Posts by: Heidi Volpe

The Wall Street Journal Magazine: Jennifer Pastore

- - The Daily Edit

 

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June 2016 Issue  |   Walk on the Wild Side  | Photography by Mikael Jansson Styling by George Cortina

June 2016 cover story: Click Here

 

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The Wall Street Journal Magazine

Editor in Chief: Kristina O’Neill
Creative Director: Magnus Berger
Photo Director: Jennifer Pastore
Senior Photo Editor: Damian Prado
Assistant Photo Editor: Meghan Benson
Photo Assistant: Amanda Webster
 Design Director: Pierre Tardif
Art Director: Tanya Moskowitz
Art + Production Assistant: Caroline Newton

Instagram: @wsjmag #wsjmagazine

Location projects always seem to have unique challenges. The Kenya shoot looks flawless but were there obstacles or triumphs along the way that you can share?
It’s true, location shoots are always challenging. It takes a lot to move a large crew into the middle of a 7000-acre conservancy in a remote corner of Kenya. For this particular story in our upcoming June 2016 issue, out on May 28th, photographer Mikael Jansson and stylist George Cortina brought their enthusiasm for the environment and the culture of the area with them to Kenya, which helped to smooth out any bumps along the way. It also resulted in 34 pages of fashion and landscape photographs that I think capture the romance and wildness of this dramatic location. Also, for the first time in the magazine’s history, we had two different covers. One features Anna Ewers and the other Edie Campbell. Some of my favorite photos from the story are of Edie riding a horse through a herd of zebras and Anna in the afternoon light walking through the bush.

When we last spoke in 2014 the magazine had just begun dipping into the celebrity territory. How much has that shifted since then, and is this now a regular cover theme?
We have definitely expanded our coverage of celebrities in the magazine, but we still approach our subjects (celebrity or not) with a light hand in the way that we photograph and style them. We try to capture their essence in the most natural way possible, which usually means making the shoot experience as comfortable as possible for everyone. We spend a lot of time before the shoot thinking about the creative approach that we want to take as well the interpersonal dynamic of the photography team that we assemble and how it will all work together on the day of the shoot. Hopefully this consideration leads to a feeling of ease on set that allows for moments of surprise and alchemy during the shoot.

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November 2015 / Innovators Issue  | Angelina Jolie Pitt  |   Photography by Peter Lindbergh Styling by Anastasia Barbieri

 

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For the innovators issue with Angelina Jolie on the cover, why did the magazine choose to celebrate her?
It was a natural fit for us to honor Angelina Jolie Pitt in our November 2015 issue with an Innovator Award for so many reasons. She wears many hats – not only is she a Hollywood icon as an actress and director but she is also a notable humanitarian and has managed to blend these two worlds in a very powerful and innovative way. When it came time to photograph Angelina, Peter Lindbergh was an easy choice for us. Everyone involved with the shoot shared the same goal to create images that were both intimate and very strong. Peter had expressed a desire to photograph Angelina so when the opportunity arose, it was exciting to be able to commission him to photograph her – there was so much respect between them on set which I think comes through in the photographs.

 

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February 2016 Issue  |  What’s Upon a Time in Antarctica   |  Photography by Jamie Hawkesworth

 

 

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Jamie Hawkesworth is primarily a fashion photographer, what was it about his work that you assigned him the landscapes?
I first came across Jamie’s work after seeing his Preston Bus Station project so my first impression of him was as a portrait and landscape photographer, not so much fashion. I think Jamie’s photographic aesthetic is so distinctive, it almost doesn’t matter what he photographs. I know any images that we commission from him will be very clearly him – his palette, his printing (he prints everything by hand himself) and his voice. Knowing that, it is exciting to send him to these far-flung places such as Azerbaijan, Lagos, Kashmir and, most recently (for our February 2016 cover story), Antarctica to see what he will come back with. (Note: we have another very exciting destination coming up this fall so keep an eye out.) There is always a give and take when it comes time to edit which goes with the territory when sending a photographer off on these very special, un-boundaried projects. There is a thrill in seeing where it all lands and of course, seeing it in the magazine. We are incredibly fortunate to have the freedom to publish these types of open-ended travel stories at WSJ.

Are you working with a core group of photographers now?
We have tried to strike a balance between working with a core group of photographers in order to establish the visual point of view of the magazine and the need and desire to bring in new talent.

 

What are you looking to do with the photography in the next two years?
I hope to continue to nurture our existing relationships with photographers and to continue to find exciting assignments for them. At the same time, I want to push things, bring in new photographers and continually refresh my own eye so I can bring more ideas to the magazine. I work very closely with our editor-in-chief Kristina O’Neill and creative director Magnus Berger and we have a continuous brainstorming conversation going, which never ceases to inspire and motivate me.

Where are you sourcing photographers?
I look at everything: museum and gallery shows, books, magazines, blogs, social media, photo fairs – you name it. I also rely heavily on our incredible photo team Damian Prado, Meghan Benson and Amanda Webster who are out there pounding the pavement looking at work, finding new talent, pitching ideas and generally bringing their enthusiasm and passion to WSJ. Ideas can come from anyone at the magazine; all of our editors are out in the world digesting imagery and ideas so it is always welcome when someone brings something new back to the fold.

Are you on the lookout for emerging talent as well? 
Absolutely, identifying and nurturing emerging talent is a one of the primary joys of this job for me.

 

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May 2016 Issue |   A Sense of Order  |    Photography by Zoe Ghertner Styling by Brian Molloy

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March Men’s 2016 Issue   |   Who the &%!#@ is James Corden?  |  Photography by Inez & Vinoodh Styling by David Vandewal



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November 2015  |   Innovators Issue Karl Ove Knausgaard  | Photography by Juergen Teller

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November 2015  |  Innovators Issue  |  Thomas Heatherwick  |  Photography by David Bailey

 

 

The Daily Promo: Jordan Pay

- - The Daily Promo

 

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Jordan Pay

Who printed it?
Peczah in Salt Lake City Utah printed it.

Who designed it?
Sam Rodgers designed it ( samsonrodgers@gmail.com )

Who edited the images?
I edited the images

How many did you make?
400 printed

How many times a year do you send out promos?
Send out once a year. I am putting out promos of personal work hoping to attract work that would fit what I love to shoot. Shooting personal work feels more inspiring, rather than putting in stuff that was shot for someone.

The Daily Edit: Trevor and Ty Paulhus

- - The Daily Edit

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Photographer: Trevor Paulhus
Illustrator: Ty Paulhus
Creative Director: Paul Scirecalabrisotto

 

Trevor: ( the photographer )

Do you and your brother Ty often collaborate as a team?
We have talked about doing things together for years, but didn’t actually follow through with it until recently. He works a full-time job as a creative director and has a family, etc… and I live half-way across the country from him and am always busy as well, so it continually got put on the back burner.
But last year I got asked to shoot a fashion editorial for a publication’s “Art Issue” and I figured it was the perfect opportunity to pull in my brother. They gave us the freedom to run with our own concept, so we had a lot of fun figuring it all out together. I added some of the work from that series to my printed portfolio, did a little marketing push of the series online with social media and email blasts, etc… and people seemed to really dig the combination of our styles. Since then, he and I have been fortunate enough to get asked to collaborate on quite a few things as a team.
How did the concept come about? 
Paul from SLAM reached out to me directly with tears from the first fashion spreads Ty and I did. And simply asked if we would be interested in doing something similar for their upcoming cover/feature with Russell Westbrook. I have worked with SLAM for many years on many past assignments, so for me, it was rather standard in terms of my role behind the camera. And again, Ty and I were given pretty amazing creative freedom to simply work together as a team like we had on previous projects. I was asked to capture a few specific static portraits as well as some specific poses to help the flow of the illustrations and Ty was given some loose direction of them wanting things to feel a certain way, but besides that, Paul pretty much just let us do our thing.
Was Slam his client or your client?
SLAM was my my long-time client. It was really great to get to mix it up and do something different this time around.  I’m a huge basketball fan and the people at SLAM are all top-notch folks; have consistently been one of those clients that I feel really fortunate to have a long-standing connection with.
Growing up did you two always draw and take photographs?
Yeah. Absolutely. We used to draw together all the time, but Ty was always more into it than I was, and way better at it. My father is a graphic designer and used to take us to his studio after school. We would sit there for hours playing with his markers and pens while he worked. Ty and I both eventually went to college for illustration, but I ended up changing my major, I just didn’t have the passion for drawing. Eventually, I found photography after years of searching for a medium I connected with.
What was your first collaboration with your brother?
Our first collaboration was a series titled SCHIZOPHRENIC for a fashion editorial (mentioned above). Still one of my favorite things we have done together.

