Posts by: Heidi Volpe

The Daily Edit – Parade: HollenderX2

- - The Daily Edit

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Parade

Photo Director: Nicole Kopperud
Senior Art Director: Matt Taliaferro
Photographer:
HollenderX2

Heidi: Tell us about the subjects.
Jordan: Bill Berloni and his dogs were  photographed in Connecticut on Bill’s farm.  We were able to choose the dogs we wanted to work with (he has about 30 dogs).    We knew we were in for a treat as his dogs are some of the best trained in the country, with high day rates.  Fortunately they weren’t divas. He has a new show “From Wags to Riches” on the Discovery Channel that just came out where he turns shelter dogs into stars.

How hard was it to manage the dogs?
The magazine didn’t want a studio setup for the cover shot of the dog, so we photographed them outside.  After we set up the cover shot, we were told that they needed to bring the dogs out one at a time.  We then shot the dogs individually in our scene and later composted them together.  The biggest challenge was the heat.  We had a van with AC near the set for the dogs to stay cool — we were able to shoot each dog for a few minutes.  Since our subject is a master trainer and has such a unique connection with these dogs we needed to do less wrangling from camera than usual, but that didn’t stop us from doing some kazoo blowing of our own.

Did you have treats on set? 
There were treats and tons of different noise makers ranging from kazoos to the plastic trombone-like- whistles which were a big hit and seized the most attention from the dogs.

Were you concerned about any of your equipment with dog hair?
No – whether we are sippin’ a cappuccino in studio or rollin around in the dirt with dogs, we usually know what we are in for and plan accordingly.  In this case, we had plastic bags under our equipment.
 
Can the dog really make his ears go up or did you do that in post?
Ah, unfortunately no, or at least not in the short time we had to shoot him!
We wanted to create an organic movement from the centered “star” dog, so we had Bill pick up his ears and drop them to get this effect.

What was the most remarkable training command of the day?
I wish I could say there was a word but it turns out its mostly about hand signals.
There was this one thing Bill would do to get the dogs to run.  He would simply walk away and get into his car, and they would come a runnin’.

How hard was it to get all of the dogs looking for the group shot or was that done in post?
For the group shot, they were all so well trained that we were able to position them on the couch and with hand signals, they would stay in place.  There was an assistant dog trainer behind camera for that shot to help us.  It was done in camera and felt like a small miracle to have them all just sitting and looking at us like that.    Had we not been in the company of such well trained animals and top notch trainers this would have required lots compositing.

Here’s some BTS shots by Tye Worthington and another shot from the day.  Their subject gave Jordan a dog bone handkercheif and it came in real handy!
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The Daily Promo – Blair Gable

- - The Daily Promo

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Blair Gable

Who printed it?
The books were printed by Photobook Canada – 40 copies. The postcards were printed by Vistaprint and the stickers were printed by Loudmouth Print House in Ottawa.

Who designed it?
The Gablehead, Blair Gable Photography, and Third Floor York logos were designed by Jason Harper at Strongvine Visual Communications. I designed the book and postcard myself – layout using Photo Mechanic and page design with Fundy Designer.

Who edited the images?
I edited the images myself, though I showed a pre-production book to close family and friends to see if there was anything missing.

How many did you make?
I send out packages to editors that I regularly work with at least once a year. This was my first time sending promo kits to a large number of new editors.

How many times a year do you send out promos?
I mostly shoot politics and portraits for my editorial clients and rarely have time to work on personal or self-assigned projects. I worked on a number of projects last year that I shot first and sold later, so I thought I would showcase that work in this particular promo package.

I like the title, did you write that and was impact the goal? 
I did write the title, it came from the topics of the projects, but I thought together they were compelling enough to make someone crack the book. So I guess the goal was to make it as enticing as possible, as quickly as possible.

The Daily Edit – Fast Company: Zach Gross

- - The Daily Promo

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Fast Company


Photo Director:
Sarah Filippi
Photo Editor: Annie Chia
Photographer: Zach Gross

Heidi: What type of direction did you get from the magazine?
Zach: Annie asked me to do something a little creepy and eerie: using double exposures and shutter dragging to distort/obscure their faces. She wanted the portraits of David and Robert to look a little unsettling like their television show, The Walking Dead.

What was your technique for this?
I used three strobes mixed with the ambient light coming down from a skylight in the studio, and a smoke machine to create a hazy atmosphere.

How much time did you have to do the portraits?
Because of their tight schedules, I had thirty minutes with each subject.

It’s so refreshing to see a different style of portrait that suits the content. Have you done this type of portrait before?
I’ve experimented with this type of technique before while photographing dancers and performance artists.  This time it was a bit different because the subjects were not performers. I had to direct them more and suspend their literal interpretations of a portrait, asking them to perform a little more then they were used to.

Did you do any testing for this?
I arrived at the studio early, and did some tests for about an hour to adjust the light and get the technique dialed in. I came to the studio with specific ideas and goals. I sketched out some ideas on paper to help visualize the shoot. During the process, details get adjusted and tweaked but it was good to have a blueprint.

The blurs seem to be directional, how did you do that?
The blurs are directional because both the subjects and I were moving. The shoot was a bit of a dance trying to find the convergence of all the elements: strobe light, natural light, smoke, and expression. A lot of exploring different compositions…it felt like choreography.

The Daily Promo: Kevin Zacher

- - The Daily Promo

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Kevin Zacher

Who printed it?
Source Print Media in LA.  I like to keep it local and in America.  We used a traditional litho process but with the new technology of UV inks and UV lamps. This allows the printer to not have any dry back issues in the uncoated stock which in turn keeps the colors more vibrant.  There is also less waste in this process.

Who designed it?
Eric Pfleeger who is a freelance art director in LA  and formerly in New York and Amsterdam doing the agency thing.  He’s done promos for Christa Renee, Amanda Marsalis, Karen Caruso, Justin Hollar and logos for Peter Bohler and Brian Stevens. He is currently working on a super cool top-secret book project with an entertainment artist.   He’s been doing all my promos for the last 2 years and has a great sense for simplicity and editing.   He did a mini book for me that I shipped a couple of years ago and it looked beautiful so I just kept going with him.

We wanted them to be more or less simple and utilitarian.  A promo that isn’t so much about the design, but the work, the ease of use and  the fun of a poster.  The fold is very specific, that is because I wanted the images to be upright almost no matter how you look at it.  If it’s completely folded you can sort of flip it like a magazine and the images will be right side up.  And then of course for those who are into posters we offer that.  Who doesn’t like a good poster.  All time best poster?  Farrah Fawcett in the one piece swim suit.  Don’t know it??   Look it up- you won’t be disappointed male for female.

Who edited the images?
A mix between myself and Eric Pfleeger.  Each promo is built from photographs from one specific shoot, not a montage of many shoots or images over time. I wanted to challenge myself to do a promo I was happy with from a limited amount of work.   Limited in that it’s not curated from anything I’ve done in the last year, but from a single shoot that might last a day or a week.  I shoot a lot, but it’s still a challenge to commit to so few images.    I will send Eric as broad an edit of a shoot as I can and he will whittle it down and put into 3 to 4 layouts for me to review.   I will then bounce back some images I don’t like or add ones that weren’t included and then we will battle it out until we are both happy.  I want him to be happy, because it’s not just about me.  It’s about the integrity and I want Eric to gain something for himself as well.

