all our services in-house. WE ALL KNOW THAT THE PHOTO PRODUCTION SUFFERED DURING THE RECENT RECESSION. HOW DID YOU KEEP YOUR BUSINESS RUNNING WHEN SO MANY FOLDED? We have been fortunate enough to have a very loyal client, Kohl’s, which keeps us busy twelve months out of the year. And because we only grow as much as we are financially able to, we don’t over-extend ourselves. WHAT DO YOU DO TO PROMOTE YOUR COMPANY? It used to be just through word of mouth. Our style and the energy we put out on set have earned us a great reputation, and that in itself is self-promoting. We pay close attention to what our clients like and don’t like, and treat every shoot family-style. We also keep current with what’s going on in the industry and find ways to service the industry as a whole.


MAPS CONTINUED... YOU RECENTLY MOVED; WHAT PROMPTED IT? We moved our production office from our original location on 5th Street in Miami Beach to our studio location on 2nd Street and Collins Avenue for financial reasons. The studio location is a building owned by MAPS, so we’re paying our mortgage instead of paying rent. We have also just launched our new back lot location in Miami’s Wynwood Arts District, which is really exciting. Wynwood is Miami’s new frontier, and we’ve created a beautiful outdoor studio and event space that will be part of the neighborhood’s growth.

HAS THE RECENT MOVE TOWARD INTEGRATING VIDEO/MOTION ONTO PHOTO SHOOTS AFFECTED THE WAY YOU WORK AND THE SERVICES YOU PROVIDE TO YOUR CLIENTS? It has only encouraged us to get more specialty equipment, such as Briese, Arri, and Kino-flo lighting, in order to go with that change. I see this recent move toward video as just another opportunity for us to keep growing. WHERE DO YOU SEE THE INDUSTRY GOING? I see the industry as going more and more into motion, and incorporating that in multimedia projects. MAPS will always expand and adapt to grow with the industry. I see exciting new things coming our way with our new back lot in Wynwood. I’m looking forward to being a part of the city’s growth and taking advantage of every opportunity that comes our way. The future looks bright!

TECH JARGON DECODER VISITOR(S): Total number of people using a Web browser (Safari, Firefox, Internet Exploder, etc.) and coming to your website.

UNIQUE VISITOR(S): Same as above, but not counting return visits by someone who really loves your site and comes to kick the tires again and again.

PAGE VIEW(S): One page on your website viewed by one person. Could be your homepage, your contact page, the page where you talk about your innermost secrets…

CLICK(S): When someone clicks on a button, text link, photo gallery, submission form. Mostly used in reference to banner advertising.

By Matt Hill, Mac Group Marketing Communications Manager

If you have no measurable marketing goals, don’t do it. It’s a waste of time and money. What is the key to happiness? Debatable, indeed. But it’s my firm belief that setting goals and achieving them is the key to personal and business success. The greatest catalyst to goal setting is specificity. Consider this. You want to increase your website visitors. Great. So does everyone else. How do you go about stating a goal that is achievable? Add a layer of specificity: - I want to increase total website visitors by 100% in 3 months. Better. - I want to increase total unique website visitors by 100% in 3 months. 50% of those will be organic and 50% will be paid advertising. Even better— now you can choose methods to match your goals. Once you do this, apply specificity to the act of defining your audience. Pretend you are your customer. Think about what car they drive, what television shows they stream on Netflix, what brand of ice cream they get and where they shop—online, locally, etc. Spend some time pretending and then start writing a persona. Make it deeply detailed. Sketch their face. Better yet, pull out some client portraits and tack those up (but do it in the privacy of your office just in case they walk in and think you are a stalker). Here are a few examples: - Fashion designers in greater NYC area with fledgling brands who want

to spend $30,000 a quarter on 2-3 campaigns. - Middle-class families with some disposable income—either engaged couples or young families with 1-3 kids and tattoos, piercings, and a funky sense of style. The more definition you apply to your market, the easier it is to make decisions on what to do with your goals. Lastly, you must be clear about the payoff, or benefits, to both you and your audience. Examples: - Me: Invoice my clients +$20,000 in 2012, plus build mailing list by obtaining email addresses. - Them: Best photographer experience in their life, plus occasional emails with special offers for future sessions/campaigns. Perhaps a referral program to build word-of-mouth. When developing an online marketing strategy, frontload the work by spending brain-time on determine your Goal, Audience, and Payoffs (G.A.P.s). Your customers and your wallet will thank you. I bet you will even spend less time wondering why you never got that huge goal done that’s been hanging around for three years. You’ll be busy repeating this process over and over. Next time we’ll cover how to reach these people. Until then, start working on your G.A.Ps!

Find Matt Hill anywhere at:

IS WYNWOOD THE NEW SOUTH BEACH? It’s similar to what the Meat Packing District and SoHo were; it’s an industrial warehouse district. I think Wynwood is going to be the next industry destination–there’s a lot of room for growth, and it’s all based on the arts industries. It’s an exciting place to be right now.









iQ140 BACK

iQ160 BACK

iQ180 BACK




1.3 LENS FACTOR 120MB FILE SIZE (approx.) ISO 50-800 0.8 SEC PER FRAME

1-to-1 LENS FACTOR 180MB FILE SIZE (approx.) ISO 50-800 1.0 SEC PER FRAME

1-to-1 LENS FACTOR 240MB FILE SIZE (approx.) ISO 35-800 1.3 SEC PER FRAME


RENT | ADORAMARENTAL.COM | 42 W 18 ST 6FL NYC 10011 | T 212 - 627- 8487 |



Basic + is aimed at beginners looking to get professional-looking results by letting you make image adjustments and add background blur in the scene-based exposure modes. The A+ mode analyzes the whole scene in front of the camera and adjusts exposure, imageprocessing parameters, and color output settings.

I HAVE $800 TO SPEND ON AN HDSLR, WHAT SHOULD I BUY? Selecting a camera is an arduous task for any photographer. Having a limited budget makes it even more challenging. Fortunately developments in technology and competition in the HDSLR race have brought prices down and features up. After looking at several cameras in this price range, we settled on the Canon Rebel T3i. With some of the same, more advanced, features found on Canon’s higher end HDSLR cameras and a plethora of auto and manual settings, the Rebel T3i offers a ton of opportunities for creativity and a ton of room for growth for the intermediate HDSLR user.



The T3i offers full 1080p HD movie recording with a dedicated spot on the mode dial but manual settings give the user complete control, including settings for 24 and 30fps in 1080p and 60fps in 720p. Canon also added sound recording level control and stereo sound meter.

With a variety of cool effects filters, the T3i allows for even more creativity and in-camera image manipulation for entrylevel users looking to achieve more professional-looking results and build their repertoire of tools to experiment with.

The T3i boasts a more professional feel and better handling with an improved, more ergonomic grip.




A tried, tested, and true sensor/processor combo, Canon’s 18MP APS-C sensor has a crop factor of 1.6x but offers more quality and speed than other entry level HDSLR’s or compacts, along with a decent ISO range of 100-6400, expandable up to 12,800.



The Canon Rebel T3i $799.99 body only $849.99 with 18-55mm lens and kit


By Adam Sherwin I Photo courtesy of Canon


+A N

The DNA of a Canon T3i


The T3i has built-in wireless flash control for shooting with offcamera flash with the Canon 320EX and 270EX II speedlites.



This dual lens mount offers users the affordability of the EF-S lenses and no crop factor on the smaller sensor, while the EF lenses are a perfect choice for first time HDSLR users thinking they may upgrade to a more advanced system in the future.

TECH: ASK A GEEK-”The DNA of a Canon T3i” Page 55




In 2011, sixty-six journalists were killed worldwide. These individuals gave their lives to deliver images and stories that changed our world. And, with the recent high-profile deaths of photographer Remi Ochlik and British Sunday Times correspondent Marie Colvin in Syria, and last year’s deaths of Tim Hetherington and Chris Hondros in Libya, there has been a spotlight cast on the dangers foreign correspondents face when covering conflicts. There’s no denying that the job is risky, but with a little preparation and the proper gear photographers and journalists alike can cut down a bit on the potential for disaster. We’ve put together a list of our favorite gear to highlight some of the technological advancements in communications and personal protection available to help journalists get their images and stories home quickly and safely—and more importantly, to make sure they get home safely.

CRYE PRECISION LLC - CAGE PLATE CARRIER (CPC) The added weight of body armor can seem like a burden to a photographer on the move and already overloaded with gear, but wearing one could mean the difference between life and death. Not to say you have to wear it all the time, but when things get hairy it’s not a bad thing to have close by. Additional CPC Platebags and armor are required and sold separately. $561

CRYE PRECISION LLC - AIR FRAME HELMET This lightweight and modular helmet offers protection and comfort and doesn’t impede your ability to get your eye to the camera. Designed with an overlapping shell, which gives additional protection from blast waves, it also boasts an integrated vent to keep your head cool. The Air Frame offers extra modular components for ballistic ear and face protection. $844.10

HAZARD 4 PLAN B EVAC SERIES (GENERATION 2 SHOWN) Photographers in the field don’t need to carry all their gear all the time. Especially when you need to stay in a small space or be on the move. The Plan B Evac series is an extremely lightweight, slim shaped, modular sling-pack for easy maneuvering in tight spots, which can carry all your essentials. Quick to take on and off, it can be worn either on the front or back, with easy access to all pockets. $125.98

ADIDAS GSG 9.2 HIGH BOOT The GSG 9.2 is an extremely durable, lightweight, and waterresistant boot worn by SWAT teams across the U.S. and by the German special force group GSG9. They offer an advanced design that delivers comfort, support, and  reliability on rough terrains and in tactical situations. $150

US NIGHT VISION IPHONE 4/4S NIGHT VISION ADAPTER With advancements in smartphone technology, products like the iPhone 4/4S have moved beyond the realm of gadget into the arena of high functioning imaging equipment. With US Night Vision’s iPhone 4/4S adapter, you can attach to your cell phone a number of night vision devices to capture, record, and share digital night vision video quickly and discreetly in full 1080p HD. $269 (shown with AN/PVS 14A night vision monocular, sold separately)


SUREFIRE V2 VAMPIRE LED FLASHLIGHT The V2 Vampire is a dual output flashlight that provides white light and infrared output in a high-strength aerospace aluminum body. Press the two-stage push button tail cap once to select a 10-lumen low beam for general night use; push it again to get a blinding 150-lumen spot beam (3 times the light from a large 2 D-cell flashlight). The self-locking, push-twist system lets you switch easily to IR mode with 2 output strengths, also controlled by the tail cap. Twist for constant on in either mode at low and high output. $375

1. Without proper helmet and body armor, you cannot be embedded. So make it a priority. 2. You need to check the State and Federal regulations in your area for rules on purchasing and owning body armor. 3. Conflict photographers should not wear military colors, such as camouflage, in order to better distinguish themselves from soldiers.

OLYMPUS LS-20M LINEAR PCM RECORDER The LS-20M captures full HD 1080p video at 30fps and 24bit/96khz linear PCM audio that is higher than CD quality. The dual LCDs allow you to frame your video and monitor audio levels. An excellent choice for conducting field interviews or shooting videos discreetly, the LS-20M can also be used as a webcam for streaming video via Ustream or other similar broadcast platforms. $299.99

GURA GEAR KIBOKO 30L Not only durable and lightweight, Gura Gear’s Kiboko 30L butterfly openings allow for quick access to the gear that is needed without exposing the remaining gear. It easily adapts from a luggage-style bag to backpack, and its thoughtful layout ensures photographers can quickly grab their proper gear without being distracted from dangerous surroundings. $429

GOPRO HERO 2 The “go to” choice for body and vehiclemounted cameras, the Go Pro 2 shoots up to 4 hours of full HD 1080p30, or 720p60 video on a 32GB SD card (Class 4 or higher). It can also capture 11MP still photos in 10 FPS bursts, or 1 frame every 0.5 sec in timelapse mode. Included is a waterproof case that is effective down to 167 feet, as well as various mounting hardware based on which kit you buy. The optional WI-FI BacPac, sold separately, gives the Hero 2 live streaming capabilities to share your videos via the web. $299.99

TECH: GEAR AND GADGETS-”Military Grade” Page 57


IRIDIUM EXTREME 9575 SATELLITE PHONE Touted as the worlds smallest, lightest, and most durable satellite phone, the Iridium Extreme was designed and built to surpass military specifications. Offering features like GPS location-based services, online tracking, and the ability to set it up as a WI-FI hotspot, the Iridium Extreme will keep you connected in the harshest conditions in the remotest areas of the world. $1,425 + Airtime plan

THURAYA IP DATA MODEM The Thuraya IP is the world’s smallest and most durable satellite IP modem solution to offer broadband connectivity at speeds up to 444kbps and streaming IP up to 384kbps for demanding applications like streaming video. It’s compact and lightweight for portability and can be set up instantly for a reliable connection in even the remotest areas. Con: it’s limited to Asia, Australia, Africa, the Middle East, and Europe. $2,900 + Airtime plan

PANASONIC TOUGHBOOK 31 The Panasonic Toughbook line sets the standard for fully rugged computers. The 13.1” Toughbook 31 meets military standards for use under the most extreme conditions, including resistance to sand, dust, rain, and extreme temperatures. It’s also shock-resistant to a drop up to 6 feet. With a touchscreen, built-in webcam, 11 hour battery life, and optional 4G LTE mobile broadband service, the Toughbook 31 is not only rugged, it’s also a top of the line computer. $4,304.50 (2.6ghz, I5 processor, 4GB RAM, 320GB Hard drive)

AA and AAA batteries Adapter BVAC Cables Camel bag Chargers Cleaning kits Compressed Air Converter Gloves Headlight Memory cards Sleeping bag Thermal wear

THRANE AND THRANE BGAN EXPLORER 500 The BGAN Explorer 500 is a portable satellite communication terminal that is smaller than a standard laptop. Quick and easy to set up, the Explorer 500 delivers a reliable connection across 98% of the globe. It offers data transfers up to 464 kbps and supports audio and video streaming up to 128 kbps from remote locations or when local communication networks have been shutdown. $3,300 + Airtime plan


PINHOLE CAMERA By the resourceful people at Resource I Illustration by Kelly Kaminski

Materials needed: a tin box of some sort (for example an Altoids tin), a thumb tack, two small magnets, black spray paint (matte or flat finish), an empty soda can, opaque tape. Tools needed: a drill, a drill bit (1/8 in.), scissors, craft knife or shears, ruler, pencil.

Make a pinhole in the square. Find the center of the square using a pencil and ruler. Then use a thumb tack to make the hole in the center.

Spray paint the interior of the box. This is to prevent light from reflecting and ruining the film.

Spray paint the square sheet of metal and two small magnets. This will prevent light from reflecting off them.

Find the center of the box using a ruler. Mark the center with a pencil, and carefully drill a hole. Make sure the hole is straight through and vertical. To find the focal length, measure the depth of your container. For an Altoids tin, the depth is 0.75 inch, which results in a pinhole of a diameter 0.007 inch. To achieve a hole like this, use a thumb tack or pin.

Using scissors, cut a small square out of the soda can. The square can be any dimension but must cover the 1/8-inch hole in the tin.

Assemble the camera body. Tape the squared pinhole piece to the box. Secure the pinhole so it is centered over the hole in the tin.

Load the camera with film. Center the film inside the camera on the side opposite of the pinhole. Then place the two small magnets on opposite sides of the film. A pinhole camera is like any other analog camera: be sure to load and unload the film in the dark otherwise it will be ruined from the light.