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Ty ( the illustrator )

What collaborative skills have you learned or better developed working with your brother?
Getting a chance to work with Trevor has been really great, we’ve talked about collaborating on a project like this for a long time. We already knew that we’ve got similar tastes as far as art & design goes, so I felt pretty comfortable going into the project. Being more open to feedback & change was definitely one of the skills I developed more while working on this project. Typically, I think about how an illustration works by itself, but in this case, the drawings needed to work as one with the photography, so finding that balance needed some back & forth which wasn’t always as easy as we wanted because we both have strong opinions on how we think it should be. Having those conversations with Trevor was alot of fun though, I value his opinion.
How many sketches did you go through for each final piece and what is your process?
My process for this project was a bit different than normal for me. Because I have a really loose, organic style that makes use of mistakes, ink bleed, drips, splatters, etc, I kept my sketches to thumbnails to get a sense of placement and a general outline of the page. Once I had an idea of how the photos & drawings were going to work together, it was a lot of iteration to get the lettering and drawings just right. I would use a lightbox to paint over the photos, building up textures & drawings, then I’d take all of the drawings and scan them in, putting it all together in Photoshop. By the end of the project, I had a huge pile of sketches & drawings for each illustration (around 20 each. I must have drawn each of the words 50x each until I thought it was just right.
Are you illustrating full time for your full time job?
No, I’m an Art Director at a company in RI that does web & app design. Outside of design, most of my art has been paintings and personal side projects that rarely saw the light of day. I went to school for illustration (Massachusetts College of Art), and after college I focused more on graphic & web design, only pursuing illustration work when fun projects like this one come up, but lately I have made more of an effort to get more regular illustration work.
How did you know at such a young age, illustration was your passion?  
I’ve always known I wanted to be an artist, even when I was much younger, making artwork was the only thing I ever wanted to do. Trevor & I have a lot of artists in our family (our dad & grandfather are both graphic designers & artists), so it seemed natural. We were always encouraged in whatever we were doing. I grew up with a nonstop barrage of comics, video games, skateboarding, graffiti and music. The unconventional creativity that permeates skateboarding & graffiti is massively inspiring to me, and really helped to shape the way I look at art, and life in general. I’d be destined for failure if I were to try to do anything else.

 

The Daily Promo: Jason Evans

- - The Daily Promo

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Jason Evans

Who printed it?
I looked at many different printers, some local and some of the larger mass production places.  In the end, I went with Agency Access as the printer as I was able to bundle many services together and their printing for this type of promo was perfect.  Since I was adding to my marketing list through their database, it made sense for them to print and mail.

Who designed it?
It was designed by Sara Jane Kaminski, a wonderful designer in Boston.  She had been recommended to me by several different business associates, and we’d been talking for several years trying to find the right opportunity to work together.  This was the first project that we worked on together and I was very happy with the results.  Sara came up with the template for emails and these printed bi-fold promos and I switch out the images and type.

I used to send promos in the clear plastic/cellophane envelopes that everyone uses now.  An art buyer in Florida emailed me to say that he had loved the images, but he had thrown the promo in the trash because of the plastic sleeve, as was his practice, and he hoped that the trend of using these envelopes would soon end. I am an environmentalist at heart, and that really stuck with me.  Since then, it has been very important in the mailer design, that they can ship without an envelope.  Sometimes, they are damaged, but I think that is a fair trade to avoid decorative plastic trash.

Who edited the images?
A great photo editor in Los Angeles, named Kathleen Clark, was recommended to me several months ago when I was looking to re-edit my website. We are in the process of finishing up the edit and redesign, and the site will be launched soon. Since she was so familiar with my work at that point, she was able to pull together these 5 images together very quickly.

How many did you make?
I am printing 1000 of each mailer and sending them to agencies, magazines, and photo agents

How many times a year do you send out promos?
I am sending out these mailers 6 times this year and am designing a larger promotional piece to coincide with the Olympics in Rio.

What project did the promo images come from?
This was a promo that went out in the winter and used images that I shot at the Winter Olympics in Sochi. I was working there for the International Olympic Committee. One of the images was selected for the the American Photography 31 Annual Book.  This was the first promo that went out for this year and was the first to go out with Sara’s design.

The Daily Edit – Jeremy Samuelson: Darling Magazine

- - The Daily Edit

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Darling Magazine


Editor-in-Chief and Creative Director:
 Sarah Dubbeldam

Photo Editor: Rebekah Shannon
Photographer:
Jeremy Samuelson

Do you scout your spaces prior to the shoot?
I only scout when it is a commercial job and there are prior expectations for the shots, furniture placement and so on; but when it is an editorial shoot, I like to experience it spontaneously and respond. I always do a walk through with a compass to check the travel of light during the day.

If there’s no time to scout, do you have a punch list of questions regarding available or natural light?
I look for trees, foliage, things that might influence the light. Also in LA, most of the buildings are not multi story unlike NYC where I have to be a little more careful if I want the streaming light look.

What type of creative influences surface in your work? 
I am really interested in still life in painting and photography. That is another facet of my work but I do see interiors as giant still life images.

What changes have you seen in interior photography?
Interior design is not seen a distinct or separate category but part of a whole lifestyle, what you surround yourself with is like what you choose to wear.

If the space is giving you a challenge what are your go to solutions to create an interesting space?
One way is to break up the space and treat it as a series of vignettes.

How often do you work with Darling Magazine and where are they based?
This is my second assignment for Darling, they are based out of LA but maintain an international presence.

What type of direction did you get from the magazine?
We talked about where we would shoot the portraits, they left the depiction of the space up to me. I like to include people in the interior when I can, for scale and interest. I will often use motion just to lighten the sense of human presence. We also talked about the mix of verticals and spreads they wanted.

The Daily Promo: Rob Hammer

- - The Daily Edit

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Rob Hammer 

Who printed it?
Agency Access

Who designed it?
Agency Access

Who edited the images?
Me

How many did you make?
100

How many times a year do you send out promos?
I’ll send out 2 promos like the hoops project book every year, which are more involved (usually some type of small book) and go to much more targeted list. And then I’ll send out about 6 other smaller promos to a much larger list.

How did this project start?
I’ve always been a basketball fan, but this project started years ago during my extensive road trips around the USA while working on my Barbershop project ( I photographed old barbershops in all 50 states of the USA, and later published that body of work into a book). Since that project ended, this project has picked up, and has been the focus of my never ending road trips.

How do you find the courts?
I drive cross country a lot to work on personal projects, and this has been my focus for the last couple years. Staying off highways and taking back roads has been the key. Small towns in the middle of nowhere. Never do any research. Just sniff them out.

Do you have bigger plans for this body of work?
Yes, I’m currently working on a few gallery shows. A big one for the beginning of next year, that I shouldn’t talk about yet, but really excited for it. Also trying to get them licensed commercially for ad campaigns with companies like Nike, Adidas, and Under Armour. I’ll probably shoot this project for a few more years, and might think about doing a book as well.

Where was the hoops with the horns shot?
That hoop with the antlers is in Idaho.

The Daily Promo: Pixsy Copyright and Image Protection

- - The Daily Edit

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Pixsy

Founder: Daniel Foster

Pixsy is one of the leading reverse image search platforms that helps photographers get compensation for their stolen work.  Daniel had reached out to me after I tweeted to a company that used one of my images without my permission; I had hashed tagged the tweet:  #copyrightinfringement #photographyrights #copyright. His tweet was a welcome surprise.

Tell us how this project evolved for you.
A friend found one of her best photos used on a website selling holistic healing services. She’s been photographing professionally for twenty years and didn’t know what to do.

I thought it was very unfair that a business was profiting from her work while she was debating whether or not to cancel her health insurance to pay the rent, and realized that photographers need tools to address this problem.