How many did you make?
4,250.  4,000 get shipped out and 175 go to my agent Anderson Hopkins for hand outs and I keep the rest to hand out and mail to awesome people as they come into my life like Rob Haggart!!!  If anyone wants one hit me up!

How many times a year do you send out promos?
This year I am doing 4.  Roughly every 3 months or when the timing and work seem right.  I’ve shipped two so far:  Vol. 1 and Vol. 2.  I would ship more if I didn’t think it was wasteful and that people aren’t already tired of getting promos.  I will fill in with some email promos here and there when the work calls for it.

The Daily Edit: Walter Smith Self Published

- - The Daily Edit

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Walter Smith

What has been the biggest influence on your work? 
I love to look at photographs, photographer’s careers to see how they’ve created work year after year building on ideas,being flexible, creating work that has value.

What was your first real break if you can remember?
I clearly remember my first big project. It was a documentary project and it started as a 1 day shoot that evolved into a 10 day shoot. I came home, quit my day job, got a new job bartending and looked for work and photographed everyday for years. No BS in that statement. Not much has changed.

You have such a strong corporate client list, how did that happen?
I remember being a young photographer and looking at the stack of annual reports on my father’s desk. They were always interesting to flip through and very photo heavy. I started to keep a list of the design agencies that worked on them and started to hand print promos to mail out to the art directors. I drove many a receptionist crazy trying to get the names of the right people to mail to. It was a very organic process that worked for well for me.

 I enjoy that your promo’s are so interpretive. Quite a few of your images give us hope and an escape from whatever we are doing at the moment. I have your “Self Published spread 12-13″ on my wall and often fall into that image when I need a break from my desk. Did you do this consciously? Put images in that promo as an escape for the viewer inevitably sitting at their desk wishing they were someplace else?

I’ve always thought that a promo should start a conversation with whomever is on the receiving end. Whenever I start a promo edit it tends to lean towards the commercial side. What I think people want to see, where the industry is at. I start to whittle that down with the help of the designers and the edit/promo starts to have a vision. Starts to feel like an extension of myself. I also start to have doubts and spend more that a few nights thinking about the image edits, the pagination–everything. It’s about a 3 month process from the first edit to the last with a few rounds of variations. The second guessing is an important part of the process (for me) and I generally feel that if the anxiety isn’t there then there’s something wrong.

When a promo arrives on a desk I want to get it opened. I want to allow the smell of ink to fill a room. We send out promos in clear envelopes with big imagery on both the label side and the back side. It’s always the goal for the promo to drive people to the site where they can see all the work they want. I’ve heard from a handful of people who spread 12-13 is hanging on their walls. There’s no better compliment than that. Yes, I certainly want a project from the promos but if It starts a conversation with a creative, adds a few Instagram/Facebook followers then its working.

I think in this crazy paced digital age everyone needs a visual respite. I don’t think that we consciously put in imagery that speaks to that but its tends to happen. I had spread 12-13 on my mind for weeks before the right situation presented itself. I wanted to shoot it out in Montauk but the weather just wasn’t right. We were 2 weeks aways from going to press when I found myself out in SF during a crazy December storm. I had an idea of something I wanted and reached out to Heather Elder who put me in touch with location master Jim Baldwin who turned me onto Sutro Baths. We hiked in wind and rain for about 30 minutes before I found the right spot. I actually thought the birds screwed up the shot until I saw the frames. I found what I was looking for and called Marcos, the CD at TODA who was working on the promo, and asked him to hold up while I sent it off to him. (Marcos and I have worked together on promos/websites/portfolios for 15 years)

A lot of your work and comments here keep you deeply anchored in the moment, were you always like this? Or has it become refined over time?
I like to think I was always anchored in the moment. It’s how I work; how I’ve always viewed situations. Everyone has a story to share and I try to tell these stories when I work. I try to find something that we can both relate to and build upon. It’s not the image that makes the photograph, it’s about the conversation that makes the photograph happen.

How has your family influenced your work and what has it taught you about yourself?
Being a father has taught me that the well-being of one’s family trumps everything. I talk about my children (2 boys 2 girls ) to everyone I shoot and that can lead to some interesting places. All teens make for a very interesting household.

I see you are without out a rep. What’s your best advice for marketing yourself?
Be smart with your time. Be respectful when reaching out to people. Research, research, research. I love sending out simple emails with personal notes and an image. Have a sense of humor. Know that it’s not about you and approach people that way. Be kind. Don’t make calls when you’re in a low or bad mood, go see a movie instead (advice to me from Duane Michaels years ago). Know that there are “friends” and “client friends” and understand the difference.

I could use a rep. When I go on appointments with larger agencies the first or second question is “who are you rep’d by.” I’ve worked with great reps in the past and have good relationships with them. Theres positive and not so positive things about working with agents. I think one needs to learn how to be their own rep before anything else. Learn the business because it’s a business no matter how creative you are.

Tell us about the conversations behind your promo images.

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Spread one: 
Walter Kirn and first day of vacation.
I really wanted to use the shot of Walter for a couple of reasons. I loved the image but there’s also a great back story. I photographed him 17 years ago for GQ for the contributors section. Met at the Gramercy Hotel and did some pictures that were fine but when I left I never felt like I really got what I wanted, if I even knew what I wanted really. I’ve thought about if for years on and off. Seriously, years. I’ve always keep track of him and I saw a post on FB mentioning him. I reached out to him through FB and reminded him who I was. How many people named Walter are there in the world really? He remembered the shoot, actually remembered details that I forgot. I asked if I could shoot him again when he was in NYC next. As it turns out, he was in the city the next weekend. We met up, talked , shot and I got what I was after. The funny thing is, and I wasn’t even aware of this, is that there’s a white coffee cup in both shots we did.
The promo editing was done by TODA. I whittled down to about 500 images for this round. To say “edit” is a stretch though.

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Spread two:
This is generally what my house looks like on any given weekend morning. I always have film cameras around and the table image was shot on Kodak 400 through my favorite camera the Mamiya7II. Its traveled the world with me multiple times and has never…not once, crapped out on me. I always liked this image but never saw it as a paired up with another image. They showed it to me with this image of my son Otis and I was immediately sold. This particular shot was from a test with the new Leica S camera. Most intuitive comfortable piece of gear I’ve shot with in years.

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Spread three:
The image of the 3 tourists against a wall was shot near the Grand Bazaar in Istanbul, Turkey. I love it there. Photographs to be taken at every turn and I never felt uncomfortable shooting on the streets there. We were originally there for a Coca-Cola lifestyle shoot. Whenever I go to a new place I generally throw on some running shoes and clear my head with a trek through the area that often turns into a scouting trip of some sort.
I paired this with an image from the Governors Island carnival from two summers ago. I wold have never put these two together but it works because the contrast between the backgrounds. This spread hung up in my office for a few weeks to see if it grew on me. That’s part of the process when I edit and make decisions with these things. It will live on my fridge, in my office, somewhere where I see it when I pass through. I wait to see what the spread feels like after a bit of time has passed. Might be odd, but it’s worked this long so why change?