TECH: DO IT YOURSELF-”Pinhole Camera” Page 59



CANON 5D MK III $3,499.99 (body only)

By Adam Sherwin In 2008, when Canon announced the 5D MK II, the entire photographic community stood up and took notice. With opinions spread across the board about the arrival of a DSLR that shot full 1080p video it is undisputable that the camera marked the beginning of a revolution—the HDSLR was born. After what seems like four long years of waiting, Canon has released the 5D MK III. Expectations were high but many are now wondering if Canon did everything it could to make this the best camera it could possibly be, especially considering the increase in price.

things. The new 22MP sensor is a great re-design and promises better high ISO performance, but it’s only a fraction higher in megapixels than its predecessor. And although Canon added a new 61-point AF system, the same system we see in the Canon 1Dx and a major improvement over the AF system found in the 5D MK II that was seemingly plagued with issues, some feel these fixes should have been addressed in the original 5D MK II before it was even released and that they don’t warrant a $1,400 price increase.

With the addition of features like the new DIGIC 5+ processor, audio level control during recording, embedded time code, 60fps video, improved weatherproofing, a second memory card slot, headphone jack, and better overall ergonomics, the 5D MK III is definitely looking and feeling like a more professional-grade camera, especially on the video side. One of the standout features for me was the new in-camera HDR mode allowing photographers to combine a series of three exposures into one and delivering final images with outstanding dynamic range.

Overall, there’s no denying that the 5D MK III is a better camera than the 5D MK II. The improvements are welcome upgrades to a system that has launched the career of many a photographer turned aspiring filmmaker. But did Canon make enough improvements to keep their market dominance? Or will the lack of megapixels, inability to shoot uncompressed video, and hefty price tag send hybrid motion/stills shooters looking for another solution? Regardless, one thing to remember when contemplating switching brands is, no matter how much you save on the price of the body, the cost of replacing all your lenses will quickly eat up any money you saved.

However, photographers who have been using the Canon DSLR system for a number of years are scratching their heads about a couple of


NIKON D800 $2999.99 (body only)

While Nikon may have been a little slow out of the gate in the HDSLR race, the recent Nikon D800 has them coming up from behind, fast. With a sudden surge of interest and an overwhelming change in opinions, photographers who had previously struggled with the idea of using Nikon as a hybrid system for shooting stills and motion are now taking a second look. The easy out for the “geek set” is megapixels. Nikon’s 36MP D800 is a beast when it comes to pixel count. This has some photographers jumping the Canon ship without a second thought. But more megapixels aren’t necessarily better when you’re shooting video, and while they may seem like a major advantage for stills shooters, how often are you really going to need that much information? Nikon has been a dominant force in low light shooting, and initial results from the D4 have been outstanding, but that camera has only 16MP on the same full-frame sensor as the D800. Early tests show that the Canon 5D MK III produces better results at high ISO settings. I’m thinking Canon’s decision to keep the 5D MK III at 22MP is a result of their experience with the video industry over the last four years—realistically, 22MP is still pretty reliable for stills. Still, the D800 has a couple of impressive tricks up its sleeve that has Canon users keeping a close eye on Nikon. The D800 offers many of the

same shooting options as the 5D MKIII, such as in-camera HDR, 51-point AF (Canon has 61 if you’re keeping score), 1080p 24/30 and 720p 60 video, audio level adjustment and monitoring, dual card slots, and almost 30 minutes of continuous shooting. Nikon ups their game by adding uncompressed HDMI video out, which means you can record to an external source without the H264 compression that comes out of the Canon. They also included a built-in pop-up flash that gives D800 users access to wireless flash features with compatible Nikon speedlights, a definite advantage for wedding and portrait shooters using off-camera flash. My favorite feature on the D800 is the ability to shoot in FX mode (full-frame) or DX mode (APS-C). Having the use of FX mode for a nice shallow depth of field and then flipping the switch for DX and a 1.5x crop with added depth and more focal length on your lens give you the best of both worlds and two uses for every lens in your kit. Across the board Nikon has made vast improvements to their mid-level HDSLR and are definitely in line to loosen Canon’s stranglehold on the hybrid photo/video community, but one thing is certain: both companies still have room for improvement. And remember, more megapixels don’t make us better shooters. Knowing the needs of your business and picking the camera that best suits them is always the best choice.

TECH: CAMERA CORNER-”Canon and Nikon” Page 61


how do you select the gear that you have? Until recently, I had a place on Gansevoort Street, in the Meat Market. It was a top floor, live-work loft. Fantastic building, beautiful light, with a cool freight elevator that the five floors shared… One New Year’s Eve, around two in the morning, the building started to tremble and vibrate and there were booms of sound—destructive, shattering sounds. After a bit the elevator engaged and came up toward us, stopping on our floor. The doors slammed open and standing there with a sledgehammer and a glass of wine was our third floor neighbor (a very well know French photographer), drunk. “Fua’keen landlord, fuak’em, and hees fua’keen

building. Hees kicked me out… My assistant, he is right”, and with that our drunken neighbor turned out his two front pockets, spilling coins and whatever on the floor. “He travels the world with only hees phone in one pocket and hees credit cards in the other. No studio, no overhead, no worries.” That moment was an insight. A year later, after eighteen years [in that space], we gave up our studio. The business of photography has changed: real estate, budgets, expectations are all very different today. My gear choice is minimal; keeping only what is efficient and what I know I need. But even with the streamlining, the “no worries” is not a given.



Ruedi Hofmann: / Represented by LVArepresents:





list 3 pieces of equipment you could not live without:

APTUS BACK, computer, and my iPod. I love that digital back, it never shuts me out. I tend to shoot very fast and a lot and always tethered; this way the digital tech can monitor every frame—and the music on the iPod keeps us happy.

1 piece of equipment that sets you apart from other photographers: I don’t know. I guess we all know it’s not the equipment while we search for the equipment that will make us special, only to discover, again, that it’s not the equipment.

3 pieces of lighting equipment in your closet that you use almost on ever shoot: China silk and a small octa. Just two items from the closet. The key third is the person who holds and moves the light with the subject.

the smallest item in your closet is: Capture pilot app for the iPhone. I always seem to end up 180 degrees from where I thought I wanted to photograph. With Capture Pilot, my first assistant can monitor the lighting on his iPhone as I move around and I don’t have to stop.

the oldest item in your closet that still works is: OLD SCHOOL TWIN-LENS ROLLEI—GOLD EDITION WITH SNAKESKIN. Beautiful… and a bit tacky.

your point and shoot of choice is: Rebel. Such a great little camera. Always with me.

the most expensive item in your closet is: Cameras: HASSELBLAD SYSTEM.

your useless gadget of choice is: Hipstamatic Camera iPhone app! God, it makes even the mundane memorable!


3 items you wish were in your closet:

B2PRO UMBRELLAS, B2Pro Strobe, B2Pro continuous lighting. Beautiful, beautiful light and a great production company staffed with great people. The equipment can only be rented.

5 things that you love that are not in your equipment closet: I’m excited to be moving toward capturing still with motion cameras and to create more motion pieces. So my five: - the Red Epic, - two people to keep me straight, - the “to be” Canon C300 Cinema Camera… and those two people. - 5th… a great film editor.

TECH: WHAT’S IN YOUR CLOSET-”Ruedi Hofmann” Page 63


GEARHEADS By Adam Sherwin


While they might not fit snuggly in your pocket, the new generation of compact cameras is both small in size and big on quality. You might not see any of these cameras popping up on your next commercial shoot, but the advancements in APS-C and micro 4/3’s sensors have made our lives taking pictures off the job much easier and give us the quality we have become accustomed to. Now, you can leave your HDSLR at home when going on a family vacation and still get quality photos in any situation.


There are compacts and then there are compacts. We chose the Sigma Merrill DP1 and DP2 as Editor’s Pick for a number of reasons. Most of which had to do with its incredible 46MP Foveon X3 sensor. This is the same sensor technology found in Sigma’s flagship SD1. Traditional CCD sensors house an array of pixels that capture RGB at different points across one plane. Similar to the separate RGB emulsion layers of film, the Foveon sensor has 1 dedicated layer of pixels for each color (red, green and blue). While it’s technically 3 separate 15MP sensors—which is also the true effective mega-pixels of the camera—the end results are stunning, producing images with incredibly rich colors and an inconceivable amount of depth. The Foveon X3 has been coupled with a high performance fixed 19mm 2.8 lens on the DP1 (28mm equivalent on a 35mm) and a

fixed 30mm 2.8 lens on the DP2 (45mm equivalent on a 35mm). In addition to the larger 3” LCD, Sigma upgraded its TRUE II engine to include a second TRUE II processor, ensuring faster processing speeds and increased quality on the final image. Manual focusing and a hot shoe round out the list of features that made the editors at Resource Magazine go all gaga for this compact. Price and availability TBA


OlyMpuS OM-D e-M5

The retro design is deceiving. The OM-D, at first glance, delivers the illusion of being a larger camera. In fact, the OM-D aesthetics pay homage to the popular Olympus OM SLR cameras from the 70’s. Once in your hands, this micro 4/3’s beauty has many of the features and styling of a larger HDSLR. The weather sealed, magnesium alloy body houses a 16MP sensor and Olympus’ new 5-axis image stabilization, an incredible feature that works for both stills and the 1080i60 video setting. $999 (body only) $1299.99 (with 12-50mm F3.5-5.6)


SOny AlphA neX-7

A leader in mirror-less technology, Sony delivers an outstanding compact camera with a huge 24MP APS-C CMOS sensor and many of the features found in their larger HDSLRs. Combined with an a plethora of compatible E-mount lenses and an eye-level finder, backed up by an eye-popping 2.4M dot OLED electronic viewfinder, the NEX-7 offers the best of both old school shooting and modern day digital photo technology. Adding to the allure of the NEX-7 is its ability to shoot full HD 1080p60 videos, a built-in pop up flash, and an Alpha compatible hot-shoe. $1,199.99 (body only) $1,349.99 (with 18-55mm F3.5-5.6)


FuJiFilM X-prO 1

While it contains the aesthetic mastery of Fuji’s other cameras in the X line, the X-Pro 1 houses a couple of technical improvements. The new interchangeable electronic lens mount holds three new prime lenses, including a 35mm 1.4, 60mm 2.4, and 18mm 2.0 with, according to Fuji, more on the way. The improved 16MP APS-C XTrans CMOS sensor is designed in such a way that it doesn’t need an anti-aliasing filter. This has Fuji making claims of higher resolution on the X-Pro1 then larger HDSLR cameras. $1699.95 (body only)


CAnOn pOwerShOt g1 X

Canon’s compact G1 X takes everything that was great about their previous G series cameras and adds a few bells and whistles. The camera offers a new, larger, 14MP CMOS sensor powered by a single, but extremely fast, DIGIC 5 processor, and a 28-112mm, 4x zoom lens. Unfortunately, whereas Canon beats the competitors in sensor size they lose a little on the lack of interchangeable lenses. The upside? Price point: at $799.99, it’s not just for pros. This is a great camera for mid-level point-and-shoot enthusiasts who want to get more manual control and 1080p24 and 720p30 video capabilities. $799.99

TECH: GEARHEADS-”Killer Compacts” Page 65

ViDeO innOVAtiOn


DigitAl BOleX D16

In 1941, the Bolex H16 was the most sought-after 16mm motion picture camera in the world. Recently, filmmakers Joe Rubenstein and Elle Schneider set out to design and build a digital version of the famed camera. With a signed licensing deal in hand from Bolex, the filmmakers-turnedcamera-makers used Kickstater to raise funds for their project, “The Bolex D16.” In just 24 hours, they received almost $250,000, proving once again the incredible appeal of nostalgia mixed with modern technology. Designed to mimic the look and feel of film, the D16 shoots individual, uncompressed, RAW DNG files as well as Tiff and JPEG image sequences. Individual frames and no compression mean easier adjustments in post and no loss of quality. Shooting in 2K also means that you can show the footage on larger theatre screens without having to res it up. Besides shooting 2K (Super 16mm mode) and 1080p (16mm mode) up to

32fps, the camera also shoots 60fps in 720p and 90fps at 480p. Other features include dual CF card slots with an SSD buffer, headphone jack, 1/8” HD-SDI B&W video out, USB 3.0, and balanced 2-channel XLR audio. The D16 comes standard with C-mount for lenses. Optional mounts include PL, EF, and B4. Our favorite feature of the retro-looking D16 is the traditional pistol grip and hand crank on the side. Now, instead of spinning the film reels, the crank is used to make adjustments to the many settings found on the camera’s menu. Including taking individual still frames for doing stop motion work. No word on the camera’s actual release date, but we know at least its (approximate) price: $3,000. Not too shabby for 2K uncompressed video.


DitOgeAr OMniSliDer

What do you get when you take two passionate filmmakers with an obsession for time-lapse cinematography and a compulsion for building digital cinematography tools? You get DitoGear, a forward-thinking company out of Poland that is producing some of the most finely tuned and aesthetically pleasing time-lapse video and motion control equipment available on the market today. Founder Robert Paluch and partner Patryk Kizny have built an innovative collection of filmmaking tools that are sure to find their way to the sets of professional and aspiring filmmakers alike.

Featured is the DitoGear OmniSlider, an innovative, versatile, and affordable linear motion control solution for HDSLR and video cameras. The OmniSlider is available in 1.0m, 1.5m, 2.0m and 2.5m lengths and offers video, motion recording, stop motion, and time-lapse modes all monitored and controlled by a 4-directional joystick pad that can record and save your settings and display them on a large LCD. 1.0m $2,342.27 1.5m $2,546.21 2.0m $2,751.20 2.5m $2,956.44


lytrO CAMerA By Jessica Manley

The revolutionary Lytro Camera marks one of the most significant technological advances in photography for the first time since the 1800’s. Designed by PHD and entrepreneur Ren Ng, it’s the first light-field camera available to the average consumer. Ren was inspired to use his knowledge of light-field photography when his regular camera failed to capture a friend’s daughter “fleeting smile” in just the right way. Light-field cameras feature a matrix of tiny lenses on a sensing chip. The sensors gather light from all sources and directions, allowing for a hyper-focused image. This allows photographers to alter the focus of the image after it has been taken. The first Lytro camera hit the market on October 2011. $399 for 8gb $499 for 16gb

TECH: GEARHEADS-”Video Innovation” Page 67


tiffen DFX


By Adam Sherwin Standalone $169.99 Dfx Photo Plug-in $199.95 Dfx Video/Film Plug-in $599.95 With countless options for colorcorrecting and adding special effects to your digital photos, it can be a daunting task to pick

something that works. After trying countless plug-ins and stand-alone softwares, I recently started using Tiffen Dfx 3.0. As a young photographer, I remember pawing through the spinning display of countless Tiffen glass filters; I had an adapter for every lens and I was continuously trying new combinations. One on top of the other, adding up to 3 or 4 at time, just to see what the result would be. Well, some things never change. Dfx 3.0 offers 125 different filters, resulting in over 2,000 combinations and effects, all based on digital versions of Tiffen glass filters, specialized lenses, optical

lab processes, film grain, exacting color-correction, plus natural light and photographic effects. While this may seem like an overwhelming number of options, Dfx 3.0 offers an incredibly user-friendly interface that is pretty easy to figure out. That being said; don’t open it for the first time on a job. You will definitely want to watch a couple of the tutorials and get used to the layout before using it on set. The software is available as a stand-alone application or as a plug-in for Photoshop, Aperture, and Lightroom. In addition, Tiffen has built a plug-in for After Effects, Premier Pro, Final Cut 6 and 7, and Avid Editing Systems. The nice thing is that you can buy one license for stills and one for motion and use Dfx with any of the aforementioned programs as long as the host program is on the same computer.