What images were getting stolen from you?
I had a self-portrait used in an online advertisement without permission several years ago, and then observed a few of my architecture photos used without authorization later on.

How do you source the stolen images?
We use reverse image search to find copies, including manipulations, of a photo. From there it is up to the photographer to determine if a displayed use is authorized and if not, what action he or she wishes to take.

How does company sustain itself? Is the income from shared proceeds on the legal cases?
We receive a success-based commission for all payments we collect on behalf of photographers. The vast majority of our platform is free, and we also receive some subscription revenue from premium services such as our DMCA takedown feature.

Are you seeing a trend in stolen information or any particular area? 
Image theft occurs in every industry. We’ve noticed that music and concert photographers see their work stolen at a higher rate. Unlicensed use also appears to be a significant problem in the real estate industry.

What is the approx range for cases you’ve settled, lowest and highest?
Various factors influence the amount of compensation we request, including your previous sales history, local law, and the nature of the use. When we pursue a legal settlement, this has ranged from the thousands up to six-figure settlements.

How do I sign up and how much is it?
You can import and track up to 5,000 photos for free. Plans that give you up to 10,000 photos and our DMCA takedown feature start at $9.99 a month. Our service is invitation-only. You can request an invitation on our homepage.

Are there any free resources or is there a subscription plan?
There is a free plan to search up to 5,000 photos.

Can I batch export my photo library and have you scour the internet for usage?
We support one-click import from Flickr, 500px, Tumblr, Photoshelter, Instagram, SmugMug and Dropbox. You can also upload photos or import from a website. We’re adding new import sources on a regular basis.

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Walk us through the process of how this works.
Once you sign up and import photos, we begin the search process. Matches typically begin appearing immediately. From there you can browse through your matches. If you find a use of a photo you did not authorize and it is commercial in nature, you can use our “Submit case” feature to send it to our team to review. Depending on the situation and your wishes, we can take steps to secure a license fee for you or refer the matter to one of our law firms around the world.

We’re currently resolving cases in the United States, United Kingdom, Canada, Australia, the Netherlands, Germany, France, Belgium, Luxembourg, and Denmark.

The Daily Promo: Luke Copping

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Luke Copping

Who printed it? Who designed it?
It was both printed and designed  by Agency Access, I recently moved my printing to them because of the extremely high quality and their ability to offer some objective insight into the layouts and flow of the work.

Who edited the images?
In this case I did, but in past efforts I have worked with designer Emilie Lamoreaux, as well and consultants Karen DSilva and Angee Murray to help with my editing and image selection. This collection was primarily focused on sharing some of my more recent projects and features subjects like Buffalo Bills Quarterback EJ Manuel, violinist and recording artist Yuki Numata Resnick, labor attorney Ginger Schröder. US Marine and endurance runner Tony Nash, and Guy William Gane — a historical reenactor who provides period accurate casting and costuming for a number of television shows and feature films.

How many did you make?
I printed 250 of them, I used to send out a much larger batch, but I have condensed and focused my list to primarily focus on editorial clients and a few selects agencies. A few are also earmarked to go out to existing clients that I like to keep updated with my projects.

How many times a year do you send out promos?
Of these tri-folds I generally send out about 4 mailings a year. However, I do send some other promotions throughout the year that go out to a list of key clients. These tend to be larger in scale and scope, and are often often designed by Shauna Haider of We Are Branch. Currently I’m sending out a 24 page newsprint style zine printed by Newspaper Club. I love newsprint promos because of the feel of them and there is something perfectly imperfect and lo-fi about the way the images end up looking. I also have some other promos that are aimed at acquiring new corporate clients, these tend to be a little more service oriented and currently take the form of small booklets that go out to potential clients in this space.

Tell us how the gap between personal work and commissioned work is becoming more narrow.
In the promos I’ve been sending out in the last year or two I’ve found that my personal work, which often features artisans and entrepreneurs from the Rust Belt (and specially the Western New York/Buffalo area) has become more prominent. Mostly, this is because the gap between my commissioned work and my personal projects is getting narrower — in that I am often getting hired for assignments that are more aligned with the personal projects I have been producing. I also feel that the compelling stories behind these projects have a wide appeal, a hook which is helpful to me in appealing to many different kind of clients that run the gamut from local small businesses to newsstand magazines.

The Edit Daily – Joseph Heroun: Shape

- - The Daily Edit


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Shape

Creative Director: Joseph Heroun
Photo Director: Toni Ann Loggia
Art Director: Andrea Legge
Photo/Bookings Editor: David Baratta
Photo Editor: Erica Meneses
Associate Art Directors: Alan Boccadoro, Lisa Stem
Intern: Grace Barretti

As Creative and Design Director of Shape, one of the nation’s biggest magazines with more than 2.6 million circulation, Heroun has transformed it into a photographer’s publication, an unusual attribute for its category. The challenge and mission are to rock a mix of topics equally well: Fitness, style, beauty, health, and food.

I have had the pleasure of knowing Joseph for almost 20 years now, he had a tremendous influence on me as an art director and photo editor. I was lucky enough to work under him for one of my first national magazine jobs.

In a nutshell, he’s a branding specialist. Heroun’s background spans a wide range of titles including Sportswear International, Sports Illustrated, Mirabella, Newsweek, The Boston Globe, Boston magazine, Best Life, Men’s Health, Women’s Health, The New Republic, National Journal, and Men’s Fitness, the latter of which landed on Adweek’s Hot List six months after his 2013 redesign. I caught up with him about some of his thinking behind Shape’s new sex appeal.

What parts of the magazine have had the biggest impact on your watch and why?
All of it, not one thing has been overlooked. The brand was acquired by Meredith Corporation a year ago, culminating with an editorial and design refresh last summer that has evolved nicely. We built upon ideas and directions from the previous year, with evolutionary changes; and concentrated our efforts on sharpening everything. Our new reality included a significant budget cut that mandated better strategies and smarter decisions. We could not allow that hit to reflect negatively on the product, and, in fact, it had the opposite effect. Over time; we figured out what worked and what doesn’t and our A-Team is now firmly in place with all our shooters delivering consistently exceptional work, and a newly refocused editorial framework to hang it on. Huge props are due my stellar photo staff, Toni Loggia, Dave Baratta, and Erica Meneses.

Who, if any one photographer, has helped you create the signature look of your covers? I know this is always a goal for publications, to own a “cover look.”
Our covers have improved most significantly since assigning the amazing Arthur Belebeau as our primary shooter. We’ve worked together previously on fashion and beauty features, and progressed to covers and celebrity features only since the March 2016 issue. Despite not being considered a cover shooter, in the brief time that Arthur has done them the response has been overwhelming. His cool, hard-edged light is exceptional, modern and dimensional in a way that stands apart from our competitive set. It provides Shape with a distinctive look that evokes the sensation of warm sunlight and an active, outdoor lifestyle.

That carries over inside, where Belebeau shoots cover celebs as fashion or beauty features, often with a bit of camp, and a free-spirited, playfully sexy vibe. In our previous incarnation at American Media, we were required to include cover celebs doing workouts, which was dreadful, effectively diminishing their star power. It’s like discovering an esteemed actor in sweats at the supermarket.

What other elements of the magazine have thrived under your watch?
Food is another core topic that has come into its own with a unique look, featuring images photographed predominantly by Sang An and Ted Cavanaugh. Again, with strong, directional, light and crisp, open shadows that express the upbeat emotion associated with clear daylight. Our look is growing more distinct from the dedicated food mags. Though they do beautiful work, obviously, we just need to assert a unique identity. Recently, we’ve consolidated feature recipes to the last spread, allowing for unobstructed full-page hero shots, which look spectacular. They also shoot our front-of-book sections, so there’s a nice consistency that comes through and carries over into our beauty and style product photography, handled by the criminally talented Claire Benoist. Our studio and location fitness/lifestyle shots share the same sensibility, so everyone is pulling in the same direction and I’m proud to say that the magazine has found its stride.

Describe the thinking behind your approach to fitness photography.
Our fitness features have evolved greatly over the past year and a half. We cut way back on the mechanics of exercising, which can be more effectively delivered online, in favor of an elegant, aspirational experience that celebrates the female figure and which doubles as fitness style. For those features we rotate in various shooters including Martin Rusch, Dustin Snipes, Warwick Saint, and Sarah Kehoe.