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Spread four:
I’m always struck by how often people will not allow an experience to simply unfold before they start documenting it. I’m guilty of it at times but to see a kid walking down the street or sitting in a stroller with an ipad just kills me. What happened to just looking around, to being curious? I’m sure these ladies were just tourists outside Macy’s during the holiday but to me they we’re missing something. The leather fanny pack does it for me.

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Spread five:
What’s not to love about Miami in the winter?
 
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Spread six:
The last image to make it into the promo. I asked to swap this in just before it left for the printers. I love weather and I had this stormy sea image in my head for weeks. I was waiting for the right time to drive out to Montauk to get it but the weather was not cooperating as I said earlier. After I shot it I though I’d have to retouch the birds out. Ha. They made it that much better! I called Marcos in a “hold the presses” moment and we got this in. One of my favorites on 2014.

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Spread seven:
Just documentary portraits from jobs. Probably the only two images from paid jobs in the promo.
 

I love doing promos and find the process of how someone else experiences my work refreshing. It’s a long process for me. Lots of time goes into moving images around on pages before I even send the edit to TODA. It’s a bit of an emotional process in the beginning until it leaves my hands. Once it’s done the feeling of waiting to see what the designers come back with is equal to the feeling of waiting for rolls of film to come back from the lab. curiosity. Excitement. It’s all there.

Once we get round one done, I pin them up and live with them. This will generally lead to second edit that may have a few more commercial images in it. They always look great but I’m often left feeling like something is missing. I always know what’s missing but it takes sometime to make the changes. This time around I had my producer, Susan Shaughnessy, Paula Gren of The GrenGroup and Amanda Sosa Stone (my creative buddy for years) weigh in on the edit. All agreed more personal was stronger. I’ve always thought a promo should immediately stand out in the mail so that’s why we’ve always used clear envelopes. I’ve also started to send an email or PM to specific clients with a snap of the promo cover to let them know it’s on their way. It all works though sometimes a bit better than others. When I’m traveling to an area for appointments I generally will hold off sending a promo until two weeks before I arrive. It’s always a compliment when people remember receiving it. Promos are a way to start a conversation and my career has been one long conversation with many people.

The Daily Promo: Breungrega

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Breungrega

Who printed it?
It was printed by Pinguindruck here in Berlin. They are specialised in printing all kinds of stuff for creatives.

Who designed it?
I did the designed by myself. But our logo was designed by Frauke Wiechmann & Vincent Kraft, graphic designer friends of ours.

As breungrega.com is a team of Martin Grega and me, David Breun, we have those half circles wich can be put together. We have this sheme on lots of our stuff for example also on our business cards. With the postcards i did the same you can put them together and then you have a full circle.

Who edited the images?
I edited the images with my business partner Martin.

How many did you make?
We made 1000 each.

How many times a year do you send out promos?
We are trying to send promo cards twice a year. I also have a couple of postcards with me all the time and i leave them as a addition to my business card. And its funny that you still see them a office tables if you visit the person the next time.

Did you purposely leave off your contact details on the promo to Rob? Your instragram friends were able to ID your team, you have fans!
Oh thanks, our US agent Tim Mitchell said that it’s a good strategy. I didnt do this on purpose, on the front our website & logo is printed with UV finish, so if you turn the postcard a bit you can see it. Next time i will write my full address and company name on the back, for sure! I attached some pictures where you can see the finish.

The 2 postcards are also trying to show our two aspects…one is the advertisement photography and the other one is editorial car photography. The 3 Porsche sports cars have never been on the location in Miami they only exist in the computer, they have been rendered, very common these days and a big change in car photography…the orange car is a Lancia Stratos prototype 1975, matte orange! This was an editorial shooting for ramp Magazine here in Germany and a completely hit & run shoot…the car wasn´t even registered neither had it working headlights…the owner just didn´t care he drove around the city the whole night with us…in the end he lost the ignition key…a shooting i will never forget…

The Daily Edit – Real Simple: Danny Kim

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Real Simple

Photo Director: Casey Tierney
Photo Editor: Brian Madigan
Photographer:
Danny Kim

What are the tricks for shooting ice cream in it’s half frozen, half-melted state?
The food stylist comes prepared with a styrofoam box filled with dry ice so the ice cream can reset faster than in the freezer. I will leave the modeling lights off on the strobe so they do not emit heat. Also some store bought ice creams do not melt like home-made or parlor style ice creams, certain sugars such as corn syrup and stabilizers such as cellulose gum slow down the melting and dripping process. For multiple scoops the ice cream is held up by long sticks if its unstable then retouched out.

Do you have any good behind the scenes info about this shoot?
This image was originally shot on yellow color aide, Real Simple converted the background to pink when they decided to use it as a cover.

You were previously a staff photographer at New York Magazine, and now you’re at Bon Appetit, are you staff or freelance only?
I was on staff at New York Magazine from 2010-2012, there I learned to shoot food, still life, & fashion. I am currently freelance only, Bon Appetit being one of my regulars.

What was your biggest break in your career thus far?
I got to meet and photograph Martin Short for a New York Times article. I was star struck, I am a huge fan of Jiminy Glick.

How did shooting the Strategist pages shape you as a photographer?
The Strategist openers forced me to think like a magazine designer. Headlines, text, and graphic quality were all in consideration when shooting those pages.

How hard was it to make the transition from staff to full time shooting for a variety of clients.
I worked with some of the best photo editors in the city at New York Magazine, they eventually moved on to other magazines and even become photo directors, we all keep in touch so finding work was not a problem.

What’s your creative process for the smart/witty/graphic still life images?
I listen to what the photo editors or art directors have in mind and I also ask for some context of the article, then I try to make many options as I can before the studio closes.

Do you have a journal? Do you write copy?
No journal, I do not write.

The Daily Promo: Tim Tadder

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Tim Tadder

Who printed it?
This was printed by my friends at Marathon Press in Nebraska. Marathon caters to the wedding and portrait market mostly, but after meeting their CEO at a trade show I was impressed with their color reproduction. These images are very difficult to reproduce so I knew that Marathon was the place to do it. After a few bad experiences with some other vendors, I was super excited to have a new partner to help get our images noticed by industry creative.

Who designed it?
Cheryln Read a talented designer in San Francisco. She is designing all of our promos and managing the process of getting one out each month. She pulls images from out sight and comes up with creative solutions. She comes from an agency background so its helpful to have her make promos that people want to keep. I am not a big fan of creating waste, so I wanted to partner with someone who felt the same way. We have to send out mailers to remain relevant, and we hope the ones we do send out do not immediately go into the trash.

Who edited the images?
We edited the images in-house. I did have an amazing retoucher handle one image as the skin was particularly difficult for me to manage, but the rest were done by me.

How many did you make?
2500

How many times a year do you send out promos?
8 to 10 times a year.