As an aspiring filmmaker, I love the diversity of the Tiffen suite because it allows me to use the same color-correction tool for stills and video. The ability to use the same program on both mediums builds confidence and continuity when jumping back and forth between video and stills and the multitude of programs we use on set and in post. Think about it; you capture in Lightroom and use the “edit in” feature. Dfx opens full screen. You pull images in Photoshop to do some re-touching, Dfx is right there as a plug-in to make additional adjustments or quickly match corrections you made in Lightroom. Fast-forward to the editing suite. The client loves the look of the stills and wants the same treatment for the video— easy, you use Dfx. The ability to create and save favorites also allows you to go back and reapply the same effect later.

To add to my comfort level, Tiffen has built-in the ability to make individual adjustments and create masks, for each filter applied, by creating an individual layer for each one. The advantage here is the ability to create different layer masks for each individual Dfx effect and tweak them, before even opening Photoshop. Although I appreciate several other programs and the particular features they offer, with Dfx I’m using the same plug-in across several programs, saving me time while still getting my clients and I the results we want.



EPIPHANIE HANDBAGS: Stylish and practical don’t have to be antagonists. Maile, a female photographer originally from Maui and California, brought her laid back sense of style to her job and founded Epiphanie, a line of cool handbags that double as serious camera bags. These sophisticated bags hold a DSLR, lenses, and accessories and come with additional padding to provide optimum protection to your gear. Their Velcro panels are adjustable and can be moved to any position for full flexibility. Available in never-fail black and an array of colors (from red to purple), they are perfect when you need to carry your camera around but don’t want to advertise it to the world. Prices range from $155-185

TECH: SOFTWARE-”Tiffen DFX” Page 69




Words and Photos by Tim Frazier from Film Matters From Rocky to The Shining, and even “a galaxy far, far away,” Tiffen’s Steadicam has seen it all. However, Jonny Zeller and Colt Seman may have been the first filmmakers to attach it to a fully-grown elephant! Film Matters, the production house co-founded by the two filmers, was in Laos last year shooting the pilot for a new politically focused travel show when one of the host’s motorcycles broke down along the Nam Theun river. Fortunately, just a few miles up the road, the crew came across an elephant rental agency (OK, it was an elephant tour company). Not one to pass up an opportunity to film from a different perspective, Colt mounted the Steadicam to the elephant’s carriage. Not one to pass up riding an elephant, Jonny called shotgun.

Through tracks, trails, and a river crossing, the entire apparatus remained secure and captured the trek beautifully. The road turned out to be one of the few places where the rig could be used, as the strict communist government prohibited many subjects from being filmed—and the large counter-balanced mechanism with its offset monitor made it impossible to work incognito. During its time in Laos, the Steadicam’s home consisted mostly of truck beds, motorcycle seats, and at least one elephant.



Film Matters:

TECH: RIGGED-”Film Matters” Page 71

phOtOgrApherS VS. ViDeOgrApherS By Christina Fong I Photos courtesy of After Dark Education BEHIND THE SCENES

Imagine a familiar scene: we’re at a wedding, and a videographer and photographer are fighting over a prime shooting spot. Just as the bride makes her grand entrance, the photographer steps in and steels the other’s shot. The moment is gone, and in an instant of frustration, visions of an all out war flash by. Last November at an After Dark Education session, photographers and videographers took to Tucson, AZ, to settle an old score. Three days of shooting with 5D Mark IIs (and Canon 7Ds for the slow motion shots) resulted in a video of cinematic proportions. The concept grew out of a vague idea from one of the attendees at After Dark, which is commonly described by Dave Junion, its founder, as neither a conference nor a workshop but an experience, where top mentors from different areas of the industry work hand-in-hand with students in a very free form way. Joe Switzer and Mark Wiemers, co-owners of Switzerfilm, wrote the entire script using After Dark attendees as actors. Post-production took nearly twenty hours with three people sharing two laptops. The video closed the conference with an electrifying cliffhanger. Two words: tripod lightsaber.

After Dark Education:

“Our thought was to do something that showed the animosity that sometimes ensues between cinematographers and photographers,” said Wiemers. The argument for one or the other is no longer as black as white as it used to be with cameras that are now able to shoot both photographs and video. This new generation of cameras has changed the game for many in the industry, pushing this rivalry even further than before.

“I think most event photographers are familiar with this battle on shoots,” said Mike. “It’s really poking fun and over-exaggerating what seems to be reality.”

After Dark holds four events each year, and the next event will be held May 14-16 in Charlotte, N.C.


CAMerA AweSOMe By Ashley Shufelt

platforms: iPhone Summary: This innovative camera app developed by SmugMug makes it easier to enhance your iPhone photos and to bring them to pro status. A wide variety of filters, textures, and frames allows you to turn your unique vision into reality and to create awesome photos with a few simple taps and swipes. Plus, with this app’s easy sharing options, you can instantly show off your creations to your friends on Facebook, Twitter, Flickr, Picasa or SmugMug. Camera Awesome also makes touch-ups a breeze with the One-Tap Awesomize feature, virtually making traditional photo imperfections such as red eye and overexposure a thing of the past. who needs it: Anyone who uses their iPhone to take photos whenever a photo op presents itself. It will fulfill the needs of casual photographers who don’t have access to high-tech photography equipment but still want to shoot like a pro, and of professionals who want a more convenient way to capture memories when they’re on the go. loves: 1-Tap and 0-Tap sharing to all of your favorite social media sites; One-Tap Awesomize; a huge selection of filters, textures, and frames; 0-Tap unlimited cloud archiving for SmugMug subscribers with complete protection guaranteed; reduced shutter lag so you can capture the image you want, faster. Oh, and it’s free. Need we go on? hates: Uh...we’ll get back to you. Final rating: nnnnn

TECH: BEHIND THE SCENES-”Photographers vs. Videographers” Page 73



By Adam Sherwin


We don’t use the word masterpiece lightly but there aren’t many other ways to describe Fuji’s X-Pro 1. A multitude of technology snug in a traditional retro casing, the X-Pro1 is a camera for connoisseurs of both beautiful images and beautiful design. $1,699.95 (body only)


With a name like “Pro” foto, you know you’re getting the best. The D1 is a compact moonlight that is perfect for wedding and portrait shooters on the go, and it’s compatible with the full line of Profoto light shaping tools. Profoto is currently offering a “Try before you buy” program on their 250/500/1000ws kits. $1,900 ($2,996.00 with 2 heads, umbrellas, stands, and case). Airremote optional.

LOWEL GL-1 POWER LED LED lighting is a rising trend in the photo industry. The Lowel GL-1 Power LED is a hand-held, constant, dimmable, and focusable light source that is wireless. Photographers can move around freely while seeing exactly what the light is doing to their subject. Coming in late summer 2012. Estimated MSRP: under $800

POCKET WIZARD PLUS III Pocket Wizard, industry leader in remote flash and camera triggering, recently released the Pocket Wizard III transceiver. The updated PW III offers an impressive array of updated features, including quad-zone triggering, two-stage camera triggering, long-range and repeater modes, as well as a sleek new side view design. $139.99

Secure Storage for Your Digital Workflow

Mobile Acquisition/Storage

Capture/Post Telephone: 1.800.260.9800



Michael Kenna is a worldrenowned landscape photographer whose elegant and breathtaking photographs have captivated art aficionados across the globe for decades. His ability to compel viewers to virtually experience the environment he captured is incredible. There is a combination of mystery and tranquility created by Kennaâ&#x20AC;&#x2122;s techniques and minimalist styleâ&#x20AC;&#x201D;one cannot help but feel at peace when viewing his work. Resource talked the artist to get a better understanding of his inspiring work.


MICHAEL KENNA A LEGEND IN LANDSCAPE Intro by Warren Parker I Photos by Michael Kenna


PRO: PHOTO PRO-FILE-”Michael Kenna: A Legend in Landscape” Page 77



PRO: PHOTO PRO-FILE-”Michael Kenna: A Legend in Landscape” Page 79

FROZEN FOUNTAIN- BELLE ISLE, DETROIT, MICHIGAN, 1994 WHO ARE SOME OF YOUR MAIN INFLUENCES? I come out of a European tradition of photography. My influences were the giants Eugene Atget, Bill Brandt, and Josef Sudek, for example. I actively emulated many photographers, studied their styles, went to their locations—it was all part and parcel of trying to find my own vision. However, I find that what interests me photographically now often relates back to my own childhood and background. I was brought up in Widnes, a small industrial town near Liverpool, in England. As a boy, I spent a lot of time wandering around the town, the parks, ponds, railway stations, bridges, factories, the local church, and so on. It seems that everything I experienced as a child would later become photographic subject matter. My consistent interest lies in the relationship, juxtaposition, even the confrontation between the landscape and everything that we place in it. Memories, traces, footprints, the latent atmosphere of a place are

my true subject matter. Empty sports stadiums, old mills, abandoned structures and seafront buildings that have been built for our activities—when they are not being actively used—can be strangely surrealistic, and I am fascinated by that. I try to photograph the invisible behind the visible. HOW DID YOU LEARN THE TECHNICAL ASPECT OF PHOTOGRAPHY? I studied photography at the London College of Printing in England for three years. I then went on to assist a number of photographers, printed in professional black-and-white and color darkrooms, and began my own career in commercial photography. The technical aspect of photography is actually not that difficult to learn. It’s like learning a language. The interesting part is what you have to say with your new skills.




PRO: PHOTO PRO-FILE-”Michael Kenna: A Legend in Landscape” Page 83



PRO: PHOTO PRO-FILE-”Michael Kenna: A Legend in Landscape” Page 85

STORSEISUND BRIDGE- KRISTIANSUND, NORWAY 2008 IS YOUR AESTHETIC SOMETHING YOU CONSCIOUSLY CHOSE TO ACHIEVE, OR DID IT EMERGE NATURALLY OVER THE YEARS? My mentor, Ruth Bernhard, would tell me that it is like a signature—it evolves naturally into something very personal and singular. WHY DO YOU SHOOT EXCLUSIVELY IN BLACK AND WHITE? I have done a number of commercial campaigns in color and never had a problem with it. However, in terms of artwork, my interest has always been toward the monochromatic palette. I personally find black and white to be inherently more mysterious than color. Besides, we see the world in color all the time, so black and white immediately becomes an interpretation, something else. Another thing is

that I print everything myself, and it is so much more malleable than color. The possibilities of interpretation in the darkroom fascinate me. I like to interact with the medium and help form something else. WHAT IS IT YOU LIKE ABOUT LONG EXPOSURE PHOTOGRAPHY? A lot of my photographs are made with long time exposures, sometimes just seconds, often minutes, and occasionally hours. I often photograph at night or throughout the night. I love the fact that I never quite know what I am getting when I am making these exposures! There is a great amount of unpredictability with night photography. As clouds, water, stars, etc., move, their accumulated changes are all recorded on film. The film is “seeing” and recording something

Michael Kenna:

HUANGSHAN MOUNTAINS, STUDY 1- ANHUI, CHINA, 2008 the human eye cannot see—time passing. Light is often coming from multiple directions [like] artificial lights, unlike during the day when light essentially comes from the sun. Contrast is increased. The night “palette” is very different from the daytime. I think it was working at night that greatly influenced the way I now photograph during the day. Long exposures have a way of softening the image and making it otherworldly. Moving clouds and water can simplify backgrounds and reduce unwanted clutter and distraction. Darkening the day palette can give an ambiguous and sometimes unsettling effect. Questions are raised which are usually more interesting than answers.

WHAT FILM AND GEAR DO YOU USE? HAVE YOU CHANGED THINGS MUCH OVER THE COURSE OF YOUR CAREER? Initially, I worked with 35m cameras—Voigtlander, then Pentax and Nikon. I “graduated” to Mamiya and then Hasselblad. I would say since the mid-eighties I have worked chiefly with Hasselblad cameras even though I have experimented from time to time with other formats and different manufacturers. My usual working set-up is to take two camera bodies (500cm), two viewfinders (a metered pentaprism and a waist level), two film backs (for 100asa and 400 asa film), five lenses (ranging from 40mm to 250mm), a Gossen Luna Pro hand held meter (chiefly for night exposures), a light weight graphite tripod with ball socket head, a polaroid back, and many cable releases (as I tend to lose them in the dark).

READ THE REST OF THE ARTICLE ON PAGE 210 PRO: PHOTO PRO-FILE-”Michael Kenna: A Legend in Landscape” Page 87



By Douglas Kirkland - November 1961 Words by Charlie Fish

Decades after her untimely death, Marilyn Monroe’s ability to captures the hearts of millions is testament to her undeniable star power and allure. She was, and remains, one of the greatest stars of all time—emulated by many, but replaced by none. The subject of countless articles, books and films, the ultimate seductress is once again enjoying mainstream attention with the likes of the recent, lauded biopic My Week With Marilyn, and TV’s latest risk, Smash. Although she remains an archetypal American sex symbol and pop culture legend, accounts of her stage fright, difficult behavior, and mercurial nature only highlight her lifelong inner battles. Sought after for her sex appeal, she wanted to be taken seriously as an actor, but her lack of discipline drove several directors to disparage the star. Dead at the age of 36 by acute barbiturate poisoning (attributed to suicide), the conspiracy theories surrounding her death include a Presidential cover up. The star of numerous Hollywood classics, many of which spawned oft-imitated pop culture references, Marilyn often expressed dissatisfaction with her contracts, which had her earning considerably less than several of her now nearly-forgotten counterparts. By 1961, she had already attained a reputation for being unpredictable on set— frequent tardiness, an unwillingness to perform, flubbing her lines, and her predilection for mixing booze and pills were commonplace. But during the same year, she also ramped up her publicity, sitting for interviews with renowned publications like Look. Douglas Kirkland, a staff photographer for the stalwart publication, was assigned to shoot the beautiful Marilyn Monroe. What he describes is an intimate tale befitting her larger-than-life persona. But did he get to know the real Marilyn? Resource talked to Kirkland to find out.

PRO: HISTORY-”The Art of Getting Marilyn Monroe in Bed” Page 89

“We’ve got to have Dom Perignon champagne.” Marilyn Monroe

Her Humble Abode I met Marilyn for the first time about five days before the shoot. I went to her apartment on Doheny Drive with Jack Hamilton, the journalist I was working with. It was raining out, I remember. Marilyn’s place struck me, initially, as being surprisingly small. I would suggest it was like a large motel room, and not much bigger. I expected something much more luxurious, much more star-like than what I saw. It was pleasant and clean and very orderly, but just not expansive. Fundamentally, it was one room with a kitchenette to the side. The reality was Marilyn had been moving around and, frankly, was afraid of people knowing where she lived. We had to take a vow that we would not tell others where she was because she was somewhat hiding out—not from the press or paparazzi, as we know them today, but more from fans. Marilyn Monroe: Girl Next Door? The first impression was surprise at how un-star like her surrounding was. The next surprise was that Marilyn wasn’t the superstar I was expecting to meet. She was very pleasant; I would describe her more as being the girl next door. She was very easy to talk to, and she laughed easily. [She was] amazingly comfortable to be around and un-intimidating. I had seen her only in the cinema or in magazines, and I thought she’d have this big wonderful voice and have this power. But she didn’t. She was very comfortably simple. She had a press agent there, introducing us and getting us started. My colleagues took the two chairs that were available. Marilyn slapped the bed with a giggle and said, “Oh, just sit here, Doug, ‘cause I don’t have that much furniture here and I just think of this as the couch.” So I sat on the bed beside Marilyn, and that gives you an idea of the momentum of the evening. Bedding Marilyn What had been suggested was that we wanted Marilyn to tell us, or show us, how she’d like to be remembered 25 years into the future. She said, “Maybe we should have a bed. And maybe if you could look straight down into it, it would be good.” And then she started inventing it in her mind and she said, “I should have a silk sheet. Nothing on but that silk sheet.” And she added, “It must be silk.” Then she said, “I find it’s usually best if I have good music, so I’d like to have Frank Sinatra records, and we’ve got to have Dom Perignon champagne.” That may have been a Tuesday evening, and the shoot was on Friday. The Set, the Set Up Our LA office arranged for us to use a studio, [which was] in Hollywood, just off the Strip, between Robertson and Doheny, on the south side of the street. The bed and everything else was provided. I had the good fortune that the studio happened to have a stairway that went up to a workspace they had up above, which was perfect for looking straight down on that bed.