What is your policy on retouching, (always a point of interest for in women’s fitness publications).
Since my time at Men’s Health and other celebrity titles it’s been important to me to uphold a policy of integrity on this. To skeptical readers that will sound hopelessly high-minded, but I firmly believe it’s in a brand’s best interest to be as honest and restrained as possible with depictions of people, celebrity or otherwise. It can easily go too far if you are not diligent in holding the line. No one wants to see a blemish and nearly any photograph requires some refinement. But I seriously loathe images overly-perfected in post. To me, it ceases to be a photograph, morphing into something closer to illustration. And the prevalence of that tars us all with a broad brush. Shape’s new platform and tagline, Love Your Shape, affirms our commitment to authenticity. And our belief that it’s a big tent, with many interpretations of what is fit and what is beautiful.

Talk about your typography.
Our typography is intentionally understated to place emphasis on the images, which is what resonates with readers. In my view, design is best when there is nothing left to take out. In terms of delivering service content, over-ambitious design hijinx that neither elevates nor instructs is misplaced. It works against the grounded, well-crafted elegance and precision we want the brand to be identified with.

Where do you see Shape, and yourself, in 5 years?
Me: Traveling abroad somewhere, shooting my own images. As for Shape, it’s at the top of its game in one of the hottest categories that will only get hotter. We are being swept up into a wave of a new-found confidence in print. You see it everywhere with fashion mags and others placing a premium on production, with better stock and larger formats. It’s a complete reversal of what was happening just a short time ago during the panic years. Everyone seems to have come to the conclusion that magazines deliver an unrivaled visual experience and that it’s time to leverage that unique strength. Which is good news for photographers. Though budgets are more restrained, the demand for photographic excellence is only getting louder. And, as always, smart design is smart business.

The Daily Promo: Cade Martin

- - The Daily Promo

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Cade Martin

Who printed it?
Classic Color outside of Chicago printed the Mercy Street Promo. Matt Parris, the creative we having been working with, recommended them. This was my first time working with Classic Color and would work with them again in a heartbeat. The printer, Matt Claybour, was very collaborative, friendly and interested in the project. We came to them with the idea for a newsprint promo and we ended up with a hybrid newspaper ‘style’ promo that had the look of a newspaper, but used a slightly heavier paper that held the ink better and kept it from rubbing off onto people’s hands.

Who designed it?
Parris is the designer and art director of the Mercy Street promotional piece. We were introduced to Matt through a mutual colleague at the agency he works at in Chicago. Matt has been amazing to work with – lots of energy, great ideas and it’s been a joy to collaborate.

Who edited the images?
My agents, Kate Chase & Matt Nycz, at Brite Productions and I edited the images together. We started with nineteen final Mercy Street portraits and narrowed it down to six. It’s always difficult to edit it down and a lot of times you can’t just pick your favorites. You can start with your favorite images and expressions, but it comes down to the rhythm of the pages and how well the images work together.

How many did you print?
We printed 3,500 promos. We customize the list for each promotional piece sent out and there is always the balance of the printing and mailing costs when arriving at the final number you’d like to print.
How many times a year do you send out promos?
We send out printed promotional pieces four or five times a year. This seems to be a nice number and the right amount of outreach to keep the work in front of art producers and creatives without overwhelming their mailboxes.

Why did you choose this project to feature in your promos?
I love to send out images that are close to my heart and from projects that I have really enjoyed. For promotional campaigns, we feature either a series of images from one project or it could be just one isolated image. But I always want to put out images that mean something to me and are not based on trying to guess what someone else might want to see.

How did this promo develop?
I was hired to shoot the series portraits for Mercy Street, a new Ridley Scott produced PBS and BBC TV Series set in the Civil War. I have a lifetime interest in film and character and was very excited to be a part of this project. My idea was to create a uniquely textured and modern scene that complemented the period-piece subjects to help get them into character and to show the rich, multi-layered stories.

 

The Daily Edit – Angie Smith: Stronger Shines the Light Inside

- - The Daily Edit

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Angie SmithStronger Shines the Light Inside

How do you see this work helping the refugees?
This work will be presented as an large scale, outdoor public exhibition that will be installed in 3 locations in downtown Boise for two months. My hope is anyone who stops to even read one story will walk away feeling like they have learned something new. The word “refugee” is so overused in our society right now because that’s the only word we have to describe people in this situation. But every single refugee living in Boise has such a different life journey. I want to help present these pictures and stories of refugees just as people, who happen to have been born into a situation that they eventually had to flee from, they all happened to end up in Idaho and they all have unique dreams they want to fulfill. Refugees aren’t just the images we see in the news of people in camps or migrating into Europe. Refugees are in the U.S. and they have been for many years, opening businesses, going to college, everyday they are surmounting tremendous obstacles. And beyond that, they are contributing so much to our communities. We just need take them time to connect with them. The more they are integrated into the communities where they resettle, the more they will succeed and be able to contribute to that community and the more we will all benefit. Boise stands out as one of the 5 most welcoming cities in America for refugees.

How did you find your subjects and what was the selection process?
I began with Rita and she is from the Democratic Republic of Congo. Then I went to a church in Boise where the majority of the congregation is from the Congo. I offered to take pictures of families in the church, to offer them something that would be valuable, but it would also allow me to start making contacts with people. The first 8 shoots were to experiment and get comfortable and see if people were willing to participate. I made the most contacts within the Congolese community, which also makes up about 30% of the refugee population in Boise. I consistently went to the church services and brought back prints so that people got to know me. All of my contacts just grew from there. People would invite me to their birthday parties, weddings, soccer games and baptisms. I am trying to represent as many different countries as possible in this project, so I had to go through the same process with each different community whether it was the Iraqis, Eritreans or Somali Bantus- I had to build trust.

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How long did you spend with each person and what tools did you use to get them to open up to you?
I try to have an initial meeting with each person, without a camera. I find that it goes a long way to just spend time with people, without an agenda. Many people are coming from cultures where there was a lot more time in the day to simply talk with another person. I think it’s difficult for refugees to adjust to this American lifestyle of constantly working and being busy.  I try to ask them questions and get a sense of the situation they have fled, what their life is like in Idaho and what they spend their time doing. This helps me visualize the picture I want to take of them. The more time I spend with the person and the more I create the space to connect with them, the more trust is built and the more they open up to me. It’s really about putting the time and effort in to get to know them. Many of my subjects I have become great friends with and we spend time together without taking any pictures.

I usually spend about 2-3 hours with each person. For some people, I do several interviews because as I get to know them, they open up more or say profound things as time goes on that I want to include in the project. The less pressure I put on people to talk about something, the more they open up when they are ready. Some of the interviews I have done in collaboration with a writer, Hanne Steen, who has a similar interview style. However, she speaks French and grew up in Kenya, Rwanda and the Central African Republic, so having that shared experience with some of our subjects definitely helps.

How difficult was the editing process and were you the only one editing?
The exhibition will install on September 1st, so I am still shooting and gathering interviews. I can tell  the edit is going to be challenging because I have so many pictures and people from this project that I love. I want them all to be in it. But that’s why some of my goals for this work reach beyond this exhibition. I want to publish a book; start making films have this exhibit travel around the world. The more exposure it gets, the more opportunities I have to share these stories and impact people’s perceptions.

 I will most likely ask for editing help from a friend and amazing photography consultant Meredith Marlay for some visual consultation. I will also go through the same process with Hanne, my writing partner to discuss the stories and how to edit the stories.

The edit will reflect each person’s story to represent a different aspect of this experience. I am always listening for someone to make a point or talk about something that hasn’t been talked about by another refugee.

Did you shoot anyone but not include them in the body of work?
Yes, I have actually shot several people that have expressed some level of hesitation about being on the internet. An example is a transgender woman from Iran, who has been persecuted, beaten and raped throughout her life. She was very open about her experiences wanted to talk about what she has been though. After the photo shoot, she expressed some fear around her identity being revealed. We re-shot her in a way that didn’t show her face. With her, I know there is a high probability she will decide not to be in the project, and that’s okay.  Even if I don’t get a picture that I can use, if the experience made them feel happy, that’s enough for me.