I understand you had some printing issues. Tell us about that.
I used another popular vendor for mailers and I noticed the color becoming more and more incorrect with each mailer. The reproduction is critical and we would always buy proofs to ensure great color. Sometimes we would go three rounds of proofs (expensive) and then when we would receive our mailers the color would be off dramatically. Their response was that they do proofs on a digital press and the finals on an offset press and that a color shift was normal. They reviewed our concerns and came back to us saying that the shift was “Acceptable”.

My clients would never be happy with me telling them that the color shift in their images were “acceptable.” Thats when we set out to find a better printer and a better partner to help us. We don’t like when things are “acceptable” we strive for AMAZING and EXCEPTIONAL. Shocked that someone would treat a finished product that way!

The Daily Edit – “Aging Out” by Image Hoarders

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A group of LA based photographers and journalists joined together to create a project that would raise awareness and support for the young men and women of Los Angeles aging out of the foster care system.

This collaboration resulted in a book and exhibition called “Aging Out.” I had the pleasure of chatting with the photographers about the book and their collective.

 

 

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Aaron Fallon

Heidi: What drew you to this project?
Aaron Fallon: 
Around 2007 or 2008, I had seen a photo project with an accompanying story about young adults who had or were about to age out of the foster care system.  I cannot recall the details, but the idea itself impacted me in the sense that I tried to imagine myself at 19, 20, or 21 years old having to face the world on my own without support of family, without someone to turn to or somewhere to go.  And it seemed so overwhelming and scary.  We all need support and a little help sometimes and to be at that stage in life without guidance or support — would, at the very least, be extraordinarily difficult.  I wanted to start my own version of the project in Los Angeles.  It was a way to use photography outside of my normal channels in a manner that might help others. Although I had done some other pro bono projects through the Taproot Foundation previously, this would be a project that truly resonated with me and I could have a lot more involvement and oversight of the entire process.

The idea stayed with me, but it didn’t come to fruition until  several years later after the subject came up during a meeting with Maggie Soladay, (former photo editor of American Lawyer Magazine and Corporate Counsel Magazine), she had overseen a New York City version of a similar project and advised me about how to get things going.  She suggested finding an editor/producer/creative director to partner with.  Around the same time Coral Von Zumwalt had just put together a monthly meeting of sorts with several photographers in what would become the Image Hoarders.  I reached out to Jacqueline Lee to take on the Editor/Producer/Creative Director role and pitched the idea to the Image Hoarders.

Joan Allen: Our earliest group conversations discussed the importance of having ongoing personal projects. Each of us would discuss the project we were currently working on or a new one we wanted to start and we would encourage one another to make progress on them, those of us who actually had time to get theirs started would share their accomplishments during meetings and would ask for feedback. When Aaron proposed this project to the group, it was during this time and we unanimously jumped at the opportunity to work on a creative group personal project, especially one that would raise awareness for such an important cause. The only creative conversations we had involved creating “a day in the life of” each subject. I think all of our photography and visions mixed very well together for a photo-journalistic, photo essay, reportage feel.

Matt Harbicht: I liked that we would be bringing attention to a subject that typically went unnoticed.  We all had heard about this, but had never seen what life was like for people who have had this kind of childhood.

 

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Matt Hoover

 Matt Hoover: My passion is documentary photography, telling stories and meeting new people. One of the reasons I got into photography was to make a difference in my community or even the world if possible. This was an opportunity to tell a story of one persons life that might help others and bring awareness on what’s going on here in our own country.

Megan Miller: Aaron brought the idea and some information to our group.  Once he showed us the sheer number of children aging out here in LA each year, and that LA County had the most children in the system of any county in the country, I think we all realized that something was happening in our own community that we didn’t know enough about.  I wanted to learn more and then try and share that knowledge and awareness with others.

 

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Yuri Hasegawa

Yuri Hasegawa:  When this project came up, I was grieving heavily from the loss of my husband. My loss changed my entire life. My loss also changed me as a person, my perspective about life itself and affected me in both good and bad ways. One of the good changes after my loss is that I developed a desire to use my photography skills to help create something more meaningful in life, yet I had no clue about any specific idea or plan. Also, I was still too weak to feel “passion” to do anything more than keep living day by day. In a way, it was the most difficult time to think about a personal project on my own, even though I knew how much a new project would help me, after hearing about this, I immediately thought that this would be a great opportunity to be a part of a creative project and thought the timing was all happening for a reason. I liked the idea of having one project to work on with such an amazing collective of photographers (eventually to become the Image Hoarders) as a group collaboration.

Heidi: How did you find the subjects? Tell me about how you engaged with them and got them to open up?

Aaron: Joan Allen introduced us to the Alliance for Children’s Rights here in Los Angeles.  The Alliance reached out to many of the Foster Youth they work with and put us in contact with those that were interested in being a part of it.  Jacquie and I sorted through the potential subjects and tried to make sure we would be covering a broad spectrum of subjects and stories.

For both of my shoots, I met the subjects at their apartment and made sure we both allotted enough time to pretty much spend the day (afternoon) together.  To me, this approach was best, as I could meet them in their own environment and without any particular time or location restrictions.  We  would sit and chat for a while. They’d tell me their story.  I’d tell them about myself and the project.  And then eventually we’d get around to creating some photos.

My first shoot was just Ernesto and myself.  And the longer we chatted and then shot together, the more I learned about him.  We went to lunch as well, and I shot some stuff with him in his neighborhood and at his favorite local restaurant.

My second shoot with Chardea, was in tandem with the writer. I let the writer do her thing first and I sat and listened.  And after I chatted with Chardea.  And took a similar approach as my first shoot.  And we went to lunch as well.

 

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Coral Von Zumwalt

Coral: Most of the subjects were brought to us through the Alliance for Children’s Rights which is an organization that serves as an advocate for foster kids and at-risk youth.  However, one of my subjects, Cody, and I were brought together via a personal connection.  My cousin worked with him years earlier as a childcare counselor at his group home.  She knew his story was powerful and was impressed with how he had taken control over his life at the time.

With my subject, LaKendrea, I had the luxury of time which helps immensely when you are trying to connect with a subject.  Over the course of three different days together, she became comfortable enough with my presence that I could just tag along and blend into the background as she lived her life.  She allowed me to document her while she went about every day tasks like caring for her son, giving rides to her friends, visiting with her family, and potentially life-changing events like searching for an apartment and trying to convince a landlord to rent to her.

I also strive to have an empathetic ear, and I hope that comes across when I am with my subject.  Being a good listener goes a long way toward helping anyone open up, and it holds true for subjects as well.

Lastly, it always helps to establish common ground between oneself and one’s subjects.  Both of my subjects, for instance, are parents of young children.  As a parent of young kids myself, we could share the universal joys and challenges that come with parenthood.  There was also a period of time in my childhood when my mother was having troubles and a social worker had to intervene.  I didn’t experience even one iota of what LaKendra or Cody went through, but there was a touchstone there I could go back to and it was easy to put myself in their shoes and understand them.