I checked everything over and asked for certain things. I told them what type of lighting I wanted: a 2,000-watt Tungsten floodlight, which [I shone] through a large, plastic panel that was about 10-feet high and 8-feet across. That was my diffuser. It was very, very elementary. I was using a constant light as floodlight and my Norwood meter that I used with my camera. I had my Hasselblad ready with two or three lens. (By the way, I still own that camera to this day.) I used an 80mm and a 150 mm lens and the film of that time was high speed Ektachrome, which was laughably only 125 in speed in the Tungsten version. That was what we called high speed in 1961. That’s what I shot with. I also went and bought the records, because I had some ideas of some that would be better than others. It was all Sinatra. One of the records, I still have: Only the Lonely. I was all ready to go. Waiting for Marilyn Monroe The evening came; we were supposed to start at 7:00. Jack and I were sitting at the studio at 7:00, and John Springer [her press agent] was there. It’s a very funny reality to recount to you, but I will say when you wait for somebody like this, you have a lot of different peculiar feelings go through you. You have anticipation and you want to get started in many ways, ‘cause you’re all geared up. Then after you sit a while and they don’t come, you start to say, “Is she not going to show up?” Springer said, “Don’t worry, guys. She’s usually late, but she always shows up.” We waited and waited and she finally arrived around 9:30. Marilyn Monroe as… Marilyn Monroe When the door finally opened at the other end of the studio, it was almost frightening. You’re on the edge, ready to go like a racehorse at the gate. And then, suddenly, you’re on. She came in with just one lady with her. She brought a dress and makeup, but she arrived all made-up and ready to go. I saw [then], really, for the first time, the Marilyn Monroe we all know. I hate to use this word, but I can’t think of another one: I was dazzled. My recollection is that she seemed to have a luminescence about her. This was a trick of my mind, but she almost seemed to be floating in slow motion. She didn’t seem to be like a normal human being. She seemed above this, she seemed to have an almost goddess quality—imagined, I suppose, on my part, but that’s what I saw and felt. She came in and was polite and nice, went directly to the dressing room, and disappeared in there for a while. The Goddess Returns She came out and was ready to do the pictures. She had a white robe on and she walked over to the bed. Everybody stayed out of the way. She had her lady help her into the bed, take the robe off and slip in underneath the white sheet. I was down below with them, at first, as they were getting ready, and I must say I saw some pieces of Marilyn that I’d never seen before. As a young man of 27, with a normal charge that any young gentleman would have, it was tremendously exciting. But I had to keep my mind clear because I was there for a reason. I was there to get pictures. I was trying always to be polite, and we took a sip or two of the champagne. Then I went up and the music was playing.


Douglas Kirkland:

The Silver Edition In 1961, I had been at Look for a little over a year. The magazine had been around, at this point, approximately 25 years, and they were going to celebrate with a special edition. That’s what I was asked to photograph Marilyn for.



ABOUT THE ARTIST My work is primarily driven by my frame of mind, which transforms into images through light. The details are the key to the whole. Manipulating reality has always fascinated me, both as a photographer and as a painter. Each image in the “Composed Animals” series was made from several photographs of stuffed animals assembled in Photoshop. I want these animals to be credible creatures that arouse the viewer’s imagination and emotions.

Fredrik Ödman was born and raised in southern Sweden. He studied  both photography and painting and is currently working both as a photo artist and as a commercial photographer. With his unique style, Fredrik Ödman has established a strong position within the artistic community and has been described as one of Sweden’s most prominent artists. His clients range from magazines and major companies to the movie industry.

WHY I LIKE IT, BY ALEX NIKI, EDITOR IN CHIEF: I literally “stumbledupon” Fredrik’s website. At first I was not even sure whether I had entered into the creative portfolio of a photographer or a site for a Tim Burton movie, but I was compelled to explore. I am rarely impressed by fantasy-based photography but Fredrik’s work is so finely tuned, well retouched, and creative that before I knew it I had gone through his whole site and was left wanting more. His imagination brought me into a world of fantasy animals, twisted characters, and bizarre scenarios. One of my favorite series is his “Bent Stories,” with banana shots in all different states— a hairy banana, rotten bananas, bananas with holes, banana skins, stitched bananas, bananas with nails in it… you name it. While his personal work is mind-blowing and leaning toward fine art, his assignment work is just as inventive and marks him as a truly original photographer.

PRO: EDITOR’S PICK-”Fredrik Odman” Page 93

PRO: EDITOR’S PICK-”Fredrik Odman” Page 95

PHOTO-GRAPH We researched real Mexican Wrestler poses to better direct the models.

AMERICA’S NEXT TOP MODEL BY BRAKHA x2 Photo and Words by Brakha x2

Both wrestlers were taken from another shot.

After we gave the wrestlers their blocking and direction, we insisted for the sake of authenticity that they act as real as possible (grunt, stomp, shout, etc.) to elicit real fear and emotion from the models.

The background was darkened to bring out subjects.

This smoke is a mix of an element from another shot and Photoshop creation.

Ann left the set in tears, fearing she had a failed photo shoot, but ended up winning the episode—we knew all along she had a great session!

There were 9 Executive Producers on set—seriously! Another image from this series.

Used 3 Strobes, some of which are in the frame.

The illustrative-style effect applied in post meant special lighting and planning while on set.

The girls had no idea what the assigned shoot was that day; when they walked into our location and saw the Mexican Wrestlers, they all panicked, unsure of what would follow.

She actually jumped that high in 6-inch heels. It took us about 5 minutes of jumping till we got the right shot.

The bronze tone was added to the image to set it apart from the other girls in the show.

Another image from this series.

Brakha x2:

This was one of our toughest shoots ever, mentally and physically. 16 hours shoot, 12 girls. We only had 30 minutes per girl.

We turned baseball catcher shin guards into high fashion apparel. Each model was not allowed to see what was happening to the model before her. Location was an abandoned salt factory in Downtown Los Angeles. We brought in the wrestling ring.

Shadows in canvas are in-camera.

Some of the Luchadoras names on set were Crazy Chicken, Shamu, and Chupacabra.

PRO: PHOTO-GRAPH-”America’s Next Top Model By BrakhaX2” Page 97


FOOD PHOTOGRAPHER: ANDRE BARANOWSKI By Christina Fong I Photos by Andre Baranowski Not many people can boast about having their first exhibition at the ripe young age of 14, but Andre Baranowski can. He’s had an appetite for art for as long as he can remember and eventually built a career out of it with a passion for photography. A native of Poland, Baranowski was still in grammar school when his father first bought a camera, and he’s been hooked ever since. In the absence of a formal education, he learned by simply doing. “It came kind of naturally to me,” Baranowski explained. “It’s more about how you observe the world—something I have always done.” With his origins in black and white film, he spent much of his time in a dark room printing his own photographs, learning what worked and what didn’t.

After moving to New York in 1981, he made a name for himself as a food photographer with his roots in still life. The transition from still life to food photography was a smooth one because, according to Baranowski, the two are one and the same. He said, “I think light, composition and attention to detail are so important in still life photography. And it all translates beautifully to food photography.” In terms of what works best when capturing the flavor of food in a photograph, Baranowski said, “Light, texture, color: those are basically my main ingredients.” He loves simple compositions, and his uncomplicated yet powerful photographs have graced the covers of such magazines as Saveur, Food Arts, and Garden Design. When it comes to his work, he explained, “There is a very earthy component to what I shoot. We should always keep in mind where the food comes from.”

PRO: MASTER CLASS-”Andre Baranowski” Page 99

Andre Baranowski:

TITLE: Makeup Artist YEARS IN THE BIZ: Over 25 years


CLIENTS: Laura Mercier, Garnier, Clinique, Olay, Neutrogena, Rampage...

CELEBRITIES: Claire Danes, Rachel Bilson, Liv Tyler, Julianne Moore... INSPIRATION: Cities, especially New York City.

A native of Afghanistan with a Masterâ&#x20AC;&#x2122;s degree in Molecular Biology, Matin was introduced to the beauty business by a college roommate and ended up doing makeup part-time to pay for school. After working as a research scientist for a couple of years, he made the transition to full-time makeup artist. In addition to working with celebrity clients, he has been a Laura Mercier Cosmetics spokesperson and dreams of one day creating a serious skincare line for cosmeceutical use. Growing up in a huge family that includes six sisters and three Italian Greyhounds, Matin lives for the hustle and bustle of NYC life. In his free time he enjoys practicing calligraphy, studying Islamic and Gothic architecture, and shopping for exotic ethnic textiles.



Steven Poster: / Johanna Goodman:



STEVEN POSTER: DIRECTOR OF PHOTOGRAPHY By Alex Baker I Illustration by Johanna Goodman

os Angeles-based cinematographer Steven Poster has worked as director of photography on dozens of films including Southland Tales, Stuart Little 2, Daddy Day Care, and Donnie Darko. Along the way he’s maintained a parallel career as a still photographer and served as President of the American Society of Cinematographers. Steven continues to act in an advisory role at the ASC on matters related to the ongoing transition from film to digital, which is ironic considering his original views on the matter.

“I got involved in the digital world very early on,” explained Steven who began working with digital camera technology back in 1990. “I was very interested in how the transition was going to take place, but I felt that we were being pressured by manufacturers, engineers, scientists, and salespeople to shoot with cameras that were basically inferior. So I became kind of a negative spokesman and was labeled a luddite. In fact, I was trying to push the industry forward. Everybody was trying to say highdefinition was just as good as film. It wasn’t—and it still isn’t.” Being an international spokesperson for the transition from film to digital for over twenty years has made Steven acutely aware of the drawbacks to shooting with high-def digital cameras. “These cameras can record what I call hyper-reality, and that causes its own problems,” he explained. “You tell me the name of one actor who wants to see every pore and every hair on their face. It’s a level of information that I think takes away

from the romance of what movies should be. It’s great to have that kind of headroom in the images, but it’s gonna be harder and harder, not only for the director of photography but for the art department, the makeup department and wardrobe to create the illusion that movies create.” Growing up in Chicago, Steven knew from an early age that he wanted to shoot movies. Inspired by his neighbor, a network cameraman, he began studying his craft by learning still photography. “His name was Morry Bleckman. He was a Chicago CBS newsreel cameraman,” recalled Steven. “I had already been interested in photography from the time I was ten; when Morry moved in next door, I thought he was the coolest person I’d ever met and I wanted to be him. He was smart enough to insist that I study still photography before I ever started motion pictures. It was a very fortunate piece of advice.” Steven feels a background in photography is important for cinematographers.

“It gave me a great basis. I see a real lack of understanding of the still image and of telling a story with one image in today’s kids who  come out of film school, and I think that’s a real detriment to the profession.” Upon graduation Steven began his career in Chicago where he shot as he puts it, “commercials, documentaries, industrials, educational films, anything I could get my hands on.” Before long he moved on to working in Hollywood features. Of all the films he has shot in his career, the one he speaks most reverently about is Donnie Darko. It was the first of two films that he’s now shot with director Richard Kelly and one that he recalls as being, “just pure intuitive joy” to work on. “I spent a good part of my early career being technical and very precise and understanding of technology. But then I started trying to work away from that [and be] more intuitive, more like the kind of work I’ve always done in still photography. I think I finally really accomplished

that fully on Donnie Darko, where it all came from my heart and not my head.” In addition to doing preproduction on Corpus Christi, his third project with Richard Kelly, Steven is currently working on a program with Sony Pictures to train members of the International Cinematographers Guild in the use of the Sony F65, a highly anticipated new digital cinema camera. Steven is also preparing to publish a book of his black and white still photos entitled Around the Edges. Talking to Steven Poster, you’re left with the impression that this is a man who not only loves what he does, but has also maintained the good sense to enjoy the ride along the way. “I’m probably a little bit like a drunk who only remembers the good times,” he said chuckling. “But the reality is I’ve had a good time on a number of pictures. When I get to do my art, I’m always in a state of joy on one level or another.”

PRO: PEOPLE IN MOTION-”Steven Poster: Director of Photography” Page 105




By Ross L. Hockrow I Images courtesy of CineStories

don’t care what film you’re shooting; you must have characters. Obviously movies have them, but even if you’re in the wedding or commercial film business, the one thing all filmmakers have in common is that they are dealing with characters. A huge element of movies’ “show, don’t tell” power is developing characters—which is best and most efficiently done through visuals. In most situations, characters drive the story, and in a lot of cases, it’s not what they’re saying but what they’re feeling that helps a viewer identify with them. Facial expressions are your best storytelling tool when it comes to character development. Although in a movie, short film or commercial, you have complete control of what the characters do, it’s important to know what facial expressions need to be captured to make your point, even when shooting live events. It’s important to know what character connections need to be made in order to establish and develop character relationships. There are many ways to establish relationships and feelings without saying a single word. Below is a series of images from my last film to prove it.





What do we know? A husband, who happens to be a doctor, is sitting in a hospital room with his sick wife and he cares deeply for her. How do we know this? We know because she’s in a hospital bed while he’s dressed like a doctor. We know he cares for her based on his facial expressions and the way he touches her. We know they are husband and wife thanks to the close up shot of the wedding ring. All that information is there. We obviously know she’s sick because of her location and the way she’s being presented. Do we know what ails her? Nope. Does it matter? Not entirely. The purpose here is to get the general facts. The minor details do not matter in this moment—they may either be established in later parts of the story or with audio. But the general concept is right there, just through images. Let’s say you’re not in control of your scene. You’re a live event filmmaker. Guess what? These emotions and “show, don’t tell” opportunities are all over the place. It’s your job as a filmmaker to find them and piece them together while they’re happening. I’ll admit, it’s no easy task, and the

consistency for these opportunities within a job may vary, but the better you are at staging emotions, the better you’ll be at recognizing them. If you’ve never made a film in your life, I’d suggest doing a few commercials or a short film or two and see what it’s like to make these moments happen. This will give you a good advantage when you’re trying to capture them live. Remember, in a live event there are no “CUT” or do-overs. You need to get it right when it happens. Connecting and developing characters is better done through “show, don’t tell” because visuals work quickly. Showing a shot of two people holding hands with wedding bands on is a lot more efficient than having a scene of them washing dishes talking about their marriage. You want to save as much time as you can to develop your story. Characters are easily developed through images so there’s no need to waste time doing it with dialogue. Save the conversation for getting deep into the characters’ mind and things that can’t be shown with a simple shot.

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.

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THE UNREALITY OF MALCOLM BROWN By Christina Fong I Photos by Malcolm Brown

Malcolm Brown:

When it comes to reality, Malcolm Brown certainly has a way with it. His sense of imagination is clearly felt in his photographs, which have an unmistakable dream-like and whimsical quality. Even his portraits go beyond a traditional sitting and are playful riffs on his subjects’ lives. Trained as an anthropologist and spatial sociologist, Brown has experience in observing and analyzing how people live, work, and play in a given space. But his critical and rational approach left him wanting more creativity. In 2007, after traveling to India and finding his camera to be a magic apparatus that connected him to people and places, Brown decided to switch to photography. “What is important to me is that the images present a mix of mystery, light-heartedness, and drama—a curious brew that reminds me to take life lightly and that things may or may not be as they seem,” he said, adding, “I embrace that reality.”

