Posts by: Heidi Volpe

The Daily Edit – Friday
2.24.12

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National Geographic


Creative Director:
Bill Marr
Deputy Creative Director: Kaitlin M. Yarnall
Design Director: David C. Whitmore
Art Director: Juan Velasco

 

Photography
Executive Editor: Kurt Mutchler
Deputy Director: Ken Geiger
Senior Editor: Susan Welchman
Senior Photo Editors: Alice Gabriner, Kim Hubbard, Todd James, Elizabeth Krist, Sarah Leen, Sadie Quarrier

Photographer: Robert Clark

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The Daily Edit – Wednesday
2.22.12

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Inc

Creative Director: Blake Taylor
Photography Director: Travis Ruse
Deputy Art Directors: Sarah Garcea, Jason Mischka
Deputy Photo Editor: Heidi Hoffman 

Photographer: Robert X. Fogerty

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted
 

Heidi: You said this idea came about at a party, what was the context? Was this after Hurricane Katrina?
Robert: A few friends and I started a hurricane preparedness non-profit called evacuteer.org and our “most epic isn’t this awesome idea” was to throw a fundraiser to celebrate the end of hurricane season. That event–the Bye Bye Hurricane season party–is where we first did the “Love notes to New Orleans” portraits.

How did you come up with the name and did you ever imagine this turning into a movement?
New Orleans is an incredibly joyful place, where people know what it’s like to really really love something and then nearly have it taken away. I’ve been a bystander in this as I moved to New Orleans post-Hurricane to do an AmeriCorps year. I’ve never experienced a place where they treat their hometown like it’s a family member. So the first iteration of this was called Dear New Orleans, but I realized that the every one has a story and that we could scale into Dear World, with this city–our city–serving as the genesis and foundation.

How many portraits have you done with this theme and how has it turned into a business?
Thousands. I began shooting for dollars in a bucket. Literally, like pass the hat, dollars-in-a-bucket. And then, it’s just been a series of fortunate events, working with recognizable people and big brands as well as causes that matter. So the business side is high social value. I pitch brands and conferences on photographing their members and they pay me for that, but not so much as a photographer but to tell the stories of so many of the amazing people I’ve met along the way. What’s crazy about that is when those people sit, then they’re a part of the collection and some of those people I meet end up being a part of the larger story in a bigger way. Just last week, I was at a company, and one of the employees brought her 89 year old grandfather–a WWII Veteran, Purple Heart winner and former prisoner of war.

Tell me about one of the most remarkable messages / portraits.
Without a doubt, “Cancer Free.” His name is Ralph Serpas and the woman opening his shirt and exposing his throat is his wife, Rebecca. Ralph’s physician had just notified him that after three years, that his esophageal cancer was in remission. This was back when I was shooting for tips and was at a fundraiser for an event. It wasn’t a Cancer awareness event. Towards the end of the night, they tapped me on the shoulder and asked me if they could do something more personal. Ralph is crying in the portrait and it was one of the moments that I knew that I was incredibly lucky to be a part of something. And I’m glad I didn’t mess it up.

What do you think people “see” first the words or the portrait or is it simultaneous?
Good question. What did you think first?

The Daily Edit – Tuesday
2.21.12

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Men’s Journal

Creative Director: Benjamen Purvis
Director of Photography: Catriona Ni Aolain
Art Director: Damian Wilkinson
Photo Editor: Jennifer Santana

Photographer: Ture Lilligraven

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The Daily Edit – Thursday
2.16.12

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Real Simple

Creative Director: Janet Froelich
Design Director: Cybele Grandjean
Art Director: Abbey Kuster-Prokell
Photo Director: Casey Tierney
Photo Editor: Lauren Reichbach Esptein

Photographer: Mary Rozzi

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The Daily Edit – Wednesday
2.15.12

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Food Network

Design Director: Deirdre Koribanick
Art Director: Ian Doherty
Photo Director: Alice Albert
Photo Editor: Kathleen E. Bednarek

Photographer: Yunhee Kim

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The Daily Edit – Tuesday
2.14.12

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Glamour

Design Director: Geraldine Hessler
Photo Director: Suzanne Donaldson
Art Director: Sarah Vinas
Senior Photo Editor: Martha Marisanty

Photographer: Jason Nocito

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The Daily Edit – Monday
2.13.12

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The Red Bulletin


Creative Photo Director:
Susie Forman
Chief Photo Editor: Fritz Schuster
Deputy Photo Editors: Valerie Rosenberg, Catherine Shaw, Rudolf Ubelhor
Creative Director: Erik Turek
Art Director: Kasimir Reimann 

Photographer:Philip Horak

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The Daily Edit – Friday
2.10.12

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Shape

Creative Director: Ben Margherita
Design Director: Sarasvati Munoz
Photo Director: Toni Paciello
Associate Photo Editor: Joanna Muenz