Joan: I was mentioning our book project to a dear friend of mine and at the time I had no idea she was independently highly involved and passionate about this cause on her own. She had a relationship with a non-profit organization who helps these young adults learn life and job skills to increase their chances of survival. She introduced me to a wonderful subject who ended up being one of the people I photographed and also to Alliance for Children’s Rights. We had a meeting with them and to my knowledge, most or all of the other subjects were introduced to us through the Alliance. My friend really helped us get the project off the ground in the beginning and I am very thankful to her for that.

Matt:   Locking down people who came from troubled pasts was difficult.  Sometimes people would fall out of contact because they had switched homes or had other trouble.  Some just fell out of contact completely.

Matt Hoover: Most of the time meeting someone new to photograph I like to sit down and introduce myself. Tell them where I’m from and what I’m doing. I like to listen to my subjects and here what they are doing, what’s going on in their life, etc… You can’t rush it, you have to sit down and take your time, get to know the person your going to photograph. No one is going to open up and feel comfortable around someone new who shoves a camera in their face. You have to gain trust first then let moments unfold in front of you.
I also like to use humor when meeting someone new, whether it be for a project or just out and about in the world.

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Megan Miller

Megan: To get to know who I was photographing I just made sure to have a real, full conversation with them before I ever even took the camera out.  The great thing about it being a personal project, is that you can spend as much time as you need.

 

Heidi: When you shoot something this emotionally complex, how to you prepare for the shoot if at all?

Coral:  Shooting stories like these are really refreshing actually because I feel I have to prepare less. Instead of agonizing, like I often do for my editorial and commercial shoots, over what type of equipment to use, what assistant and/or digital tech is available, is there budget for a producer, will the subject give me more than 15 minutes, etc., I instead just get to concentrate on the subject.  It is just me and my camera and the subject.  And because neither of the stories had been written for Cody or LaKendra before I shot them, I went in with minimal information and got to hear their story firsthand.

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Joan Allen

Joan: I don’t personally feel that I had to prepare any differently than I do with any other shoot. I just wanted to get to know these wonderful and strong peole and hear their stories. I asked to just hang out with them during normal daily routines, making dinner, etc. I didn’t just show up and grab my camera and go for it. I wasn’t in a hurry. I would meet and talk to my subjects and ask questions and just help them not think about it being a photo shoot until I sensed they were relaxed and I was just some regular friend hanging out in their living room. Then, when I was sure their guards were down, I would just keep talking but start taking photos as well. I did photography Lt. LaShanda Holmes for two separate days at the National Coast Guard at LAX Airport. Those shoot dates required being much more scheduled with our time, as, permission was needed for LaShanda to be part of the project, for me to be able to photograph at the Coast Guard, for me to be able to photograph the helicopters and her in uniform and for her specifically scheduled slots of time that needed approval.   Those days did not allow for the flexibility of just “hanging out” beforehand. 

* Joan Allen also shot the cover image.

 

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Matt Harbicht

Matt: You think about what’s important to illustrate this person’s story.  If you are in their homes, the first thing you notice is how bare they are.  Most of us have acquired an enormous amount of “stuff” throughout lives.  We all knew this going into our shoots so things like the emptiness of their environment would be something to focus on.  For many people the idea of their own place or home was integral to their story.  In my case I didn’t know what the situation was going to be, so I just ran with it.

Matt Hoover: I really try to think about what this person has gone through. What obstacles might have come into their life. What would I have done or felt if these things happened to me.
You can’t really prep for certain things because you have no idea what this person has gone through. You just need to listen and go with the flow.

The portraits are a deep reveal into ove coming so much in their lives, how hard was the edit and what were you looking for in the final select?

Aaron: In making final submissions I wanted to show a broad range about the person I was photographing. Yes, both of the people I photographed had pasts that would be considered emotionally heavy, but that doesn’t define either those people.  So, if I have an image that may be reflective or poignant and could be viewed to reference their past — great, but I also looked for lighter moments, or moments that show who that person is now.  And with both of my subjects we had fun moments during the shoot, so I wanted to make sure to include those as well.

Coral: I found it hard to edit because as I became closer to my subjects, LaKendra in particular because we spent more time together, I found I was editing out images that told a fuller story because I was acutely aware of her feelings and did not want to show any images that didn’t paint her in the best light.  As with many jobs, however, I went back a second and third time – each time trying to put on fresh eyes – and put forward, what I hope, is the most honest story possible.

Matt: I think I was looking for something that showed their strengths and a look at the struggle they had gone through.  We visited her old school as school was always the driving force in Jasmine’s life.  She showed me the Taco Bell she waited at for people from the Hollywood Youth Shelter to come get her.  Seeing these places that had little or no meaning to me were the driving force behind what changed her life.  It was powerful to walk those steps with her.

Megan: As far as what I was looking for to send to Jacqui, I was just trying to show the entire range of the person I had gotten to know.  The positive moments, the struggles. That’s difficult to do in just a few images, so I was just hoping for that to come through.

Yuri: I do feel that I had more of a tendency to be subjective easily on this edit. My biggest problem was, shamefully, the lack of variation. There were a few technical issues on the shoot day, which limited our option to get more variety in terms of locations and different situations. I attempted to book a second shoot date, but, my efforts failed. That part was a huge challenge for me, wanting something more and not being able to create it.

Coral, tell us about why you created ImageHoarders.
Early in my career, I had the good fortune of working as Art Streiber’s  first assistant.  Over those five or so years, I truly felt part of a tight-knit photographic community.  Logistically, Art’s shoots were often quite big – they felt more like a small film shoot rather than a still shoot – so I was working along side many assistants, set designers, stylists, creatives, etc. I felt like part of a team and there was always a tremendous amount creative collaboration.  And more than any other photographer I’ve known, Art truly enjoys fostering photographic friendships and mentoring young photographers – he is very generous with his time and experience.

After shooting on my own for close to 10 years, I found myself feeling isolated and missing the sense of community I felt while working with Art.  My shoots are typically pretty intimate… oftentimes I am shooting with just one assistant by my side, and then I spend an ungodly amount of time alone while I edit (and edit again – I am a slooooow editor).  I missed the group dynamic and was craving the conversation of photography.  But I didn’t want to take part in something formal and regimented – I wanted something intimate and casual and inspiring.  One night, over beers and archiving woes in my garage, I was talking with a couple friends about this quest to find my own little photo version of the Algonquin Round Table and I realized other people were craving the same thing.  So that was the nexus of ImageHoarders.  I invited a handful of photographers whose work I respect into my living room.  Some are friends that I assisted alongside with years ago and are now established shooters.  Others are former assistants of mine who I missed working and hanging out with because they are now busy shooting on their own or making that transition into shooting full time.  There is a range of age and experience within the group which benefits us all, I think.  And it is a safe place to share information, bounce ideas off each other and show work in progress.  Now roughly two years later, we continue to inspire each other to do better work and we enjoy each other’s company while doing it.

 

The Daily Promo: Adam Cohen

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Adam Cohen

Who printed it?
I used a local printer, Minute Man Press, that actually is a franchise of a larger company.

Who designed it?
I did all the design and layout myself.