RISE: EMERGENT-”Malcolm Brown” Page 111

Photo by Winner Youngkyu Park

By Ashley Shufelt Are you a student photographer with an impressive portfolio? If so, you’re probably looking for ways to get recognized for your work and maybe score a few useful gift certificates to help you become the next big thing, right? If you haven’t heard of the MAC-OnCampus program yet then listen up—this information could jump-start your career.


The primary objective of the MAC-OnCampus program is to educate the photographers of tomorrow and provide them with the equipment and means they need. The folks behind MAC-OnCampus understand how difficult it can be for up-and-comers to break into this competitive business, so they want to give you that extra boost. They travel to nearly 225 schools each year and put on events that range from equipment demos to technique training and guest lectures, all of which are designed to further the education of young, up-andcoming photographers.


Photo by Winner Youngkyu Park

RISE: AWARDS-”MOC Student Awards” Page 113

Photo by Winner Youngkyu Park

Photo by Winner Youngkyu Park

RISE: AWARDS-”MOC Student Awards” Page 115

Photo by June Korea

Photo by Cassandra Plavoukos

Photo by Chau Trent

Photo by Brad Curran

But it doesn’t stop there. The MAC-On-Campus Featured Student program showcases the best work of student photographers across the country. Entering it is as simple as uploading a portfolio to their gallery, and students with different interests and specialties are all encouraged to participate. So whether your passion is photojournalism, fashion or fine art, there’s a place for you. Every month, one person is deemed the “Featured Student” and receives recognition on the website, two $500 MAC Group gift certificates—one for themselves and one for their school—and automatic candidacy for the final MAC-On-Campus Featured Student Photo Vision Award. Not too bad, huh?

Photo by Nicholas Schwartz

More than 350 students uploaded portfolios in 2011, providing the MAC-On-Campus team with the difficult task of narrowing the eligible entrants for the final award down to eleven. editor Aimee Baldridge and Consultant to Visual Professionals Selina Maitreya were among the judges—along with our very own editorsin-chief, Alex and Aurelie! They discussed and weighted each applicant and chose the overall winner, a student whose work went above and beyond and showed more than just great potential. LaGuardia Community College student Youngkyu Park was the well-deserved winner of the 2011 award. His cohesive portfolio reflected his creativity and technical knowledge, setting his work apart from the others. Park received a $1,000 MAC Group gift certificate and a portfolio consultation with Maitreya, and earned the LaGuardia Community College photo department a $1,000 MAC Group gift certificate. Congratulations are in order for the other students whose works were in the running. Here we have a glimpse of some of the amazing photos uploaded this year; the entire contents of all eleven portfolios can be viewed on the MACOn-Campus website gallery. Check out the work of past entrants and winners and see if yours is up to par. If you think your photos can impress fellow photography enthusiasts and experts, visit http://www. today. What have you got to lose besides a chance to win $1,000 in gift certificates?

Photo by M. David Farrell Jr.

RISE: AWARDS-”MOC Student Awards” Page 117

Photo by Cassandra Plavoukos

RISE: AWARDS-”MOC Student Awards” Page 119

Photo by June Korea

Photo by Brad Curran

Photo by Chau Trent

Photo by Nicholas Schwartz

Photo by M. David Farrell Jr.

Photo by Jennifer Coudron

Photo by Sergei Isaenko

RISE: AWARDS-”MOC Student Awards” Page 125

Photo by Kyle Makrauer

Photo by Sergei Isaenko

Photo by Maria Nikolis

Photo by Jennifer Coudron

RISE: AWARDS-â&#x20AC;?MOC Student Awardsâ&#x20AC;? Page 127

Photo by Maria Nikolis

Photo by Kyle Makrauer


Words and Photos by Lorenzo Bassotto I grew up in a family of photographers; having a camera in my hand is second nature for me. Then I discover the possibility offered by an iPhone. I will always love film and analog cameras, but the rapidity offered by these digital devices gave to me a new approach to the act of seeing.

As far as mobile photography being used commercially, I think it has already started. Camera phones grow in quality and speed every day; I think itâ&#x20AC;&#x2122;s very interesting for potential clients. Mobile photography only recently entered the art world, so for museums, in their way of thinking, itâ&#x20AC;&#x2122;s a still too early to promote this new form of photography.

I think mobile photography is about expression, nothing more. The process of digitalization in every media transforms the way we work and the way we share our work, our creativity. To me, a new way of communicating is always welcomed, and platforms like Eyeem contribute to enhance the exchange and the quality of how we see our world.

I shoot with an iPhone 4 and use for editing a lot of apps. I love hipstamatic to take picture with. For manipulation, the apps I use most are photoforge 2, snapseed, filterstorm, pic grunger, plastic bullet, blurFX, and Iris.

RISE: MOBILE PHOTO-”Lorenzo Bassotto” Page 131

Lorenzo Bassotto: / – email:

RISE: MOBILE PHOTO-”Lorenzo Bassotto” Page 133

RISE: MOBILE PHOTO-”Lorenzo Bassotto” Page 135


SPORTS PHOTOGRAPHER: JAMES FARRELL Words and Photos by James Farrell

I was first introduced to photography by my stepfather at the age of fourteen. He owned a chain of custom one-hour photo labs throughout Northern Michigan. I learned how to print a photo before I was ever taught how to take one. At twenty-one, I decided to go to college at a small state school— Northern Michigan University in Marquette, MI. There I became friends and eventually lived with a group of Ski Area Management students. I began documenting them and photographing skiers and skiing all over the country before moving to my current home in Greenpoint, Brooklyn, a few years ago. For me, shooting action images is something that keeps my mind engaged. When a subject flies in front of the camera, I’m riveted. The immediacy and importance of that moment add to the pressure and challenge of capturing it as sharp—figuratively, symbolically, and emotionally—as possible. The most important, difficult, and exciting part of my process is lighting. My kit is full of Elinchrom packs and strobes. Their fast flash duration and affordability are essential. The gear has proven itself time and again. My go-to camera is a Nikon D700 with a 24-70mm f2.8 lens. I love the small body and feel that it fits well with my style of shooting. It will soon be replaced by a D800 as the first camera in my arsenal.

RISE: RISING IN-”James Farrell Sport” Page 137

RISE: MOBILE PHOTO-”Lorenzo Bassotto” Page 141

James Farrell:

RISE: MOBILE PHOTO-”Lorenzo Bassotto” Page 145

RISE: MOBILE PHOTO-”Lorenzo Bassotto” Page 149


CAST SHADOW AND EDGE SHARPNESS (PART 3 OF 4) By Stephan Sagmiller, Lead Retoucher at CYANJACK I Photos by Stephen Rose for Interview Magazine I Retouching by CYANJACK

There is always something special, something you can’t quite put your finger on about the photos that truly inspire you. They often seem more lifelike and dimensional. There are many elements that contribute to photography on that level but the principles of depth play an important role—especially the handling of depth through shadows and edges. The challenge is to see and control those relationships in ways that will give your images that extra something. An experienced retoucher will selectively blur and sharpen edges to place one object in front of another. You heard me right, I said, “blur.” It’s as important to emphasis areas with sharpness as it is to deemphasize with blurring. Retouchers also anchor objects that seem to float back into perspectival space by adding or darkening the object’s cast shadows. This simple technique of adding and enhancing cast shadows is a sure way to make objects appear more life-like and dimensional. There are retouchers who routinely clone out every shadow and sharpen every edge; that results in synthetic-looking images. There is a place for that kind of retouching, but it’s like the piano player who plays every cord at the same volume: he or she might be playing the right notes, but the piece becomes monotonous and lacks finesse.




Comparing our two spheres, one with a cast shadow and one without, you can see how the cast shadow on the left makes the sphere appear more dimensional. The left sphere seems to have more bounced light on the bottom edge, while the right sphere seems to sit higher and floats in the frame. Also, notice how the sphere on the left appears to have much more volume and presence in the frame. The spheres look very different but in fact I duplicated the left sphere and moved it to the right while holding the shift key, so they are identical and positioned at the same height. By darkening the blacks just underneath the models boot in the fashion story, you can see how it anchors the model solidly into the foreground. The other thing that shadows do is to create separation between objects. Look closely at the cropped image inside the yellow circle: for demonstration I have darkened and sharpened the outer edge of her right knee to show how you might separate it from her left knee.

In the cropped example I placed two squares. The orange square shows the sharpening applied to the edges of the leg. The cyan square highlights the blurred edge of the waves in the background. When your eye determines depth, it takes in relationships between hard and soft edges in just that way, through the comparison of nearby edges. In this case, the edge of the leg was sharpened by using the clone tool with feathering set very low. Holding the shift key, I cloned the background down the length of the leg, which produced the sharper edge. Using unsharp mask to sharpen an edge like this will produce halos and will not give you enough control over the feathering of your edge.

EDGES: Sharp edges move forward Soft edges move back *depending on the DOF

THE 7 DEPTH CUES: * Hue, Saturation, Value * Scale * Perspective * Cast Shadow * Edge sharpness * Overlapping * Texture



By Clint Hild from Bitfire, Inc. Using computers and tethering cameras are things I do nearly every day. I’ve read statistics that say only 10 to 20% of photographers tether their cameras to a computer. For those of us who do, we know the system needs to be fast, stable, and perfect. That is why I am excited about the change from a USB 2.0 mini port to an Ethernet port for tethering on the Canon EOS 1Dx and Nikon D4. The prospect of a networking port on a camera is tantalizing. Imagine the possibilities! The camera is a computer with a network address. Now install a web server app providing access for multiple users all the while the camera creates data. Art directors can log into the camera remotely to look at files along with the photographer. Someone with a smartphone logs in for a peek on a shoot in progress. Remote assistants in another city change settings and make color adjustments on newly shot images in the camera while it’s still on the tripod. Point-and-remote click—is it marvelous or terrifying?



2 3

A Plastic Retainer Clip, hallelujah! No more loose USB ports with cables that fall out!

Network cables are common. If a cable goes bad, a trip to X-Mart will fix you up. Good luck finding a 15’ FW400 or 800 or USB 2 or 3 cable at said X-Mart.

Nearly every computer made in the past 10 years has an Ethernet port. This cannot be said of FW800 or USB 3.

4 5 6

Gigabit Ethernet bandwidth is about 20% faster than FW800.

TCP/IP protocol has an established stability history measured on an unparalleled scale that started with a basic copper-to-copper connection. It works, enough said.

Maximum cable length takes the leash to over 100 feet. More than double all tether cables up to this point. That’s if a camera would connect with any stability over multiple repeaters. Capturing to the ground from the roof of a building? Well, you could if you had to.

Don’t think wireless will save the day: it’s simply not an option for a 20-megapixel camera. 802.11n at 54 mbits or 6.75 megabytes per second does not have the bandwidth to manage 3 RAW files totaling over 60 megabytes generated in one second by the Canon 1Ds Mark3 or the Nikon D3X. However, at 1000 mbits or 125 megabytes per second, Gigabit Ethernet can take that, and more. The newly announced Nikon D800 uses USB 3. My newest laptop doesn’t even have a USB 3.0 port. The maximum length for a USB 3.0 cable is a paltry 3 meters (9.8 ft). One source suggested an active signal repeater could extend that up to 20 meters, or 65 feet. Only time will tell how stable it’ll be, what it costs, if it has a clip, or if they carry it at X-Mart...Bring on the network cable.

For years I’ve wanted camera manufacturers to use Ethernet as a tethering interface for the following reasons:




“ORANGE” by Three Headed Monster Productions FILMSTER

James Richard Parsons is a twenty-two year old, British film student and a self-proclaimed camera nerd. He lives and breathes cinema and found likeminded people in Jonathan White and Ciaron Craig. The three friends founded Three Headed Monster Productions (3HM for short), which has now grown into a short film collective. Their goal is to shoot as many shorts as possible, trying their hands on different genres and techniques. These guys don’t just sit in classrooms (or in front of a screen) studying the greats, they go and try to emulate them— and they’re getting some serious recognition for their efforts. Based on an idea from Parsons, the 3HM crew recently wrote, produced, and shot Orange, a six minute and thirty second miniGo to www.resourcemagonline. com for a Q&A with writer/director, James Richard Parson, and a detailed description of their production process.


film noir, which was selected and screened at Stoke your Fires Festival last February. They selffinanced it and did wonders with their shoestring budget—$1,400 goes a long way if you have a strong vision and know how to turn it into a reality. The shoot took two days and involved rigging Kino Flos on a car, a Glidecam 4000, and Redheads and Blondes (the Arri lights, not girls). While two days might not seem enough time when you have multiple locations (five per our estimation), dialogue, and complex lighting, thanks to careful preparation and planning, 3HM left nothing to chance. They are now hard at work on their next project, a modern take on Westerns. Should be interesting to see what they come up with. Keep an eye on their Vimeo page, folks!

Three Headed Monster Productions:

Images courtesy of Three Headed Monster Productions

the complete 2012

STUDIO GUIDE By Aurelie Jezequel

In my years as a producer, I’ve worked in many studios and noticed how different they were. Beyond the usual expected amenities they all share, they each have their own personality. You’ve got the fashionista studio, where every girl, staff and clients alike, is fabulous, intimidatingly teetering on vertiginous high-heels. There are old school studios that have been around a while: everything there is slightly worn out but feels oh so comfortable, just like your favorite pair of boots. Some studios have a type A personality: every last little bit of gear is polished to a blinding shine, and perfection can be found in the most mundane detail, down to the shape of the door handle. Others are welcoming and feel like a second family: at the end of the shoot, you get to hang out with the owner, shooting the breeze while drinking some wine. Some studios remind you of your supergeek cousin, plugged in to the teeth and boasting the latest technology… In the following pages, you’ll find some of our favorite studios in the U.S. Each one has its own distinctive personality, unique features and appeal. Enjoy.

Morgan Street Studios


CONTACT: Steve ADDRESS: 456 North Morgan St. - Chicago, IL 60642 PHONE: 312.226.0009 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 8,000 sq. ft NUMBER OF STUDIOS: 1 NUMBER OF CYCS: 1 CEILING HEIGHT: 12’ IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: Drive-in Concrete Cyc, 400+amps, 10x30 Chimera LightBox, Convenient River West Location, Kitchen, Private Conference Area, Airy Glass Block Windows.

Pro Gear ADDRESS: 1740 W. Carroll Ave. – Chicago, IL 60612 PHONE: 312.376.3770 EMAIL: WEBSITE: SQUARE FOOTAGE: 1,200 sq. ft. NUMBER OF STUDIOS: 1 NUMBER OF CYCS: 1 CEILING HEIGHT: 12 ft. IN-HOUSE EQUIPMENT RENTAL: Yes

dallas Bolt Productions CONTACT: Spook ADDRESS: 1346 Chemical St. and 2408 Converse St. – Dallas, TX 75207 PHONE: 214.234.8423 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 4,000 + 4,000 NUMBER OF STUDIOS: 2 NUMBER OF CYCS: 0 CEILING HEIGHT: 14 ft. IN-HOUSE EQUIPMENT RENTAL: Yes

5th and Sunset

los angeles Pier 59West

12322 Exposition Blvd West - Los Angeles, CA 90064 310.979.0212

2415 Michigan Ave. Santa Monica, CA 90404 310.829.5959

Milk LA

Siren Studios

855 N. Cahuenga Blvd - Los Angeles, CA 90038 323.645.2797

6063 W. Sunset Blvd Hollywood, CA 90019 323.467.3559



4585 Electronics Place Los Angeles, CA 90039 323.851.5030

(multiple locations)

miami 12345 West Dixie Studio & Gallery CONTACT: Paul Morris ADDRESS: 12345 W. Dixie Highway – North Miami, FL 33161 PHONE: 305.895.2956 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 4,000 sq. ft. NUMBER OF STUDIOS: 1 NUMBER OF CYCS: 1 CEILING HEIGHT: 13 ft. IN-HOUSE EQUIPMENT RENTAL: No SPECIAL AMENITIES: 12345 West Dixie is a unique 4,000 sq. ft. loft-style photography and media production studio and gallery housed in a vintage 1949 Mimo storefront building.