Photographer: Tom Corbett

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The Daily Edit – Thursday
2.9.12

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More

Creative Director: Debra Bishop
Photo Director: Natasha Lunn
Associate Art Director: Susanne Bamberger
Associate Photo Editor: Jennifer Dessinger

Photographer: Dan Winters

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The Daily Edit – Tuesday
2.7.12

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The New York Times Magazine

Design Director: Arem Duplessis
Director of Photography: Kathy Ryan
Art Director: Gail Bichler
Deputy Art Director: Caleb Bennett

Photographer: Joel van Houdt

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The Daily Edit – Monday
2.6.12

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Bike Magazine

Photo Editor: David Reddick
Assistant Photo Editor: Anthony Smith
Art Director: Shaun  N. Bernadou

Photographer: Dan Barham

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The Daily Edit – Friday
2.3.12

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Backpacker

Creative Director: Matthew Bates
Senior Associate Photo Editor: Genny Fullerton
Art Director: Jacqueline McCaffery

Photographer: Jason Florio

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Heidi: What is the biggest challenge in doing an assignment like this?
Jason: For me the biggest challenge was the often constant sprinting and shooting, at times for 8 hours, covering up to 15 miles a day for 4 days! Running ahead of the hikers to shoot them coming towards me in the landscape. Running to catch up with them as I shot something along the way or waiting for them to become small figures in the environment .Shoot, then sprint to re-join them. Shoot, sprint, shoot.

Did you pitch this story or did they assign this to you?
Backpacker magazine approached me. The photo editor Julia Vandenoever had seen my work and also heard I had made a 930km expedition by foot in The Gambia, West Africa in 2009 with my wife, so thought I’d be a good candidate for such an assignment

Who are your backpacking companions? Was the writer one of them?
Yes, I was with the writer, Dennis Lewon who is Executive Editor at Backpacker. Dennis was a pleasure to walk/run and work with. I really enjoy working along-side writers on assignments as you have another set of eyes and ears and especially in Dennis’s case where he was the main character in many of the images, which we crafted together in number of instances. The other two folks were David Landis and his wife Anna, two intrepid young Americans, who co-founded the ‘Jesus Trail’ route. They both brought extensive knowledge of the area with them, so I not only got to enjoy the scenery and culture, but gained great insight into the area during biblical as well as modern times from them.

The Daily Edit – Thursday
2.2.12

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National Geographic

Creative Director: Bill Marr
Deputy Creative Director: Kaitlin M. Yarnall
Design Director: David C. Whitmore
Art Director: Juan Velasco 
Deputy Photography Director: Ken Geiger

Photographer: Martin Schoeller

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The Daily Edit – Wednesday
2.1.12

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Golf Digest

Creative Director: Ken DeLago
Director of Photography: Christian Iooss
Art Director: Tim Oliver
Associate Art Directors: Riva Schwartz, Doug Wheeler 

Photographer: Peter Schafrick

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

Heidi: Was that commissioned or existing work?
Peter: The piece I shot for Golf Digest was commissioned. They saw some of my personal work I shot using paint and sporting equipment (baseball, football, hockey, and tennis) plus some of the work I’ve done with paint and flowers – and they wanted something similar. Their requirements were that the equipment not be brand recognizable in order to create an powerful image to open for their ‘hot’ new golf gear.

Is that a special type of paint for your splash and crash series?
Nope. Just regular paint.

Did you specifically set out to develop that body of work? How did that idea come about?
My first experiments were with a rose, that I dunked in paint and twirled around. I then expanded the technique by doing a sports theme.

Are you using fans or is it all real motion?
It’s all real motion. I hold the club, dunk it, then swing it.

“The Making Of” shows us this must be a difficult edit because there are so many options, how do you edit this work?
Edits can be a chore! It’s so subjective, and so many of the shots each have their own uniqueness and beauty. Some are very splashy and look really amazing, some more elegant and they too look great. It’s quite easy to come up with at least 6 very unique and interesting final from a shoot like this. Usually the client has a very specific look in mind, so many times the out-takes make it into my book.

Who cleans up the mess?
The mess is somewhat controlled with a lot of plastic. We just wrap it all up and let the paint dry (I also place a piece of optical glass in front of my camera/lens). Then we dispose of the dried paint properly. I’ve got my lucky boots I wear on set, and I have a selection of paint clothes I wear as well. Although the paint can linger on my hands for a few days.

The Daily Edit – Tuesday
1.31.12

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Outdoor Life

Design Director: Sean Johnston
Associate Art Directors: Kim Eddy, Shayna Marchese, James A. Walsh
Photography Director: John Toolan
Photo Editor: Justin Appenzeller

Photographer: Jens Mortensen

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted
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