Are you following up with the subjects? Giving prints?
Yes, I follow up with everyone, but it takes a lot of effort to track people down and give them prints. I go to parties and weddings and I photograph a lot of people who I don’t exchange information with because it would just take too long. At the end of the project, I will be allocating the time necessary to track people down. Luckily, it’s a fairly small community and everyone knows everyone, so I can usually find out fairly easily a person’s name and phone number just by asking around. Giving prints to people is really important as a gesture. But it’s funny because with the teenagers, they don’t really want prints. They want you to text them the photos so they can post them on facebook. It’s difficult to communicate to them why I can’t do that sometimes, because I need to keep the pictures close until the exhibition launches.

For more information about the project:
instagram
twitter
facebook
 

The Daily Promo: Carlos Serrao

- - The Daily Promo

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Carlos Serrao

Who printed it?
AWLITHO. Anthony, the owner, has done the past four promos with me.  He’s great because he will work with different vendors for the production. In this case, we had to go to two different printing facilities, since the outside of this one was traditional newsprint (37lb Text stock), the first few pages had to be done at a web press, and the inside pages were coated stock on a sheet fed (50lb coated stock).

Who designed it?
A great designer: Michael Spolgaric. He likes to have fun with it.

Who edited the images?
Just Michael and I.

How many did you make?
5000 copies; 3000 went to my US agent and 2000 to my European agent.

How many times a year do you send out promos?
Ideally once a year, but last year got away from us.

Tell us why you chose a sport theme?
We wanted a sport driven one this year because of the Summer Olympics, because so many other clients besides the usual sport brands will be showing athletes. The web press was stressing out the printer because they we warning us the quality of photos on the newsprint stock would not be great, so we had to keep assuring them that’s what we were going for for the first few pages, in fact we added a little fading and yellowing tone to the newsprint to give it an aged look. Naturally, they should be how we want them in about a year, but we couldn’t wait that long!

The Daily Promo: Charlie Hess – 20 Over Twenty

- - The Daily Edit

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20 Over Twenty

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What made you want to form this collective?
In my day-to-day practice as an editorial art director and photo editor I began to see huge changes in how photography was being used, and compensated.

On the one side, I see the Directors of Marketing and Communication that I work with scrambling for “content” (what we used to call pictures!) With more and more traffic going to sophisticated websites and social media platforms there is an endless need for digital imagery to “feed the beast.” Websites need to be updated often. And social media platforms need to be fed daily. Consequently, these marketing directors jobs get harder and harder. Not only are they scrambling for content, it has to be on brand, high quality and compelling.

I thought we could help.

Meanwhile, all the great editorial photographers that I work with every day are generally getting less work and being paid less for it too. They didn’t forget how to take great pictures! It just became okay to ask for images for free or for smaller fees, with more usage. It’s the constant drip drip of imagery being devalued. In a world where everyone is shooting daily, why not use your iPhone picture instead. It’s “good enough.” And it’s free. I don’t think it’s okay to diminish the value of people’s work. You wouldn’t ask your lawyer to cut his fees because there are lots of other law firms. For the magazines I work with they understand that we don’t have to pay a fortune, but we have to pay fairly for a days work. And, in return, they get stellar work, shot by professionals, and delivered in such a way that they can use it across all platforms.

These trends inspired me to develop a new agency to meet this need. It’s called 20overTwenty.com (like 20/20 — perfect vision.)

I saw a way to merge all these industry sea changes, making it easier for the clients, and create more work for the creatives. We developed a hybrid business model that includes me as art director, working with clients to best tell their stories. I will help them conceptualize and plan the shoots they need over the course of time, and they can build it into their budget. Plus, the clients get the full talent and resources of all our photographers. Between the six photographers we can shoot nearly anything. Most importantly, this takes the pressure off the marketing clients — they’ll get great photos, specific to their needs, and over time build a library of evergreen images for print, web, app and social media. It’s a win-win.

How did you decide what markets to focus on?
I want us to work with clients and causes that are meaningful. In my mind that’s academic and cultural institutions, and nonprofits — museums, schools, good causes, really anyone who needs content and is working towards good, not evil. These entities typically have decent marketing budgets, and working for universities all these years I know how to get a lot of mileage out of editorial photo fees! We’ll make work that we are proud of, collaborate with smart people, and pay the rent too. Besides, we’re never going to compete with the agencies, and wouldn’t want the headaches.

What were the key factors in choosing your line up of photographers?
Simple answer: Grownups. No drama. Great talent. Basically, photographers I’ve worked with for years, who I know will show up on time, and be professional with the clients and subjects. Also each of them has their own aesthetic. I spent a ton of time thinking about the mix. I wanted us to be able to be able handle any assignment without compromising. And, by the way, that also means video shoots too. And copywriting. And animation. And anything else the clients might need. In a rapidly changing industry we need to stay flexible.

Our out-of-the-gate lineup is Mark Hanauer, Rebecca Cabage, Gregg Segal, Carla Richmond Coffing, Ted Catanzaro and Mikal Czerwonka. When you look at the site you’ll see the depth and range of their work — plus passion, intelligence and creativity.

How does someone get in touch with you to be a part of it?
For now, as a start-up, we have plenty of great talent. But hopefully in the future we’ll need more of everything — photographers in all the major cities, and in a perfect world, experience with cutting-edge new media too.

If you’re a Director of Marketing and Communication you can contact us at 20overTwenty@gmail.com

Where do you see this project in 5 years?
We’ll all be on the beach drinking rum cocktails, making art projects out of shells… when we’re not too sunburned or hungover!

The Daily Promo: Jeff Stephens

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 Jeff Stephens

Who printed it?
Minuteman Press

Who designed it?
It was designed in house at my agency, The Photo Division

Who edited the images?
My agent, Maureen Dalton Wolfe

How many did you make?
50 total. This was a very small, specific run. We hand delivered with live Flowers to specific clients locally. But, sent flower seeds to clients nationally.

How many times a year do you send out promos?
1 significant promo a year, in addition to small run promos about each month.

How did the flower idea develop?
We try to come up with unique reasons to send a promo. This year we decided it should be all about new beginnings, something bright and promising for the spring ahead. We chose the yellow flower and Alex Rasi hand illustrated the back art and poem. We wanted to cheer people up and lighten the mood. We hand spray paint all of our envelopes, pick stamps to match and delivered this one with flower seeds and or an orchid.

Jeff Stephens Valentine's Day Promo 2016

We recently sent out a Valentine’s promo that was also well received. It was our grey envelope with our logo hand painted in pink or red spray paint. We sent a mix of lips or “kiss” postcards and chocolate lips or lipstick compact to go with it. We try to do anything we can to help brighten someone’s day and make their day in the office go just a little bit better.

 

The Daily Edit – California Sunday Magazine : Mark Mahaney

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California Sunday Magazine

Design Director: Leo Jung
Photography Director: Jacqueline Bates
Photographer: Mark Mahaney

( For more images visit californiasunday.com )

How did the shoot days unfold and how many days were you there?
On the first day of 2016, my assistant and I flew from San Francisco to Sydney, where we were slated to stay for nine days to document Rene Redzepi, arguably the most famous chef in the world, as he and his main team of chefs busily and scientifically attempted to plan the menu for their 10 – ‘pop-up’ restaurant in Sydney, Australia. The whole concept of the ‘pop-up’ was for Redzepi and his staff to entirely close the doors of Noma, his wildly praised restaurant in Copenhagen and for the entire team to temporarily setup shop in Australia where they’d take a crash course in local ingredients and traditions to put together (from scratch) a menu that is innovative, yet delicious, worthy of its $340 per person price tag. For the 10 week stint there were only 5600 individual seats available and they all sold out in about a half hour with 30,000 people on the waiting list. He and his chefs were under an incredible amount of pressure to make something magical happen from local ingredients most of them were tasting for the first time. When I arrived, they were only three weeks away from their opening night and not only did they not have a single one of their 15 or so final dishes perfected, but the kitchen wasn’t even fully built out. The restaurant itself was an active construction zone. Thomas, one of the two head chefs, would be experimenting with new flavors one minute and installing a sink or the oven’s ventilation system the next minute. It was an intense circumstance for me to walk into. Even though they were all super friendly and surprisingly accommodating, I could tell they would’ve preferred I not be there. If I’d been under the amount of pressure they were under, I wouldn’t have wanted ‘me’ to be there either.