MAPS – Mobile Arts Production Services CONTACT: Mia Opalka ADDRESS: 212 Collins Ave. – Miami Beach, FL 33139 PHONE: 305.532.7880 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: Studio A 2,500 / Studio B 1,500 NUMBER OF STUDIOS: 2 NUMBER OF CYCS: 1 CEILING HEIGHT: Studio A 25 ft./ Studio B 12 ft. IN HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: MAPS Studio offers in-house equipment rental, which includes specialty lighting brands Briese, Arri, and Kino-flo, and two shooting spaces. MAPS is located two blocks from the ocean and is the only photo studio on Miami Beach.

Splashlight Miam i CONTACT: Megan Archibald ADDRESS: 167 NE 26th St. - Miami, FL PHONE: 305.572.0094 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 1,700 sq. ft. NUMBER OF STUDIOS: 1 NUMBER OF CYCS: 1 CEILING HEIGHT: 14 ft. IN-HOUSE EQUIPMENT RENTAL: Yes tes from South SPECIAL AMENITIES: Located 10 minu ble. availa Beach. Private Parking. Wi-fi 159

miami continued

Bathhouse Studios CONTACT: Bryce Ebel ADDRESS: 540 E. 11th St. - New York, NY 10009 PHONE: 212.388.1111 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 9,000 sq. ft. NUMBER OF STUDIOS: 2 + penthouse with 2,800 sq. ft. roof deck NUMBER OF CYCS: 2 CEILING HEIGHT: 20 ft. IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: Behind the 9,000 sq ft. neo-classical façade of a onetime public bathhouse, this rental photo studio has three levels including a rooftop deck. Perfect for photo, video & events.


Trendy Studio

385 NE 59th St. – Miami, FL 33137 305.759.4327

196 NW 24th St. - Miami, FL 33127 305.438.4244

new york

Boutique Studios CONTACT: John Kazar ADDRESS: 1089 Broadway – Brooklyn, NY 11221 PHONE: 917.500.2238 EMAIL: WEBSITE: TOTAL SQUARE FOTAGE: 2,500 sq. ft. NUMBER OF STUDIOS: 1 NUMBER OF CYCS: 1 CEILING HEIGHT: 16 ft. IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: $250/day. Rooftop space, Skylight Dome, 17 ft. cyc, South-East Exposure, Free Equipment, Make-up Station, Steamer, Rolling rack, One block from train, 10 minutes from Manhattan.

Daylight Studio 450 W. 31st St. – New York, NY 10001 212.967.2000

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

Brooklyn Big CONTACT: Ray / John ADDRESS: 80 Vernon Ave. – Brooklyn, NY 11206 PHONE: 786.346.5933 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 3,000 sq. ft. NUMBER OF STUDIOS: 1 NUMBER OF CYCS: 1 CEILIG HEIGHT: 16 ft. IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: From $385/ day, Drive-in Studio, High Ceiling, Brick Basement, Events, Private Parking, Kitchenette, Wi-fi, Free Grip Equipment, One block from train, Central location.

Brooklyn Studios CONTACT: Joseph Grant ADDRESS: 211 Meserole Ave. - Brooklyn, NY 11222 PHONE: 718.392.1007 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 10,000 sq. ft. + 10,000 sq. ft. rooftop NUMBER OF STUDIOS: 2 NUMBER OF CYCS: 2 CEILING HEIGHT: 14 ft. IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: Daylight studio. Corner Cycloram. Designer furniture included in rental. Shoot-in kitchen. Shoot-in bathrooms. Green screen. Large rooftop with rotating cyclorama and stage platforms.

Factory Studios CONTACT: Carrie White NY 11206 ADDRESS: 79 Lorimer St. - Brooklyn, PHONE: 718.690.3980 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 3,500 sq. ft. NUMBER OF STUDIOS: 2 NUMBER OF CYCS: 1 CEILING HEIGHT: 14 ft. IN-HOUSE EQUIPMENT RENTAL: Yes dstage in Williamsburg SPECIAL AMENITIES: A boutique soun n, rooftop and scree green cyc, r corne a Brooklyn with sq. ft. studio 8,000 new soundproofed brick room. New coming soon.

Fast Ashleys Studios CONTACT: Michael Masse ADDRESS: 95 N. 10th St. - Brooklyn, NY 11249 PHONE: 718.782.9300 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 16,000 sq. ft. NUMBER OF STUDIOS: 4 NUMBER OF CYCS: 3 CEILING HEIGHT: 16 ft. IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: Fast Ashleys’ convenient drive-in access and new, fully stocked location equipment rental department for photo and video make it the best one-stop shop in and around Brooklyn.

GO Studios CONTACT: Natalie Hayes ADDRESS: 245 W. 29th St. - New York, NY 10001 PHONE: 212.564.4084 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 6,500 sq. ft. NUMBER OF STUDIOS: 3 NUMBER OF CYCS: 2 CEILING HEIGHT: 11 ft. IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: Three beautifully unique and versatile spaces with daylight options, two fully-equipped kitchens with Viking Professional stove, and two cycloramas, including a double-wall cyc.

GO Studios Penthouse CONTACT: Natalie Hayes NY 10018 ADDRESS: 318 W. 39th St. - New York, 84 64.40 PHONE: 212.5 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 4,200 sq. ft. NUMBER OF STUDIOS: 1 NUMBER OF CYCS: 1 CEILING HEIGHT: 16-22 ft. IN-HOUSE EQUIPMENT RENTAL: Yes ft. floor with adSPECIAL AMENITIES: Private 4,200 sq. ive skylight with mass ; ditional 3,200 sq. ft. of rooftop space with shower, oom bathr te priva es; motorized blackout shad bar. e coffe with e loung ious and spac

Industria Superstudio

MILK/ Formula

775 Washington St.- New York, NY 10014 212.366.1114

450 W. 15th St. - New York, NY 10011 212.645.2797

Loft 33

Pier 59

33 W. 26th St. â&#x20AC;&#x201C; New York, NY 10010 917.335.5354

Chelsea Piers #59 - 2nd Level - New York, NY 10011 212.691.5959

Jack Studios CONTACT: Ron Fillman ADDRESS: 601 W. 26th St. - New York, NY 10001 PHONE: 212.367.7590 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 50,000 sq. ft. NUMBER OF STUDIOS: 8 NUMBER OF CYCS: 5 CEILING HEIGHT: 13 ft. IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: 50,000 square feet of stunning daylight, blackout, and cyc studios. Jack Studios features the largest double cyc super studio in Manhattan at over 6,000 square feet and is now opening studio 8!

Neo Studios CONTACT: Tony or Ruben NY 10012 ADDRESS: 628 Broadway - New York, PHONE: 212.533.4195 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 6,000 sq. ft. NUMBER OF STUDIOS: 2 NUMBER OF CYCS: 2 CEILING HEIGHT: 14 ft. IN-HOUSE EQUIPMENT RENTAL: Yes complete digital capSPECIAL AMENITIES: Two full kitchens, , freight elevator, shop grip, te on-si Leaf, + ture, Phase One NOHO location. nient client lounges, work station/area, conve

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

Splashlight Studios 1 Hudson Sq./75 Varick St. - New York, NY 10013 212.268.7247

Noho Productions Contact: Paul Grand Address: 636 Broadway - New York, NY 10012 Phone: 212.228.4068 Email: Website: Total Square Footage: 20,000 sq. ft. Number of Studios: 6 Number of Cycs: 0 Ceiling Height: 12 ft. In-House Equipment Rental: Yes SPECIAL AMENITIES: Noho Productions, the rental studio of choice among the world’s leading still life photographers, offers 6 fully equipped digital still life studios and a simplified flat rate billing system.

ROOT [Brooklyn] Address: 131 N. 14th St. – Brooklyn, NY 11249 Phone: 718 349 2740 Email: Website: Total Square Footage: 20,000 sq. ft. Number of Studios: 4 Number of Cycs: 4 Ceiling Height: 14 ft. In-House Equipment Rental: Yes SPECIAL AMENITIES: Drive-in access. Ground floor loadins. Concrete floors. Bamboo garden. Convenient parking. 24-hour equipment service. Still & motion digital capture and post. Events.

ROOT [Drive-In] 10011 Address:443 W. 18th St – New York, NY Phone: 212.645.2244 Email: Website: Total Square Footage: 15,000 sq. ft; Number of Studios: 3 Number of Cycs: 3 Ceiling Height: 14-22 ft. In-House Equipment Rental: Yes . Water shoots. DriveSPECIAL AMENITIES: Newly remodeled sed brick. Wood or Expo . deck Roof o. studi ght in access. Dayli ment service. Still equip concrete floors. 22’ ceilings. 24-hour ts. Even post. and re & motion digital captu

Tribeca Skyline Studios CONTACT: Claudia Fried NY 10013 ADDRESS: 205 Hudson St. - New York, 99 44.19 212.3 E: PHON EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 7,500 sq. ft. NUMBER OF STUDIOS: 3 NUMBER OF CYCS: 3 CEILING HEIGHT: 13 ft. IN HOUSE EQUIPMENT RENTAL: Yes Daylight Photo Rental SPECIAL AMENITIES: Private Elegant lete Equipment Comp ity. Facil Studios. Full Production n. Backdrop Rental. uctio Prod Postand ching Rental. Retou


ROOT [The Trilogy] By Ashley Shufelt I Photos courtesy of Root Studios NYC photographers, listen up: ROOT is now the go-to company for all your production needs. TREC, Drive-In Studios, and ROOT Brooklyn have fused into one company that provides 24-hour service and all the equipment needed on high-quality photo and video shoots. What began with 10 guys and an innovative equipment rental company—the first of its kind to offer a wide range of gear—has expanded to a team of 45. With three studios in Manhattan and four in Brooklyn, photographers are guaranteed reliable service, equipment, and studio space regardless of which borough they choose as their prime shooting location. Though much progress has been made within the company already, the future looks even brighter. Director Kip McQueen is excited about the changes under way. “This year we added a post department, ROOT Post,” McQueen said. ROOT now has the means to provide in-house post-production services to its clients; “it’s an important step forward we are really exited about.” McQueen mentioned that the Manhattan studios are now up to par with the newer Brooklyn studios with more renovations soon to come, including roof decks in both locations. For more information, visit www.RootBKN. com and


san francisco Lux-SF CONTACT: John Champlin ADDRESS: 2325 3rd St. - San Francisco, CA 94107 PHONE: 415.633.6063 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 1,800 sq. ft. NUMBER OF STUDIOS: 2 NUMBER OF CYCS: 0 CEILING HEIGHT: 14 ft. IN-HOUSE EQUIPMENT RENTAL: Yes SPECIAL AMENITIES: San Francisco’s favorite daylight studios include parking and practical kitchen, with easy access to SFO and Downtown; in-house digitech, retouch and consulting services.

The Nine Studios CONTACT: Brandon , CA 94103 ADDRESS: 349 Ninth St. - San Francisco 51 PHONE: 415.252.85 EMAIL: WEBSITE: TOTAL SQUARE FOOTAGE: 9,000 sq. ft. NUMBER OF STUDIOS: 1 NUMBER OF CYCS: 0 CEILING HEIGHT: 18 ft. IN-HOUSE EQUIPMENT RENTAL: Yes largest daylight rental SPECIAL AMENITIES: San Francisco’s exposures, Full studio with 9,000 sq. ft. North and West in the heart ted Loca s. kitchen, Freight to floor acces of SOMA.

A SIX YEAR / 6000 IMAGE EXPLORATION OF LIFE BY JESSE NEWMAN Intro by Resource Editors Technical info and images courtesy of Jesse Newman Our friend and neighbor Davide came by our office one late December afternoon. Davide has the uncanny ability to time his visits at the peak of crunch time, when we are chained to our desks, sleep-deprived, and haggard from spending too much time in front of our computers. Tagging along was Jesse, who proceeded to whip out his laptop and show us a project he had been working on for years, painstakingly assembling thousand of images, spending hours on end shaping and transforming each one of them. The final visual, which was then not yet final, aimed to pay tribute to Jesse’s daughter and her interest in the environment and Greek mythology. His work and story were so compelling that we broke off of our crunch time daze. The amount of details is staggering. You can zoom anywhere in the image and find worlds within worlds. You see a tree next to a waterfall. Zoom in, animals are under its shade. Zoom in, butterflies are fluttering around. Zoom in again and see beads of water on the butterflies’ wings. Jesse follows his uncompromised vision and doesn’t cut any corners. Nothing is too small, everything matters.

The final image has 145 times more resolution than HD. You could scrutinize it with a magnifying loop, inch by inch, and not see one stitch. Jesse used After Effects to compose all the elements together—even though After Effects is normally used for video work, Jesse felt it gave him more flexibility and helped him manage such large files. The vast majority of the photos are Jesse’s with a few from stock agencies thrown in. He pushed not only his creativity and technical skills but also the technology itself, as when he decided to shoot “panoramic close-ups” to get the highest resolution possible. He would photograph a flower with a zoom and stitch together the resulting x number of shots, which allowed him to single out the hair on a stamen. Then repeat the process for the other thousands elements he needed. When Jesse started this project six years ago, he was working as a visual effect artist on films, music videos, and commercials. As he delved deeper and deeper into both the mythology and creative process, Gaea slowly took over his life until, encouraged by the positive feedback he was getting, he decided to take a sabbatical to pursue his artistic dream. The final result of 6 years and 6,000 images, The Rebirth Of Gaea was unveiled at the International Art Expo in late March, and is now unfolding in Resource Magazine.

CONCEPT. Obviously, it all begins with the idea. My daughter has had a deep connection to the environment for as long as I can remember. As she grew older and became enchanted with Greek Mythology, I decided to show my support for her interests by depicting her as Gaea, the Goddess of Earth.

Out of Chaos, the vacant and infinite space, which existed previous to the creation of the world, Gaea, Goddess of Earth, bursts into boundless life.


I knew practically nothing about Greek Mythology, so for Emma’s birthday one year I got her an audio CD of a college course by the University of Maryland’s Elizabeth Vandiver, called “Classical Mythology” that we listened to during car rides. I also got several books out of the library and was amazed at how vividly rich the stories were.

EXPLORE. I start sketching any and every ideaâ&#x20AC;&#x201D;some specific to the mythology, others merely shapes and forms that I found intriguing.


At some point, after establishing a vision and choreographing the layout, I need to pick a section and figure out how to make it come to life.

LAYOUT. I begin planning out the composition. Ancient Greek art expresses the ideals of harmony and balance and is characterized by a concern both with formal proportion and with the dynamics of action and emotion. In addition to staying true to this, I want to convey a sense of time passing, of a story line, and so in that sense, the image can be read from the top left to the bottom right.


CREATE ELEMENTS. I then gather elements, which involves shooting photos of both the actual components of the piece (my children, flowers, landscapes, clouds, etc.) as well as elements that are more abstract and will be used to manipulate or enrich the piece (dripping honey, flowing fabric, milk in a cloud tank, light refractions through ice, etc.).

PREPARE IN PHOTOSHOP. A very left-brain endeavor in which I cut mattes and do any necessary cleanup to the images.

COMPOSITE IN AFTER EFFECTS. After Effects was created for video, not print, but I find it provides an incredibly free form and flexible creative process.