Who edited the images?
I also edited all the images. I believe both editing and designing projects are important practices that a photographer participates in. I look at these zines as how rappers look at “mixtapes”. It’s a smaller, looser project that releases before the album, or in my case, the book.

How many did you make?
100 + 10 Artist Copies.

How many times a year do you send out promos?
I wouldn’t necessarily call these “promos“. They are somewhere in between a book and a “zine” project. I generally make these when I’m interested in a smaller narrative that I want to explore for a shorter term. Additionally, these projects are functioning as “reportage” almost. In a sense, where I am publishing my own editorial projects. At some point, I’d rather break even with some of these projects and have complete control over the project than get payed a small fee by a publication and lose all authority over layout, edit, content, etc.

Tres De Mayo de 2015 , was a project I made about the Cinco De Mayo Celebration in the Pilsen/Little Village neighborhood of Chicago’s southwest side. There are subtle references throughout the project that I didn’t want to give away.

These are actually for sale on adamjasoncohen.bigcartel.com and each copy comes with a small 6×4″ digital C-Print.

The Daily Edit: Women’s Health: Sarah Rozen

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Creative Director: Jacqueline Azria
Photo Director: Sarah Rozen
Photographer: Steven Lippman 

I know Steven has a strong love for the ocean/surf/ did he pitch this fashion idea? or did you award him the project?
We wanted to shoot activewear bathing suits fashion in a very graphic and sporty way so approached Steven with the idea.  Steven loves the water so we knew this was the perfect assignment for him.
Where was this shot?
We debated with him on the merits of numerous locations that would provide us with most visuals but still stay within our budget.  After looking at all the locations we decided Hawaii would have what we needed.  We were trying to shoot early April but ran into conflicts with school vacations and found many places booked.
I’d imagine you needed a certain type of model, tell us about her.
The model  Jill is someone we had worked with before and knew that she surfed and would give 100% to whatever we asked her to do.  She actually came directly from kite surfing camp directly to our shoot.  Once we picked Hawaii our producer had to closely watch the weather and wind and ended up adapting our shoot days based on the wind patterns.
How long was the shoot?
It was a two day shoot.  Each physical activity our model had to do was hard and very time consuming.
We could do 3-4 shots in a day.

The Daily Promo: Anthony Georgis

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Anthony Georgis

Who printed it?
The printing was done on a 24×36” engineering copy machine that is typically used for printing B+W graphics and construction plans. It’s not meant to print photographs, so the image quality is kind of crappy, but that’s part of the magic. Assembly of the finished piece is a pretty labor intensive process and all done by hand. The printer only does one sided prints on standard bond paper, so all the impressions need to be spray mounted together, then folded, hand sewn and trimmed to size. It’s a bit of a nightmare, but the result is this cool handmade thing that shows my work in a way that feels really authentic.

Who designed it?
I did the layout and mock-ups. My goal was to make something that looked like it was made at a Kinko’s Copies at 3am using a glue stick. I figured it was best to just make the images as big as possible and let them speak for themselves. To avoid folding the ‘zine for shipping, it goes into a huge 18×24” stay flat mailer with a Xerox print mounted on the outside of it that’s hand addressed in true DIY fashion using White Out.

Who edited the images?
I did the first edit, then enlisted the help of my friends and studio mates to help me get everything finalized.

How many did you make?
This piece is targeted to an extremely select group of clients that I really want to work with. I’ve made 5 so far and have 5 more in the works. The response so far has been amazing. I’ve been taking one to portfolio showings and it’s the first thing that everyone wants to look at.

How many times a year do you send out promos?
I send postcards 3-4 times per year and try to send special promos like this once a year.

The inspiration for this promo piece were the indie skate and music ‘zines that I grew up with. I wanted to make something with a youthful, fun vibe and the ‘zine format had been kicking around in my head for a while. I discovered that I could make giant prints using a black and white Xerox machine and scale everything up to poster size, so I figured I’d give it a try. When I shared the mock up with one of my art director friends, he flipped out and suggested I send it as a promo.

The Daily Edit: Triathlete: Matt Harbicht

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Triathlete Magazine

Art Director: Lisa Williams
Photo Editor: John David Becker
Graphic Designer: Olive Baker
Senior Editor/Writer: Jené Shaw
Photographer: Matt Harbicht

With such a big space and not much available light, what was your plan?
I knew we had enough lighting to really light up the corner with the track logo staring out.  We were shooting that setup with the idea that it would make a great double page opener if they ran the horizontal or a great vertical Table of Contents (which is where it ran).  The bulk of the spread was shot with the broadcast lights on during the track trials.  That gave us just enough light to shoot higher ISO handheld.  We also found a corner of the grandstands that would be tucked away from the rest of our shots where we could set up a small portrait studio for the rider profiles.

Is B/W a departure for the magazine? It works great with training images since the equipment and the kits are riddled with logos. Did you plan on BW the entire time?
I can’t remember seeing a full B&W story in Triathlete before.  I know that magazine has run B&W shots in the past, but nothing like this.  I thought it would definitely be a departure for the magazine, but I also thought it would be great if they ran with it.  B&W wasn’t my plan going into it, but it was a solution to our first setup.  Our first shots took place in the motion capture room and would involve having the riders on the bike trainer in a fairly small space.  Taking the time to light those shots would’ve interfered with what they were doing and just gotten the day off to a rough start.  I converted some of the first few shots to B&W and showed our Senior Editor/Writer Jené Shaw who was on set with us that day and emailed our Art Director Lisa Williams (who was back in the office) samples throughout the day so we were all on the same page.
I know you were a runner and now you’re into cycling. Is that why you were awarded the job?
Not originally.  I got this particular job because I had shot for the magazine in the past and their staff photographer (John David Becker) got really sick the day before the shoot.  They contacted me to fill in, because they already had a relationship with me and I was located near where the job had to be shot.  So my interest in cycling didn’t land me this job specifically.
Are you finding that it’s important to actually understand the culture of a specific sport in order to land an assignment?
I don’t know if it’s necessary, but it can’t hurt your chances.  I was told that I got one of my first jobs with Competitor Group, Inc (Triathlete’s Publisher) because they wanted someone with an endurance sport background to be able to talk shop with the athletes.  In the years since that first job I’ve become much more interested in cycling and triathlon because of my involvement with the magazine.  I think my interest and understanding of cycling helped me make better images for sure!  If you’re excited about what you are shooting, it shows!  In my case it helped me land that initial job and I think it’s great way to keep up relationships with the publications, especially specific sports markets like triathlon or running.
What do you think your excitement for road riding brought to the table?
Just that, excitement.  I love cycling and although I haven’t started measuring my watts on rides like the pro riders we had in the feature, I’m just excited to mix two loves of mine ie: photography and cycling.  I had never been to a Velodrome track let alone shoot on one so I was excited from the get go to be shooting in such a great location.
How long did the shoot take?
We had about 30 minutes per rider while they were tracking the bikes on the trainer, and then about 90 minutes so per rider while they were on the track.  It was enough time to get the shots we needed of them riding, but a lot of the story was about the techs at ERO figuring out what they could do to make the riders faster and more efficient.  We had a small side setup tucked out of the way to shoot rider portraits, so we got each rider for a few minutes as they were leaving.  From load-in to tail-lights we shot from 8am to 3:30-4ish.  I’m incredibly happy with the amount and variety of content we got in under a 10-hour day!
How many laps did they do until you got the perfect shot?
They would run in 3-4 laps per adjustment they made to the bikes or their kit so I would get one shot per lap.  All in all, I think we got 10-15 “keepers” per rider on our lit up corner shot.  We lit it in such a way that I could shoot it wide in profile, or straight on with a longer lens.  In some instances, I even had enough time to switch positions during a lap.  That way the magazine had some variation on the shots.
Who had the highest numbers of watts for the lap?
Honestly, I was so focused on getting our shot list and avoiding getting run over (I was laying down on the track really close to the riders for some of these shots) that I never found out!  I do know that Eric Lagerstrom won the Escape from Alcatraz Tri a month or so after his ERO test and fitting!