But I was there and I felt pretty fortunate to be there. It’s rare to be able to witness the process of an individual who is deemed among the best in the world in their particular line of expertise. And I was surrounded by six of those individuals; not only by Redzepi, but his five person test kitchen team, each of whom specialized in their own particular facet of the eventual menu.

Even though I was there for nine days, we had no idea what sort of access we’d be granted.  There were however a few things that were made known to us. We were warned Rene disliked being photographed and to make it quick and painless. We were told we’d be working around a documentary film crew while we were in the kitchen. We were told to try not to distract or disrupt the chefs as they were under incredible time constraints. We were told we’d need to be flexible.

Tell us about the shooting in this pop-up kitchen.
We arrived at the kitchen on the first day, completely jet-lagged, and were quickly introduced to a few of the test kitchen chefs. We were allowed to walk through the actual dining room which was full of men and women wearing hard hats while drilling, sawing and trying to make sense of a room that at that time bared zero resemblance to the beautiful room it would eventually become. There was so much work to be done, not only on the menu, but also the physical space itself and instead of being there to document the finished product, which is typically the case on assignment shoots, I was there to photograph the process of this whole effort as it inched toward fruition.

On that first day we had come to introduce ourselves mainly to Rene and had planned on coming in the following day for the only one on one moment with him that I’d have for portraits. We never did see Rene that day, or the next. It turns out Rene’s whole family had the flu and it ended up hitting him as well. So, I dove right into covering whatever was happening in the kitchen while trying to stay out of the documentary crew’s shots. The main star of the show wasn’t there, but because of not knowing what sort of access we’d get over the next few days, I had to make the most of what was there.

Between then and the day Rene was able to return to the kitchen, numerous hiccups happened in the kitchen and Rene hadn’t been there to taste or give input on any of the attempted dishes. As a result, the stress level was peaking for their whole team, including those who were dictating the amount of access we were being given. I think everyone was a bit nervous about how Rene would respond on his first day back to having any press inside the kitchen, so we were all told we had to leave and it was left a bit nebulous as to when we could return and how much access we’d have from there on out. So, at this point, I’ve flown around the other side of the world, had been there for three days already without seeing the main person I was there to photograph and was fairly unsure as to how the rest of my time there would unfold.

You mentioned Rene didn’t enjoy being photographed, how was your first meet up?
The next morning we got there bright and early and the writer hoped that if Rene could meet me that he’d feel comfortable with me and we’d be able to explain our intentions and needs. I’m also a father so my instinct was to start talking to him about parenting and figured it’d be a good place to connect with him on; especially since Rene and I are almost the same age and both have younger people helping us who are not parents, who, for better or worse, do not have that added element to their everyday equation. He couldn’t have been more kind and after I shared with him exactly what I hoped to achieve, he seemed excited and told us we were more than welcome in the kitchen, overruling what we’d been told by others I’ve learned in the 8 or so years I’ve been doing this, and well before during my assisting years, that it often helps to go directly to the top when you’re trying to make something happen. In this case, it worked out in our favor.

Tell us about how the portraits came about, they all share the same emotional thread, so much intention; like Renaissance paintings.
I certainly lucked out on this front. Rene and his five supporting chefs are all quite striking and super photogenic. This is rarely the case. It sounds bad, but normally there’s at least a person or two who you aren’t super jazzed about photographing. But literally everyone, including the people we met on the farms later on in our trip, all of them were pretty easy on the eyes. I had that going in my favor for sure. As for the look of the portraits and images of the chefs, there were two approaches to those photographs. While documenting inside the kitchen, because things were still under construction, they had all the windows blocked so it was quite dark with just the existing artificial lighting overhead. Jacqueline Bates and I had brainstormed over email beforehand and had a few ideas for key imagined pictures that were fairly reliant on me bringing in my own lighting. Although, after feeling out the energy of the whole production, I didn’t dare add any strobes and just decided to embrace the existing light. After taking a few pictures, I was pleasantly surprised to see how they things looked on the back on the camera. There were these really bright overheads that would shine down unto the metal cooking surfaces, creating this incredible bounced glow on the chefs. It was like having a permanent, built-in bounce reflector everywhere you turned. That’s why all the images of the chefs at work in the kitchen have that unified look. I did a decent amount to them in post to take the look a step further. Even though everything looked great, it was still very dark in there. I was shooting mainly handheld since I was constantly following the action, often positioning myself under the lens of the documentary film camera or jockeying for position with the sound guy, etc. I was shooting at slow shutter speeds with the lenses aperture as shallow as they’d go, so I was thankfully able to capture most situations without blur. Some of the main portraits California Sunday chose to publish were taken in this setting.

Where were the portraits taken? kitchens are typically bright.
I tend to always gravitate toward daylight, especially the sort that tends to hang like that in those old dutch paintings. So this is what I did for the second approach to some of the portraits. During very rare slow moments in the kitchen, I asked and the individual chefs were gracious enough to give me 2-3 minutes to photograph each of them. I’m so grateful they gave me this time. 2-3 minutes sounds like nothing much to give, but they were pulling 20 plus hour days on their feet, so to get any of their time felt like a victory. My assistant and I found this little spot that was basically inside of a small closed off area that was under construction. And at a certain point in the afternoon, the light was just right in there. We figured out that if the door going outside was positioned just right, almost closed, but not quite, that a sliver of sunlight would reflect off the building next-door and would bounce perfectly through the small crack in the door. We photographed Beau first this way one day late in the afternoon. The other chefs weren’t available. The following days we were to leave to photograph down at some of the farms. After photographing Beau we were told that whole area we used to shoot his portrait was likely going to be dismantled by the time we returned to Sydney. My assistant and I were so bummed to perhaps have to photograph the rest of the portraits anywhere else because it had been so great. Thankfully, after two days at the farms, we approached the restaurant, my fingers were literally crossed, and was so relieved to see our make-shift studio spot was still standing. We did the remaining 3 portraits there and would eventually get nothing more than a few minutes to do something similar with Rene. Again, I’m so grateful it worked out that way.

Your food still life, looks like a painting, it’s so rich, did that direction come from the magazine?
There were some key pieces of direction given by Jackie, but the main objective was to shoot as many different aspects to illustrate what it takes for a world-renowned chef to build a restaurant and new recipes from scratch. So it was important to get pictures of ingredients from the farms that paired well with recipes the chefs were testing with those same ingredients.  You’ll see this in a few of the final images they selected. In some still life images at the farm, I photographed muntries and lemon aspen being held in the palm of a hand. Those ingredients ended up being the key ingredients of one of the main dishes they came close to finalizing while we were there, which was the ‘Native Fruit Dish.’ Seeing something in the field and then on the plate ended up working out well together.

As for the lighting and approach to the still life food images, I treated them in the same way as the day lit portraits I described above. They were literally taken in the exact same space and lit in the exact same way.  For backdrops, I either used pieces of wood I found in the scrap pile at the construction site or we used the raw, unfinished floor. In the case of the ‘Native Fruit Dish,’ it was on the last day we were there. We begged Thomas Frebel to create something that resembled a final dish to photograph. He obliged. The construction crew had just pulled some of the cardboard up off the floor of the dining room, so we decided to photograph the dish against that newly revealed reddish floor. I’m pretty happy with the lighting on that one. I wish someone had taken a photograph of me and my assistant while during that shot. It would’ve looked like we were nearing the climax of a game of Twister, our bodies contorted in odd ways to either block or bounce light. The majority of that image is lit by subtracting light.

As for the still life images of the ingredients at the farms, it was unrelenting and sort of unflattering sunlight all day long, so in an attempt to bring a bit of continuity between that fairly harsh light condition and what I’d already done at the restaurant, I tried isolating the main hand or ingredient against either a dark backdrop or an area of shadow.
I feel like it nicely works with that sort of glow that happened in the kitchen images.

Working there is executing at the highest level, ALWAYS.
What was it like to experience that and in turn try to capture that?
It was impressive to watch the process of the individual chefs. The setting was quite interesting. Each chef was typically completely engrossed in their own individual world while testing or playing around with a recipe. Often German house style music was blaring as the soundtrack. Pretty funny touch of ambiance.