INTEGRATE INTO OVERALL COMPOSITION. After having completed the stand-alone vignette, I need to work it into the overall composition, paying close attention to adjacent light sources and how they would interact with the component Iâ&#x20AC;&#x2122;ve just created.


At this point, I step back and try to make sense of the fact that I just spent a month on such a small area of the overall piece.

Jesse Newman:

I couldn’t bring myself to ask anyone to pose as Cronos (“Well, you look like the embodiment of evil!”). So I had my wife take a photo of me.

late once.” Etymologically, Cronos is not related to Chronos (time). But as Professor Elizabeth Vandiver points out, the allegorical interpretation is not necessarily invalidated because when Cronos was freed from Gaea’s womb, Time actually came into being.

I was shot without any makeup or prosthetics. On top of the base image, I applied lizard skin and then mixed in teeth and a tongue from photos of a wolf and a dog. The background texture is from the surface of Mars.

Attempting to escape the prophecy that he would be dethroned by his own son, Cronos swallowed each child as it was born. His wife Rhea tricked him by giving him a stone wrapped in swaddling clothes in place of their youngest child, Zeus. Upon realizing this, Cronos began scouring for Zeus all over Earth.

For a long time, this representation of Cronos was the only photo Emma’s boyfriend had seen of me. “This photo of my Dad was taken after I got home 5 minutes

With regards to mapping on the lizard skin, I paid special attention to how it would convey the underlying muscle structure and function. For example, the delineated jaw structure moves from edge of the mouth and flows into the ear. Smaller scales near the edges of the mouth and eyes allow for more elasticity, etc.


To symbolize the beginning of the universe, I created an embryo out of nebulae. Using several photos of my younger daughter, I first assembled what I thought was a realistic body position for a baby in utero. Then, I took a bunch of photos of human and animal organs and flesh, and recreated her entire body to look as if the skin was transparent. I’ll be the first to admit that it looks freaky, and I ultimately only used a small part of the “meaty” iteration, but I find that having fully-realized

elements and backgrounds keeps the process flowing and unregimented and allows me to make discoveries I wasn’t looking for. Ultimately though, I am using that layer to suggest that the body was forming from the stars, and that it was “wet” within the womb. In addition to that layer, I took several photos of jellyfish and deepwater creatures whose translucent aesthetics

seemed to fit with what I imagine an intergalactic womb and umbilical cord might look like. I wanted the contours of the confining wall to be affected by the foot pushing on them, which developed into the foot piercing through. In hindsight, it seems like a subconscious homage to Dali’s “Geopoliticus Child Watching the Birth of the New Man.”


I’m not building this like a Hollywood set, where the houses lining the streets are only façades. Each level of this image is fully imagined, so that I’m not limited as I add elements on top of it. I don’t have to worry about avoiding certain areas that are unfinished— even if this means I’m doing a lot of work that will never be seen. Essentially, you could remove the floating Eroses, the foreground trees, Gaea herself, and you would see another complete piece.

Gaea is reclining as a river and falling into a meditative state. As the Eternal Mother floats between thoughts of the parent-child relationship and inherent innocence, these ideas are made manifest by the animals around Her. Gaea’s only distraction is a solitary butterfly, flittering without direction.


For some vignettes, I have created several variations of the overall aesthetic. For Flowing Meditation, the alternate versions include “vintage.”

“MAKING OF” VIDEOS My background in video will make learning about how I created this image truly unique. Because the best program available for creating this print piece happens to be a video program, I am able to produce incredibly lush and detailed “making of”


is a composition of hundreds of smaller vignettes, seamlessly blended together. I have challenged myself to create a piece where one could crop into any part of it, blow it up, and be left with a beautiful composition, accurate lighting, and abundant detail. Overall, I attempt to produce dramatic darks and perfectly lit highlights. Beyond that, though, I want the lighting to work on both a macro level (so that the main light source in the entire composition informs much of the lighting throughout), and on a micro level (where the light sources that occupy that area would accurately fall onto their subjects). I call this technique “fractal lighting.” In much the same way, “fractal detail” references the ability to, for example, zoom into the waterfall section many times over and see details within the details. I focus on the detail like the world depended on it, knowing there is potential to make beauty out of anything. This is a great example of the benefits of using After Effects to composite, in that AE allows you to zoom in infinitely, getting lost in the image.

videos showing the countless layers and techniques used to create the image. Imagine being able to view your favorite piece of art, built up paint stroke by paint stroke. It hasn’t been done before, because it hasn’t been possible to do it before. To see the “making of” video for Flowing Meditation, go to: 179


POLAROIDS Words and Photos by Robert Whitman

I am from Minneapolis. I never took a photograph until I saw the movie Blow Up. Soon after that, I was introduced to the photographs of Guy Bourdin and I was hooked. I had to be a photographer. I was a hippie. Didnâ&#x20AC;&#x2122;t protest too much. Just liked getting high, having fun, and being free. I had to avoid at all costs shaving my beard, cutting my hair, wearing a coat and tie, and working 9-5. Therefore, the job market was very limited for me. Being a photographer would give me everything I wanted, i.e. freedom, creativity, and lots of sex. (Forgive me, I was young.)

Robert Whitman:

It just took a few months from first picking up a camera to being one of the hottest photographers in Minneapolis. How that happened is a whole other story.



Fast-forward to my living room in 1981. I was at the top of my game. The bars closed at 1am, and at midnight, everyone was looking for the next party. I had an interesting mix of friends: artists, flight attendants, drug dealers, hairdressers, waitresses and bartenders, musicians, actors, nurses and doctors, copywriters, strippers, make-up artists, models, sales clerks at head shops and boutiques, and an assortment of various bad boys. This was the time before the Internet, camera phones, Facebook, and the ensuing millions of photos everywhere. And way before everyone was a photographer. So, to see yourself in a Polaroid, developing before your eyes, was very cool and special.



We were all very free, open, innocent, sexy, fashionable, and always ready to party. The Polaroid camera helped in creating a party mood. The girls would love to show off their new shoes, lingerie, haircuts, and the guys would love to be shirtless, flexing their gym bodies. The Polaroids would totally loosen everyone up. I would call it “Polaroid Foreplay.” All of these photos were taken before “the real fun” began.


Watch the episode of Print is Not Dead featuring Robert Whitman on RETV:



& entertainment

By Sophia Betz I Photos courtesy of the gallery

Lucien Clergue, ‘Clergue in America’, Throckmorton Fine Art


Throckmorton Fine Art:

Lucien Clergue was born an artist. Growing up in the French town of Arles in the 30s and 40s, he excelled at violin and began taking photos at 13 when his mother bought him a camera. But his life was soon turned upside down. His parents divorced; their separation and the war forced him to leave Arles. When he was finally able to return, he found his home and family shop destroyed. Clergue dropped out of school to support himself and his mother, who passed away soon thereafter when he was only 18. Financially unable to pursue music or filmmaking (a passion he would later revisit), Clergue turned to his other love, photography. His natural artistic drive and brooding thematics caught the eye of Pablo Picasso, who would become a lifelong friend and mentor, and the subject of Clergue’s 1993 book Picasso Mon Ami. Clergue’s early work is defined by its dark tone, exploring themes such as death and poverty. He photographed bullfights, dead animals, mannequins, circus performers, and his images of gypsies are now among his best-known works. What emerges from these early images is Clergue’s distinct insight into one’s relationship with their environment and their connection with their own physicality—themes that play out fully in his

nudes. Often blurring the line between nude and landscape photography, his images reveal strong surrealist and cubist influence, which is what charmed Spencer Throckmorton, owner of Midtown Manhattan gallery Throckmorton Fine Art. Produced as a complement to New York’s French Institute Alliance Française (FIAF) exhibition, Throckmorton’s Clergue in America featured the photographer’s more recent American nudes and landscapes, along with images from various decades, locations, styles, and color palettes. Clergue nudes are at once playful and contemplative, vulnerable and powerful. There is an ease and fluidity to the images, which are more peaceful than his earlier works. Clergue’s use of natural light makes it an almost tangible presence in his images; it becomes a force, bringing to bear the human form and reacting to it. The curves of the body in ‘Andrée with red fingernails, NY’ bend and manipulate the light as it filters through the blinds, and the strips of light seem to reach off the page. This dance—the body and the natural world clashing, joining, giving shape to one another—is a dynamic theme that defines Clergue’s work.

ARTS: GALLERY-”Lucien Clergue” Page 193

Clergue often draws surprising connections between the human body and the landscape it inhabits. In some images, the body is literally immersed in natural elements like water or sand; in others, the environment is the city, in all its grit and claustrophobia. The disquieting closeness between the naked figure and the city in ‘Nude facing windows, NYC’ is countered by a stabilizing compositional balance that anchors HIS image and is a trademark of Clergue’s oeuvre. Whether it’s a mundane parking lot or an idyllic beach, Clergue’s consistently deep depth of field enhances the vivid juxtaposition and tenuous harmony of the person with the world around them. Clergue’s work is imbued with a captivating tension between public and private, between what is hidden and what is exposed. The symmetry and equilibrium he strikes in his compositions is almost a decoy for the multifarious, contradictory world he reveals. Clergue in America is, in other

words, an appropriately complex representation of our daily struggles and communions with the natural and man-made world we inhabit. Clergue said at the show opening that he was looking for “something new” while creating his recent portfolio. As a young man, he turned down Vogue; dedicating his life to art on his own terms, he’s always been able to create “something new.” A true artist and Renaissance man, Clergue has written and illustrated many books; he’s also directed several short films. He founded Recontres Internationales de la Photographie, a major European photography conference and exhibition in his hometown of Arles, and recently won the Lucie Award for Lifetime Achievement in Fine Art Photography. His ability to manifest the beauty and anxieties of modern life with such visual fervor has taken him and his work around the world, and his willingness to experiment and take risks endures today.

ARTS: GALLERY-”Lucien Clergue” Page 195


Getting your (photo) show on the road By Jessica Manley

One of the most rewarding, yet stressful, experiences for a photographer is putting a show together. Resource aims to make your life a little simpler. We’ve contacted respected framers and art handlers to get questions you didn’t know you had answered. Read on. Framing is crucial, for both aesthetics and preservation reasons. Make sure your framer is a conservation framer, who will know to use the right materials and techniques to keep your prints looking pristine throughout the years. FRAMING OPTIONS Wood: - The most common choice. - Downside is outgassing—over time, wood frames emit an acidic gas that damages or degrades the art. To prevent this, conservation framers place pressure sensitive frame sealing tape (an acid-free paper attached to a foil sheet) between the frame and the print. Poly (made of polyresin): - A great option, especially if you’re looking to save money. - Lighter than wood frames (so lighter shipping costs). - Comes in different styles, including ones that look like wood. - Good for conservation as long as pressure sensitive sealing tape is used (poly also produces outgassing). Metal: - Another good option for saving money. - Great for displaying photos with a modern or industrial look. - No outgassing issue.

GLASS OPTIONS Regular Glass: - Used when conservation is not a concern. Over time, if the frame is in sunlight or under a light, the print will fade or degrade. - Much less expensive than UV or Museum glass.

UV Protected Glass: - Considered conservation framing glass as it protects the art from fading or from damage due to UV rays. - Most UV glass stop 98% to 99% of indoor and outdoor UV light rays. Museum Glass (used in museums and galleries): - Also considered a conservation glass, blocking 98 to 99% of UV rays. - Provides optimum viewing experience. Unlike standard UV glass, Museum glass has less than 1% light reflection so it looks like there is no glass at all. - More expensive than other glass options. MAT OPTIONS Acid-Free mat is the #1 requirement for conservation. Always use them—it’s tempting to cut corners but a regular, store-bought mat will damage the print (you can tell an acid mat by the yellowing that occurs inside its beveled edge). 2 types of acid-free mats are available: 1. Rag Mat: made of 100% cotton and with no acid whatsoever, used to frame museum quality pieces. 2. Next step down (called different things by different companies) is a great alternative and money-saver— usually made of virgin alpha cellulose and buffered to make it acid-free. No Mat: - If not using a mat, conservation framers attach spacers to the edge of the glass in order to space it away from the artwork. Print should never directly touch the glass as the two may get stuck together.

4ply Mat: - The standard used in most framed work. - “4ply” refers to the thickness of the mat (4 sheets are put together). 8ply Mat (often used on gallery or museum work): - Thicker, gives a more dramatic look than a 4ply mat. QUESTIONS TO ASK YOUR FRAMER How do they attach the print to the (acid-free) backboard? - Conservation framers use a method called hinging, which includes using Japanese rice hinging paper, or linen hinging paper, and allows for the minimal amount of something to be attached to the piece while still holding it in place. - Artwork should never be taped to the front mat board (while it’s then easier to center the image, it severely damages it). Do they provide bumpers? - Bumpers are little plastic dots that attach to the back bottom corners of the frame. They prevent it from scratching the wall and from sitting directly against the wall where condensation may build up and damage the frame and/or artwork.

Information provided by Jessy Hausner from Artisan Gallery Framers, a New York-based framing company that follows conservation framing rules and does everything by hand. __________________________________________ Next step is the handling, shipping, and hanging of your prints. For this we turn to Jonathan Schwartz, President / CEO of Atelier 4, a New York-based art handling company and a favorite of many art galleries - What type of packing material do you use when transporting photographs? If the works are unglazed and the surface cannot

be touched, as with some Richard Misrach images, we need to shadow box the works, attaching to the reverse of the frame with slips so they float inside the travel frame. Otherwise, we can soft pack with polyethelene sheeting and cardboard slipcase, or pack into custom-built wooden travel cases. What is your insurance policy for damaged or lost photographs? Our “all-risk” option covers the full value of the work in case of a total loss, or partial if the work can be restored. We also offer a less expensive, limited risk insurance, which covers theft or non-delivery. If a frame or glass gets damaged during shipping, but not the work itself, what can you do to still get the print in the show? If insured by Atelier 4, we will do the best we can to resolve the issue in a timely manner. If not insured by us, our accountability is limited, but we like our customers to be happy, so we are open to discussion. Do clients receive updates during the transportation process? When the photographs are in transit with our shuttle system (available for all 48 contiguous United States), we give the client a call 24 to 48 hours prior to delivery. Clients can track shipments online on our site. For international transportation, clients track progress online using the air waybill number. As your company also hangs the work, can clients give a descriptive layout of how the photographs should be displayed? Yes, and the more detailed the better. CAD layouts are awesome for this, if clients have access to that technology. Do you ensure the safety of the art while on display? That’s actually outside of our responsibility, but I suggest that the photographer acquires a facility report from the venue as well as vet the loan form with their insurance company or lawyer.

The Latest Titles


By Warren Parker I Photos courtesy of Aperture

Koudelka: Gypsies Photographs by Josef Koudelka Essay by Will Guy Published by Aperture 224 pages â&#x20AC;&#x201C; 109 quadratone images $85

Koudelka: Gypsies is a classic of documentary photography. For his masterpiece, Josef Koudelka photographed for almost ten years the nomadic tribes found across Eastern Europe. Koudelka was interested in their lifestyle, customs, clothing, and physical beauty. Anthropological in nature, Koudelkaâ&#x20AC;&#x2122;s work provides viewers with a unique access to the quotidian routine of Gypsy life. In 1968, after returning from one of his trips for this series, he witnessed and documented the Russian military

forces invading Prague and crushing the Czech reforms. Koudelka surreptitiously got his negatives out of the country and had his photos of the coup de force published under the initials P. P. (meaning Prague photographer). He eventually fled to England. The new edition of this seminal work includes never-before-published images and a unique quadratone printing by artisanal printer Gerhard Steidl, along with a text by Gypsy scholar Will Guy.