The Daily Promo: Ed Sozinho

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Ed Sozinho

Who printed it?
I used Moo Printing for this promo piece.  There print quality and sizing were great.
Who designed it?
I have a background in design, so I was very comfortable with designing the piece.  The concept was to produce something that could be taken apart if someone wanted to pin an image to a board.  First and foremost the images had to be clear without distraction, all contact information is on the back of each print.  The clip board was the finishing touch to add protection and a second usable leave behind.
Who edited the piece?
I did the edit and then ran it by a couple of colleagues that I trust to see their reaction.  I found they all enjoyed the physical and tactile act of taking it apart and looking at the images.
How many did you make?
I ran less than 50 for this piece.  This was a very pointed piece to specific individuals.  It’s part of a rebranding and directional shift with my work.
How many times a year do you send out promos?
I send out email promos every month.  I believe it’s important to be front of mind with art directors and clients.  This is the first mailer I have sent out in a long time.  I feel like we are all getting burned out with everything insta- and a flash on the screen.  I found myself enjoying and studying images in print more than on the screen, that instinct told me it was time to try an old school approach.
Where did the clip board idea come from?
A good friend and I were having a bourbon as we do and talking about the piece.  He is a great builder and suggested we build something out of acrylic.  The very next day I went to Lost Luggage to get some supplies for my new printed portfolio, again old school, anyway I was waiting around and found these great pieces.  They are used for menus, I instantly recognized their double use as the promo piece and as a clip board.  It was important for me to make sure whatever I send out could be re-purposed.  The concept developed further with the mini photo of the clipboard with a note pad and asking to repurpose the board, I would hate to see those beautiful boards being wasted.
What’s the backstory to this idea?
I have been wanting to produce a personal series of images that I had running around in my head for a long time.  So I sat down with my sketch book and started getting them on paper.  I then used those sketches to start producing each shoot.  The concept of double lit images was integrated from the very beginning.  It was important for me to create texture and volume with the fill light and an authentic outdoor adventure with the since of place and gesture.  All the models were also wearing Patagonia clothes for a consistent thread of product placement.  These images are not what Patagonia would typically use, that wasn’t the point it was about creating a body of work that was personal in conception but commercial in application.  I created this lighting system using three Canon 600 speedlites with a big soft box mounted to a heavy steel arm.  It weights maybe 15 pounds and acts like a sail.  The first day of shooting with the fly fisherman we had 20 mph winds and my poor assistant almost went into the drink, I have since modified the design so it’s less like a sail.

 

The Daily Edit – Tony Luong: Popular Mechanics

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Popular Mechanics


Director of Photography: Allyson Torrisi
Associate Photo Editor Devon Baverman
Photographer: Tony Luong

How often to you work for Popular Mechanics? Was this your first assignment for them?
This was my first assignment for Popular Mechanics, I have done another since then which is great. The whole way the shoot came about was quite crazy when I think about it. Allyson Torrisi called me the day of the shoot pretty much, asked if I was available and asked if I would be interested in shooting it. I immediately said yes as I had been eager to shoot for them. I was actually shooting another assignment when she got in touch with me so I immediately wrapped up that first shoot, went home only to pack another bag, upload my memory cards and book a hotel room since there was a driving ban in effect starting that evening. All of this happened in a matter of a few hours, I can’t thank Allyson enough for putting that trust into me arranging for all of that happen and shooting the assignment as it was my first time being thrown into that kind of situation.

Are driving bans common in Boston around that time of year? And is that a regular line item on your checklist: Can I drive?
Driving bans, absolutely. Especially when there are anticipated snow storms like the ones we had this year. Boston has such small and windy roads that it makes it almost impossible to plow and have things run smoothly at the same time. It really becomes a mess. Luckily though, the city makes good calls during those times as the whole place is running back to normal in a day or so after just getting 3 feet of snow. As for driving, no, not at all. I usually carry 3 or 4 bags when I go on a shoot so a car is good to have and we do have public transportation but fortunately, I only needed one bag for this assignment.

What are your best tips for shooting in freezing conditions?
Hand warmers for your batteries and snow pants paired with good boots. I was constantly in knee deep snow trying to keep up with Jim since he’s a pretty active weatherman. He would randomly turn around while he was on set and go jump in the snow, snow show and make snow angels, I would then follow – I couldn’t have done that if I wasn’t wearing snow pants and boots. I also brought multiples of gloves to swap out, when one pair got wet, I would let them dry in the news truck and rotate them throughout the day.

Was it hard to light Jim for the portrait and did you use any of their lighting  ( when he was broadcasting the news… )
At times it was but you make do with what you have and think on your feet about how to apply the supplied light to the picture you’re trying to make. This type of shoot lent itself to a faster paced type of shooting so I had a flash on a bracket the whole but I also utilized the lights the camera crews use which were great and a lot of fun as well. Since the shoot started at 3am, I got to see the light temperature change dramatically and was able to bounce off of that throughout the day. Other times, I would ask Jim to move in a different spot or shift him to the other side and so on and so forth. For the most part, he was in front of the TV-camera being lit by their lights or in the truck tweeting his heart out.

How did you protect your gear and try and keep your fingers warm? I’d imagine adjusting cameras is hard if you have gloves on.
The night prior after checking into the hotel, I went down to a store and bought a bunch of plastic bags and rubber bands. I kept those items in my jacket along with some gaffers tape and would cut holes in the bags and tape/use the rubber bands to make seals around specific parts of the camera. I don’t have one of those fancy camera covers so it was super lo-fi but it worked. The thing I realized also was that after a certain temperature, the snow would just bounce off the front of my lens, once it started warming up – that was when things started to get wet and cause problems. Fortunately, since the news casting truck was only a few yards from where Jim was reporting from, I was able to retreat and dry off, warm up, have a snack and put a new bag on the camera if I needed to. I also used those gloves with the detachable fingers, but again, I only had a few hours to really prepare so I took out all the winter gear I had and brought it with me.