There were times when it was a bit confusing what the chefs were even doing. Like true scientists in a lab. Like witnessing unbridled creativity. That’s essentially what you taste when you eat food they cook.  Every once in awhile, the chefs would meet up at one of the stations to take a moment to taste what the other has conjured up. I witnessed such focus and optimism and truth in their reactions to the taste tests. So supportive of one another. Like they were fully aware that they strength of the whole unit was greater the sum of their individual strengths. It seemed like an egoless space. Even with Rene, he was clearly the decider, but you could tell how much he respected the input of those working for him. I’m sure there were plenty of heated moments that arose within that kitchen during the 10 weeks, but I certainly didn’t see any of it. It was fascinating to watch the faces of the chefs as Rene tasted what they made. Their expression didn’t really change much whether Rene loved it or disliked it, but energetically a bit of glow appeared if his reaction landed on the side of love.

Did you try any dishes?
Because there weren’t any final dishes created during our time there, we didn’t get to try much of what they made. At one point, Thomas put down a bowl of chunks of something yellow with a green oily substance drizzled over it. He motioned for us to enjoy it. I had no idea what I was eating other than the fact that it was the most dynamic taste I’d ever tasted in my life. I’d spent hours watching them do what they do while thinking to myself, ‘how good could this really be?’ And believe me when I tell you it was absolutely mind-blowing. It turned out to be pineapple (I had no clue at first)with a reduction of oils from certain local plants over it. And that ‘Native Fruit Dish,’ yeah, I ate that and it was insanely good. The lemon aspen in it, which we were popping in our mouths at the farms like one would raspberries off a bush in the US, tasted like tiny explosions of lime sherbet. So good.

How difficult was it to edit your own work for this?
Well, even though there were days we couldn’t shoot or days where we only had access for a few minutes, I was there for nine days, so there were a ton of photos to sort through. That was likely the most overwhelming part. It took a few days to go through once returning back to the states. Beyond that, I don’t recall it being much different from other projects. In post, as I mentioned, I tried my best to bring some continuity to the treatment from photo to photo. It’s not everyday a magazine orders around 40 final images for one article. It was a lot to tackle, but so worth it. It’s also not everyday you get 21 pages of photos in a magazine, including the cover. I have a ton of respect for California Sunday. They’re certainly deserving of all the praise that’s been heralded in their direction. I’ve been trying to be super selective about the work I take on, but Jackie could call me and ask me to take a photo of a tire and I’d run to do it.

How did that experience transcend if at all, into your own pursuit of excellence?
I’m not certain it impacted much. I, like so many photographers am highly critical of my own work. I’m always trying to please and never disappoint, so I’ll keep trying at something, reworking the light, or moving something here or asking the subject to turn their neck ‘just a little bit this way’ and I keep going until I feel like I’ve gotten it right. I just do the best I can do considering the situation and depending how resourceful, calm and creative I happen to be in that moment. I think that’s no different with the chefs. I mean, they’re literally geniuses, in a league above all else, but it seemed like their pursuit to just genuinely do the best they could do was not dissimilar to my own.

The Daily Promo: Andrew Dominguez

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Andrew Dominguez

Who printed it?
Minuteman Press located in Austin TX.

Who designed it?
To be completely honest in a message, a bottle of Evan Williams.

Who edited the images?
Myself, though I asked for feedback from two friends:  Maja Buck  & Carlos Salazar

How many did you make?
Fifty in total. Twenty of those were sent out to Austin Texas based art directors back in early February. The remaining thirty I’ve been selling while touring across America with punks bands. I have four left.

How many times a year do you send out promos?
Station Wagon Dad was the first zine I’ve put together. I’m planning to have another zine ready to send out in October, which would be a turn around time of about 9 months.(1.5 a year?) Though every month I’ve been sending out postcards that feature images I’ve taken of Goats. (goatmonthly.com)

Tell us how your backseat investment turned out this promo.
I woke up in Birmingham at the end of September, in a house known as ‘God’s Butt.’ I was hungover and looking for a place to sit while charging my laptop. The house was covered in filth, glossy black tile had a layer of grime similar to a stove top after deep frying.  The cold water knob in the shower was buster off and their hot water heater was at a ten. I left the shower feeling more disgusted than the start. The band I was touring with broke up later that day, canceling five days in Florida and driving eleven hours back to Texas.
I’m not investing my time in the back seat of a van so that two hundred images can sit in an untouched dropbox folder for eternity. Touring isn’t providing me stability or funding my retirement account.

A few days prior to Birmingham, we were playing in a basement somewhere in Indianapolis. There I met Grant Lewandowski ,who gave me one of his B&W film zines.
Most of his images are paired with a poem, written by someone he knows via the internet. It was sequenced to become this beautiful short story of youth. Grant’s zine encouraged me to start printing my work again.

Producing Station Wagon Dad (the promo) was a way for me to share my experiences and look back on images that I was stoked on. It’s a wonderful feeling to rid a digital file of keywords and likes; being able to hold a physical album of my youth. I mean, yeah I regularly update my Instagram, but that’s a curated image grid meant to look pretty for someone who’s trying to give half of their attention to a conversation going on in a car.
I’m more interested in hearing about others and sharing experiences face to face. I suppose that’s why I’m sitting in the back seat of a van again. I’m on a Midwest tour until April 22nd; just trying to figure out where I want to be in life.

 

The Daily Edit – Brian Bielmann: The Eddie

- - The Daily Edit

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Surfing World

Editor and Photo Editor: Vaughan Blakey
Designer: Corbin Nash
Photographer: Brian Bielmann

Tracks

Editor: Luke Kennedy
Art Director: Mat Macready
Photo Editor: Ben Bugden
Photographer: Brian Bielmann

Tow WAVES in Tahiti/2005

Tow WAVES in Tahiti/2005

Hands down one of my favorite underwater shots ever , picking thru my photos to put this web gallery together was really hard because a lot of my best shots got left behind and I realized how many of my favorite shots were Bruce and Andy

Hands down one of my favorite underwater shots ever, picking through my photos to put this web gallery together was really hard because a lot of my best shots got left behind and I realized how many of my favorite shots were Bruce and Andy

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Andy Irons Underwater Portrait005

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John John Florence in West Australia

John John Florence in West Australia

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north shore winter 2014

North Shore Winter 2014

Surf photography has come a long way since you chased down your first big wave on a boogie board. Tell us about the changes and how it’s changed you. 
You were on your own out there. I had a canon all manual camera, which meant you actually had to set exposure yourself; more importantly you had to focus, and you had 36 photos on your roll of film.

I remember paddling out next to another photographer Denjiro Sato of Japan, we made it through the shore break and were almost out to the lineup when one of the surfers wiped out and his board came flying out of control right towards us and hit Sato. I can’t remember where, but he got cut by the surfers fins on his board. After that, Denjiro was done and had to paddle back in.

Think about it, after all the effort to get out and then BAM! you’re on your way back to the beach. I remember trying to make every shot count, but that roll of film went in about an hour. I had stayed to watch the rest of the event, mainly because we were terrified to have to get back in through the shore break. The whole time out there, you were just dreading knowing that you would have to get back through that, sometimes if you didn’t time it right, you would not make it in.

You see, the current would suck you down to the far left inside on the other side of the bay, to the rocks, known as “jump rock” because in the summer, when the surf is flat, everyone jumps off the rocks, but in the winter, it’s the spot you don’t want to get caught in. So you swim your ass off to get back out and as far away from that are as you can, so you would have to paddle back out to the lineup and start swimming in on the right side all over. It could take hours to get in, NIGHTMARE. Fast forward to today, you have jet skis to get you in the lineup, an all-automatic everything camera and it has 2000 photos, not to mention a ski ride back in straight to the beach. It’s actually awesome. Honestly, I would never go back out there if I had to do all that again. That said, compared to how we had it, now all those concerns are gone. The other big difference is all the technology, the limits are being pushed big time. If it was 10 years ago, the Eddie would never have run at this size. One of those closeout sets would have come through and taken everyone out: surfers, photographers, everyone back to the beach and they would have said too big, it’s over. But with the incredible Hawaiian Water Patrol with their skis, the surfers can push their limits. The surfers are the stars; so badass. the ski drivers the rescue team. I think it has to be the most dangerous contest in the sporting world. Just crazy.