THE NEW YORK TIMES MAGAZINE PHOTOGRAPHS Photographs by various artists Edited by Kathy Ryan Preface by Gerald Marzoratti (Assistant Managing Editor of the New York Times) Published by Aperture 456 pages – ca. 500 four-color images $75

The New York Times Magazine Photographs is a testament to the publication’s unvarying interest in the art of photography over the last thirty years. The massive volume was edited by Kathy Ryan, the magazine’s Director of Photography. Ryan possesses an innate ability to link photographers to stories and has dazzled faithful readers during her twenty years tenure. Thanks to her leadership, The New York Times Magazine has won the Art Directors Club and the 2006 Pictures of the Year competition. Ryan received the Canon

Picture Editor of the Year Award at the 2007 Visa pour l’Image Festival, among other accolades. The book includes works from a stellar cast of photographers, from Nan Goldin, David Lachapelle, Richard Burbridge, to Erwin Olaf, Gregory Crewdson and Philip-Lorca diCorcia, to mention just a few. Behind-the-scenes anecdotes from photographers and other New York Times’ collaborators give us insights on the inner-workings of the famed magazine.

IS THIS PLACE GREAT OR WHAT? Photographs by Brian Ulrich Essay by Juliet B. Schor Published by Aperture 144 pages – 95 four-color images $50 In Is This Place Great or What, photographer Brian Ulrich tells the story of a changing economy, through his decade-long exploration of America’s declining consumer culture. In his first monograph, the artist delineates the recent dramatic shift in the U.S. economy. In the wake of 9-11, and with President George Bush equating patriotism with shopping, Ulrich cogently links the country’s emphasis on consumption to the creation of a debt-driven financial system, which resulted in the Great Recession we have today. Ulrich illustrates the stark ramifications of America’s economic crisis by primarily concentrating on retail franchises, such as Target, and shopping malls. His ability to articulate the suffering of citizens by photographing empty parking lot and foreclosed malls is powerful and compelling.


Ulrich has an MFA in photography from Columbia College Chicago and in 2009 received a John Simon Guggenheim Fellowship. With a foreword essay written by Juliet B. Schor, a professor of sociology at Boston College.

ARTS: BOOK CLUB-”The Latest Titles” Page 201


Jules Dassin

Violence and crime can look gorgeous in the right hands—Jules Dassin’s film noirs have a beauty that subtly embellishes the seedy underworlds they depict. Shadows and light mix together to tell tales of morally ambiguous heroes and cities that hide more than meets the eye. However, Dassin’s films went above and beyond the usual black and white aesthetic: their editing and photography coalesce to unveil the brutality, desperation, and beauty of their criminal world.

If The Naked City is distant and expansive, Night and the City is confined and narrow. A film filled to the brim with shady dealings, Night and the City thrives in tight spaces where Dassin captures the distress and despair of his characters through close-ups. The

best example is during a pivotal wrestling match. Dassin goes in close to show hands grasping, faces becoming distorted, and a pair of arms locked in a bear hug grapple. A snazzy, if too excessive, editing job conveys the idea that we are witnessing a great fight: each time a wrestler is about to pin his opponent, a quick edit shows the opposite happen. There are no heroes in Night and the City; as a result, everything is filmed in shadows. An early scene shows Richard Widmark and Googie Withers detailing somber machinations. Candles on the table project shadows on their faces, which echo their own shadowy dispositions. Cinematographer Max Greene does wonders shooting London at night; a thrilling final scene finds Widmark escaping to a

clock tower: the tension is nearly horror-esque, as Dassin goes from a close-up of Widmark to a hand with a knife to a shot of the stairs. Dassin’s Brute Force is perhaps the most infamous of his noirs, depicting violence not only by prisoners but also by wardens. The black and white aesthetic shows there is no distinction between protagonists and antagonists. The highlight of the film is when Captain Munsey savagely beats a man in his office with the blinds down. The darkness in the room resonates with the character, and the scene is hard, a little unreal, and unsettlingly gorgeous, just like the color palette of the film.

The Naked City U.S. Release Date: March 4, 1948 Director: Jules Dassin Writers: Albert Maltz, Malvin Wald

Main Cast: Barry Fitzgerald, Howard Duff Cinematography: William H. Daniels Editor: Paul Weatherwax

Night and the City U.S. Release Date: June 9, 1950 Director: Jules Dassin Writers: Gerald Kersh, Jo Eisinger Main Cast: Richard Widmark, Gene Tierney Cinematography: Max Greene Editors: Nick DeMaggio, Sidney Stone Brute Force U.S. Release Date: June 30, 1947 Director: Jules Dassin Writers: Richard Brooks, Robert Patterson Main Cast: Burt Lancaster, Hume Cronyn, Charles Bickford Cinematography: William Daniels Editor: Edward Curtiss

Emil Rivera:

In The Naked City, Dassin is never too claustrophobic when filming New York; he allows the city to shine with a stunning aerial opening sequence and numerous wide shots of familiar locations. His viewpoint ranges throughout the film—when the victim’s parents identify the body, Dassin goes for a high angle shot, giving us a fly-on-the-wall perspective as we witness the mother break down. No sequence demonstrates editor Paul Weatherwax’s mastery more than a close-up shot of running bath water—which will be used to drown the victim—smoothly fading out to a car hose spraying down the city streets. A chase sequence down a fire escape includes quick edits and the stairs’ shadows to give it a hard edge. The last scene on the Williamsburg Bridge is dizzying in its vertigo, and Weatherwax really shines with a rapid succession of matching shots of the cops chasing the murderer that ratchets up the tension.

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Michael Kenna Pro-File: Continued From Page 81 Everything has to fit into a backpack (except the tripod) as I walk a lot when photographing and need to be able to work in all conditions without thinking very much about the equipment. These cameras have become old friends: familiar and easy to be with. They are fully manual with no fancy bells or whistles. They can function in extreme conditions and are generally reliable. They are versatile and don’t weigh too much. I get a decent sized negative, which I can print whole frame or crop as required. I have used these cameras for over 25 years so I know them quite well. My other useful camera is a plastic Holga, which I often carry in my pocket when the backpack and tripod are not with me. I have made many images with this camera and they have somewhat different and very interesting characteristics. DO YOU DEVELOP THE FILM YOURSELF? I usually have the film processed by a professional lab. I don’t find much creativity in that part of the process. However, all the actual printing I do myself in a traditional darkroom. I believe that it is an integral part of the creative process. Printing is highly subjective and I enjoy the dialogue, (sometimes it’s more like a wrestling match) that I can have with a negative. I have always loved printing and learned a great deal printing for the photographer Ruth Bernhard in the late seventies in San Francisco, California. Her starting point, when it came to darkroom printing, was that

the negative was the starting point! She would radically transform an initial straight print into a Ruth Bernhard print. This might involve tilting the easel to achieve a different perspective, softening the focus to create an evenness of tone, making masks to burn and dodge, using different chemicals for different images, etc. She essentially refused to believe that the impossible wasn’t possible, and that there were no rules that couldn’t be broken, which made for many late nights of work. My years with her were priceless for developing my own printmaking skills. DO YOU REPRINT OLD NEGATIVES TO TRY NEW EFFECTS? I make limited editions of my prints. Sometimes it is a decade or more between sessions of printing the same negative. Often I reinterpret. Change is one thing we can be certain of. The materials and photographer change, and there are infinite possible variations between the two. HAS THE DIGITAL REVOLUTION AFFECTED HOW YOU WORK? I don’t use the digital medium in my work; however, I am reasonably familiar with what is possible, particularly with digital retouching, as I’m sometimes commissioned to do commercial work, and most clients these days require scans as the finished output. I am fully conscious that a lot of what I do in the landscape and darkroom can now be more easily and quickly done on a monitor. The whole photographic process has been made much easier,

faster, cleaner, and more accessible to more people by digital innovations. And that’s a very good thing. For most photography a darkroom is really not necessary. I think artists should use whatever equipment is appropriate for their vision. For my part, I don’t need instant gratification and it is the long, slow journey to the final print that captivates me. I still prefer the limitations and imperfections of the non-digital world. WHAT ARE SOME OF THE BIGGEST CHALLENGES OF LANDSCAPE PHOTOGRAPHY? HOW IS IT DIFFERENT FROM SHOOTING A CITYSCAPE? Our world is fast paced, noisy, colorful, full of distractions—particularly in cities. I try to provide something of an oasis, a place of rest, perhaps to meditate for awhile. Calm, solitude, a moment to breathe, are aspects of my work. These elements are usually easier to find in the landscape. I often photograph pathways, plank walks, bridges— invitations for viewers to wander a little. Usually, there are no obvious destinations. It is up to the individual to find their own way, to use their own imagination, to create their own stories, dramas, tragedies, comedies, etc. I often use a theater analogy. Before actors appear on the stage, or before a concert begins, there is a certain atmosphere of anticipation. I enjoy that and it is fertile for our own creativity. Once the characters appear or the music starts, we are led into somebody else’s

story. After the performances, memory lingers and again our minds can be very active. My imagery is about the mood and atmosphere before, after, and between events. It is also about sheer beauty. When I see a beautiful tree, I want to make a photograph, a portrait. When I stumble on something that emotionally touches me, has a resonance, whether I know why or not, I want to make a photograph. The landscape is ever changing and has infinite possibilities. The biggest challenge for me is to distill its essence into an individual image that speaks to a viewer, and invites the viewer to be part of the scene. But another challenge for me is just physical. I rarely take quick pictures. Usually, I spend hours in a place, sometimes days. I often work from dawn to dusk, and occasional through the night. There is constant bending, moving, lifting, etc. Sometimes I work in freezing weather, in snow and ice, on mountains, or by frozen lakes. I hike for hours, with a backpack of heavy camera equipment and a tripod. I photograph from ground level or from a high perspective. It’s hard work! But I don’t see that there is so much difference in my approach when I photograph the landscape, cities, or industry. Life is a miracle, this world is a miracle, and often I feel completely dazzled by what I see. Ultimately, I feel very privileged to be able to make and share my photographs.







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History: The Art of Getting Marilyn Monroe in Bed continued from Page 88 The Charge and the Come-on Marilyn was very sweet. There was a very wonderful woman there. There were many women, maybe, within Marilyn. But the Marilyn Monroe I was with that night was very caring and very sensual. She was really wonderful because she moved around in that sheet, and we were talking back and forth, about how it felt to be there. We were talking, frankly, in a way that two lovers would talk before engaging in love making, and it heated up more and more as it went on. Then she said, “I’d like everybody to leave. I want to be alone with this boy. I find it usually works better that way.” Everybody left and I was alone with Marilyn. I remember hearing the door close and thinking, “Wow, it’s really myself and Marilyn. Now, Kirkland, you’ve got it all your way.” Frankly, by then, the charge was in me. I had left uncertainty. Clearly, I was seducing her and she was sending it right back to me. The air was heavy with it. I told her she was exciting me. We were sending this charge back and forth. I really shot quite vigorously. At one point she said, “Why don’t you come down here?” I went down and started taking more pictures. And then she asked me to get into bed with her. “The Camera Became Our Sex.” 95% of the men in the world, if not more, would have done anything to have been in that place and to take advantage of it. Part of me was ready to. But, I had two kids in New Jersey and was the kind of guy who was sent to Sunday school as a young boy. At that eleventh hour, frankly, that stopped me. Friends have said, “You’re crazy, Kirkland. What was wrong with you?” I was a little embarrassed to not pick up on it in some strange way. Because here’s Marilyn saying come into bed with me, and I just continued to take pictures. I acted almost like I didn’t understand. I didn’t turn her down. I just said, “You excite me so much, I’ve got to keep photographing. More, more, more,” and would talk about the camera and what we were doing. I think that’s really what gave these pictures special charge. I often have thought years later, if I’d actually made love with her, the pictures might not be what they are. The camera became our sex. And that does happen with photography, occasionally. We separated about one in the morning. I was very tormented. I couldn’t sleep that night. I was very agitated because of what had occurred, and [kept] asking myself if I had any inadequacies of my own not to have taken her up on her offer. I kept turning it over and over in my mind: Was I less than a man to have not done this? I can still query that till this day. I more or less concluded I did the right thing. Another Date with Marilyn Marilyn wanted to see the film as soon as possible, and we set up an appointment at five in the afternoon the next day. I’m a kid originally from a small town of 7,000 people. Now here I am in Hollywood [on my way to see] Marilyn Monroe, driving down the Sunset Strip. Of course, I rented myself a Thunderbird convertible on my expense account. I think I had some Elvis Presley music on the radio, as I’m going with a great beat and excitement to show Marilyn her pictures. First, I was going to see her again. That was important to me. Second, I had the pictures, which I felt were successful. And third, I was just part of this whole world. I felt like I could never have been luckier. The Other Marilyn I rang the doorbell and no one came. I did this twice more. The third time, the door was cracked open a couple of inches. The room was dark in there; it hadn’t been dark when I was there the first evening. I saw Marilyn, just putting her nose

out, with dark glasses on. It was a completely different Marilyn than the other two whom I met. It was almost like it wasn’t the same person. She said, “OK, come in.” She had a scarf over her head. She excused herself and left me sitting in a corner of the room, more or less. Then she came back and she said, “OK, let’s look at them.” Thrown for a Loop I had a small light table with me, but I didn’t have a loop, or a magnifying glass. She said, “I can’t look at these without a loop. I want a loop and you can go and get it.” I found [one] and came back. I remember feeling upset or sad when I saw that she was upset, and wanting to try to comfort her, but lacking the ability to do that as a young man. So I was very gentle and very quiet as we started looking through those pictures. She looked through them very quickly, put her head up and said, “Not that special,” and she left the room. She still was wearing her dark glasses. It seemed to be an endless period of time I sat there with my pictures and light table and no Marilyn, until she came back. She wasn’t wearing the dark glasses anymore, but she did look tired. That Girl She started to look through the images slower and made a stack of ones she liked. It evolved and she narrowed that stack to another one, and showed me the ones she really cared about. She started to fall in love with some of them. This image in question was her favorite picture. She said the pillow represented holding a man. She referred to herself as “that girl”: “Now, that girl, that girl’s really got something. That’s the kind of a girl that a truck driver would like to be in that bed with.” Some of those words are interesting. Why a truck driver? That was a real man, a man’s man. Not a superstar or a conniver or a fast-talking Hollywood guy, but a real man of the earth, from the Midwest maybe. Or the kind of people she had grown up around and felt were more reliable.

“Marilyn Monroe est morte.” We had planned on further shooting because she felt this had worked well and we could do even more wonderful things together. [But] I had a full-time job and was very, very busy. The following summer I ended up in Paris; I went there in late July, and had been there for about 10 days when I saw “Marilyn morte” [on headlines]. I thought, that can’t be my Marilyn, the American Marilyn. I was stunned. This was Marilyn Monroe! She was meant to be around forever. Besides, I sort of had a date with her. The strange thing that went through my mind was [in a solemn voice], “I guess we just won’t take those pictures together.” It’s a very odd, small thing to think about at a time like that, but that was my Marilyn Monroe. The Search for Marilyn I think she was a wonderful seductress and she enjoyed it, and she did it well. She had the ability to become that person. She frequently was late for everything she did, but she was late usually because she was charging herself up to become this entity, this being. This was like a transition she would go into, a person she would become. She became that wonderfully for that evening that I had with her, in every regard. I think she went through a lifetime of searching for this perfect place to be, but whenever she seemed to come close to it, it wasn’t as impeccable as she hoped or supposed it would be. And then she went searching even further for the dream. I think and feel that her life was a series of these searches. And if we’d made love that night, that would have been just one more lead in the search that she was always in pursuit of.







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Profile for Alexandra Niki

Spring 2012  

Spring 2012