Why was the call time 3 am? and was it clear you’d be shooting for 12 hrs?
Jim and his crew were traveling to boston the day that I got the call about the assignment and since the storm was scheduled to begin that following morning at around 2am, it was only obvious enough to begin then. When Allyson briefed me on the shoot, we both knew it would be best to begin shooting as early as possible to catch Jim in his prime. Since Jim is also notorious for jumping into the thick of when weather gets intense, he wanted to be the first one out reporting on the snow before anybody. That said, I knew I would be shooting for a good deal of time but I also wanted to spend that time with Jim since I had seen so many videos of him on Youtube. All that said, we ended up walking back to his hotel together, had a good lunch together and said our goodbyes as he went back up to his room to sleep and rest back up before his next segment. It was a fun way to see both sides of Jim and make pictures of it all at the same time.

 

Some additional images form the shoot

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The Daily Promo: Lori Eanes

- - Promos

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Lori Eanes

Who printed it?
Overnight Prints

Who designed it?
I did.

Who edited the images?
I did with the help of a photographer friend, Pamela Gentile.

How many did you make?
I made 50 5.5 x 8.5 inch booklets for $95.69. The cover is card stock. The inside paper is a little thin–you can see through the pages a little. Next time I’ll order the higher quality paper.

How many times a year do you send out promos?
Several times a year I send out 5 x 7 inch postcards, this is the first booklet I’ve ever made.

How did this series start?
This series started with my (somewhat disgusting) interest in flattened food containers that I would find on the street. I first photographed them as objects either on a light table or on black.  I realized I liked the x-ray quality of the light table best. Then I started trying to limit the series to fast food, food containers and plastic forks, knives and spoons.  I was really limited by what I could shoot because everything had to be translucent. I tried a lot of ideas but gradually realized the best ones weren’t too literal.

The Daily Edit – Ben Miller: Edward Magazine

- - The Daily Edit

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EdwardMag.com

Photographer:Ben Miller

What niche do you see this publication fulfilling?
I had been toying with the idea of this magazine for a couple of years, and when my daughter was born last year, I knew I finally had to do something. Its really concerning that we put unrealistic beauty expectations on our young women through ridiculous levels of retouching and body warping, so I wanted to start a fashion magazine to help change that. EDWARD features all natural, un-retouched models in raw, beautiful editorials. It highlights amazing styles and gives our daughters something to aspire to that is actually obtainable.

All black and white and no retouching? tell us about that– what type of photographic statement are you trying to make.
The aesthetic is all centered around creating a publication that is true and aspirational. Simplicity. Something that blurs the line between art and commerce. Retouching has gotten so out of control that models in fashion magazines barely resemble people. Just google “liquify in photoshop”, and you can see what I mean. This publication will be the opposite of mainstream fashion magazines in every way. We plan to have advertising, but only as native, sponsored stories, so as not to detract from the overall feel of the piece.

How much harder are the photos to take now that you’re not retouching?
Its really not difficult to make a beautiful woman in stylish clothes look amazing on film. Choice of lighting, posing, hair, makeup, and clothing make all the difference. We didn’t have these photoshop tools decades ago, and our idea of realistic body image was much more realistic and healthy. Our contributors see it as a challenge, and I agree. If you cannot make beautiful art without creating it all in the computer, you are not a true artist in my mind.

So you retouching NONE of the images, correct?  
Correct. Only basic light adjustments like brightness and contrast are allowed. No skin retouching, cloning, or body warping of any kind are allowed.

How does the casting go down?
Casting is a collaborative process with our artists. The photographers produce the shoots, and we simply ask for sign-off on the major players before the shoot date arrives. We hate to intervene in the creative process, so we rarely change anything, unless it is something that really needs remedying.

Are you shooting the bulk of the images?
I plan to shoot one editorial per issue. We have dozens of photographers from around the world, along with amazing stylists, models, and other crew who are all contributing their time to this project.

What’s the business idea behind this and are you seeking any funding?
We are actively seeking investors and subscribers. We know this project can be very viable as an art book style quarterly or monthly publication. In addition to the publication itself, we are working on other products such as art prints that can help better compensate the artists we work with in the longer term.


What was the catalyst for this idea? I know you recently had a daughter, are you trying to send out the right messages to men and women?

Yes I have been disgusted with the state of retouching in commercial photography for a while now. Having a daughter last year finally made me want to do something about it. We need to be creating a world where people are happy about themselves and their bodies. And while I do think it is important to eat well, exercise, pay attention to ones appearance, it is impossible for people to live up to models that have been warped and manipulated into something unobtainable. Women in American culture unfortunately have more unrealistic expectations to live up to, so that is why EDWARD focuses on them.

Do you think as society ( most female beauty images )  we are prone to not believe photography any longer? Are you trying to give us hope?
I think that most intelligent people are well aware that mainstream imagery in magazines is far from truthful. But even if people know that intellectually, it is easy to forget when looking at an individual image. I am not trying to give anyone hope, I am simply trying to steer the industry in a more truthful direction.

How much longer does it take to finding the correct angles to mitigate the need for retouching?
A good photographer should be finding those angles already, so for me it was not much of an adaptation. I think the lighting, and paying close attention to hair and makeup is the most important part. Softer, moodier lighting tends to be come conducive to creating the right mood for EDWARD.

Why did you call it Edward?
EDWARD is my middle name. For me, it brings up the image of a proper British gentleman, reliant on logic and truth. He appreciates the finer things in life, and values honesty and character above all else. He loves women, and more importantly, respects them.

What’s the best way for people to reach out to you?
They should email us at hello@edwardmag.com

The Daily Promo: Joshua Scott

- - The Daily Promo

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Honey

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Joshua Scott


Who printed it?

The card was from Modern Postcard, www.modernpostcard.com and the screen wipes are from www.4allpromos.com.

Who designed it?

Yee Wong at 52kilo, www.52kilo.com

Who edited the images? Did it come with images?

I edited the images myself along with input from my agents Katie and Kristy at K2 Creative Management, www.k2creativemanagement.com

The screen wipes did not come with images. I shot all images.

How many did you make?

About 250. I think that was the minimum order allowed for the screen wipes.

How many times a year do you send out promos?

I try to send out physical promos about 4 times a year and intersperse an email promo between those mailings. So together I’m sending out about 8 pros a year. Depending on my available budget.

How did this idea develop?

This promo came out of my agent K2 Creative Management asking me to do a more involved unique physical promo piece. Before this I only ever send out postcards just because they are the most budget friendly. Sometimes the postage actually costs more than the printed card! Reluctantly I came up with a few ideas based on the end user receiving a product that they could actually use. That was important to me that the piece actually be a little useful.  Once we decided on what the physical item was going to be, the screen wipes, we came up with a few tag lines and I started to brainstorm image ideas that could relate to the product. This was the 1st time I actually shot images specifically for promo use. Before this I just used images I had shot for other jobs as just kind of an update of my work. I think actually shooting dedicated images for a promo concept really helped make this piece stand out and be a cohesive idea. Its good to have someone, my agent in this case,  pushing you to step it up.

Editor’s Note:
If you’d like to send promos for review I’d love to check them out:
21135 Colina Rd
Topagna CA
90290

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