Certainly you’ve been in some life threatening situations, now that you’re a seasoned pro, how are your choices different? What gives you pause?
Well, I’m 58 years old, at Pipeline there are about 30-40 photographers out there for each swell. Since there are not many magazines these days and very limited space for photos, it’s mostly the internet that showcases the work.  Most of those photographers careers will begin and end with instagram. I consider things differently now. How long do I want to be out there?how is it breaking? I look at the conditions and decide, if I’m going to swim my ass off through nine waves to shoot one. To me, that’s not worth it. I wait till the days when conditions are good, and the percentage rate is going to be worthwhile; only then I go. I end up looking like I’m out there all the time because I pick the best days! I’m not one of the top dogs out there anymore. There are guys who that’s all they do is shoot out there constantly; I pick the right days and get some gems and that’s good enough for me. Just never imagined at 58 I would still be swimming out at Pipe. It’s funny, there are very, very few guys still out there who were out there when I started, for the most part it’s all the young guns.

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Brain and Craig trying to out run the wall of water. Photo by Clark Little

Chasing down this wall of water was the biggest wave you’ve out-run, tell us about that day at “The Eddie.” 
Thank God I did not turn around to look at that wave, when I saw the picture I think I said a prayer right then thanking God for keeping me safe.  I was nervous the few days leading up to the event knowing I was going to be out on a ski; everyone was saying it might be too big to actually run the event. This meant if it went, it was going to be the biggest Eddie that had ever gone.

I had actually never been out in the water during clean up sets on a big swell before at Waimea Bay. A clean up set is when the waves close out across the entire Bay and there is literally no escape. I’d been out before when it was really big but never this big, so yeah I was nervous. The morning of the event as the sun came up, we could see a lot of closeouts, tensions were high amongst the competitors, jet drivers. It turned out that there were too many photographers that were supposed to be out there and not enough skis. (I actually contemplated taking myself out of the equation and shooting from the point.) The Director of the event, Glen Moncata said, “You shoot whatever you want, you don’t have to go out there.” I don’t know what it was; but something came over me and I ran for my truck, quickly put on my wetsuit, flotation vest, put my camera in my waterhousing, grabbed my fins and ran for the beach. The skis were being put in the water so I hustled down to the corner and waited for the lull with another photographer, Zak Noyle. As soon as there was a small break in the sets, we jumped in the water and swam quickly to the waiting jet ski, jumped on the boogie connected to the ski; as he hauled ass through the surf before we got caught by a set, we were out in no time, thank God.

Had you been with the driver before?
No first time with the driver, Craig Anderson, he goes by the instagram name of @MakahaCraiger. We probably met but never really talked before, but didn’t take long to bond. When you’re on a ski and you’re going over 20 footers, and they are the small ones, you realize instantly that the driver is the guy who is gonna save your life.  You get intimate very quick.  Hearing the water patrol on the beach, Mel Puu starts yelling on the radio to all the water patrol in the water, (8 skis probably, all on the same frequency), “There’s a closeout set, it’s big guys, get moving now! Get everyone out fast! This one is really big! Go! Go! Go!”

You go.

I had a strap on the back of the ski that had been ripped, so it was loosely tied and had a lot of play, kind of like the reins of a horse, so it was hard holding on with one hand and my other hand holding a big camera in a water housing.  We start heading for the horizon, and when we can see the sets, they are huge mountains of water moving at us and we start heading for the shoulder as fast as we can we are riding sideways on this beast waiting for a place on the wave that’s not already feathering. (this is when the wave is already breaking and there is already whitewater at the top of the wave and there is nowhere to get over as it’s really hard for the skis to get over the wave when there is whitewater at the top)  so we continue going full on as far as we can till we are on the far side of the bay, we can’t get over this thing.

” Hold on!” Craig yells, “We gotta ride it in!” We turn at the top of the wave and actually ride this thing all the way to the bottom going as fast as the ski will go. We’re bouncing like hell and Craig is yelling “Hold on! Don’t let go!” I’m holding tight with my arm on the strap, trying to hold on through the bumps and bouncing off the seat, I’ve got my legs as tight on the ski as I can, not even sure how long it took us to get in but I could hear the wave breaking right behind us like a waterfall.

We barely stayed in front of it, just a mountain of whitewater that could overtake us at any moment, about half-way in Craig yells to me, “You may have to jump!” I’m gonna do whatever he tells me, I pause for a second, yell back, “Just tell me when!”

I have no idea what this means, I’m just following orders and hope I survive.

I’m waiting for the word to jump and then a little farther in and he yells, “Wait! Hold On! I think we might make it!”

We literally get 30 feet from the beach and he swings the Ski around hard and we blast right thru a huge shore break wave, we barely make it through, I manage to hold on to the ski strap, but fall backwards off the seat; still holding the strap I manage to pull myself back up, just in time to go through a second one, and the exact same thing: Blast through, fall off but holding the strap and again pulled myself up, and we gun the damn thing side to side getting around the wave on either side, finally we are back outside and realize we made it.

We both start screaming. “We made it! Shit! we made it! AHHHHHHH!!!! Screaming at the top of our lungs, “that’s the craziest thing I’ve ever done my whole life!” I yell. He yells back,”Yes! That was definitely one of the craziest things I have ever done!”

I’m thinking: Wait, Craig’s a water patrol jet ski driver in Hawaii, and he’s a Hollywood stunt man and he’s says this was one of the craziest things he’s ever done. Shit. Thank you God!

We had around 20 more waves come through, almost as big as this and we had to run alongside of, but we were able to find an exit each time. I was out for 3 heats of surfers, almost 1/2 of the contest and we got a call that I had to come in, as there weren’t enough skis and I had to let another photographer have a turn. The jet ski brought me in and I was on the beach, I seriously wanted to kiss the shore.

There were thousands of people lined up as I walked back towards the stands and some of them started applauding me and whistling, one guy came up and took my photo with him.

It’s funny, I think they thought we were all fearless out there but we were not, we had plenty of fear, we just pushed through it and went out there. I got back through this sea of people and was under the shower when I heard the announcer say, look all the skis are coming in being chased by another huge wave, but this time they made sure they were farther in front of the wall of water, and they had no escape on the inside as we did on our wave.

They had to ride the skis right up on to the beach. I looked out and saw how big the sets were and I immediately thought, “What the hell was I doing out there?” and my next thought was “I’m so happy they told me to come in 5 minutes before that set, I did not want to go through that again.”

It was time to finish shooting the second half of the contest from the point.  The nice safe point, the closest spot to the waves you could get, and not a drop of water on me.

How does a surf shot land on L’Uomo Vogue?
Yes , I’ve got a photo on the cover of L’Uomo Vogue magazine right next to Bruce Weber. It’s a shot of John John Florence from a ski in the water during the Quiksilver Eddie Aikau Contest. I’m so stoked! Bruce has been my hero for years as far as a fashion photographer goes, my favorite; and Herbie Fletcher has some shots in there, Dibi Fletcher wrote the story. It’s about The Best Surfer in the World!  doesn’t get any better than that for me. I think I can claim to be the only surf photographer with a shot on the cover of Vogue, it’s a shared cover with Bruce and that’s what makes it awesome! I was on the phone with him while I was shooting the shore break and when I hung up I was so excited to tell everyone, “I was just on the phone with Bruce Weber!” none of the surf photographers knew who he is, luckily Buzzy Kerbox was there, and he is good friends with Bruce. Bruce started Buzzy’s career back in the 80s with his Ralph Lauren Campaign.

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The Daily Promo – Lisa Shin

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Lisa Shin

Who printed it?
Agency Access printed, inserted, sealed and mailed the entire project with considerable customer service.

Who designed it?
The talented Mr. Christopher Lee. Check him out!

Who edited the images?
I did with the feedback of my fabulous agency, Anderson Hopkins.

How many did you make?
2000 were printed and mailed, 200 held for leave behinds.

How many times a year do you send out promos?
This is the first print promo we have done in a while. We aim to send out 3 more mailers by the end of the year.

Who did you decide who to send the promo to?
Our mailing list is comprised of advertising agencies nationally and local editorial. My agency worked to understand who the best audience was given our total numbers. We hope to expand the list in future mailings.