Category "The Daily Edit"

The Daily Edit – One Shot Editions: Brian Finke

- - The Daily Edit

01-one-shot-print

03-one-shot-brian-finke

06-one-shot-24-shots

01-one-shot-print-delivery

02-one-shot-negatives-destroyed

One Shot

Co-Founders: Zack McDonald & Daan van Dam
Photographer:
Brain Finke


Why did you choose to collaborate with Brian?
We’re huge fans of Brian’s work. The man has an unbelievable knack for creating visual worlds that you can’t help but step into. Plus, he’s one of the nicest, coolest guys we know.

Where did this idea stem from?
We have a strong love for photography and have been watching closely as the digital revolution has really transformed every part of it.

It’s turned everyone into a photographer. For better and for worse. It’s given artists the freedom to go to new places, but it’s also taken some things away. The element of surprise, the rush of a happy accident or the joy of the unknown. We created One Shot to help people reconnect with the mysterious and fragile beauty of analog photography.

Why film?
If you take a stroll through the Internet at any given time, you’ll come across hundreds, if not thousands, of digital photos. And they’re multiplying by the second. We really liked the idea of putting something truly ephemeral and impossibly rare into the world. At the same time, we wanted to make the prints as accessible as possible so almost anyone can take a shot if they want. They’ve just got to be quick.

I know Brian can shoot whatever he wants, are you given any idea what he maybe up to?
We just received the prints and all we can say is they’re beauties. It’s almost a shame to destroy the negatives… But those are the rules.

If I wanted to buy one how do I sign up?
The 24 1/1 prints are on sale at oneshoteditions.com. People can select any available print from our store but once a shot has been purchased it will be gone forever. So you better be fast if you want to pick your lucky number. There’s also a limited edition zine available which includes an overview of the series, a Q&A with Brian and an essay about the origins of One Shot.

The Daily Edit – Contact High Project

- - The Daily Edit

screen-shot-2016-11-28-at-9-19-33-pm

 

screen-shot-2016-11-28-at-9-20-48-pm

PHOTO BY JANETTE BECKMAN

screen-shot-2016-11-28-at-9-19-52-pm

PHOTO BY BARRON CLAIRBORNE

screen-shot-2016-11-28-at-9-20-01-pm

PHOTO BY JONATHAN MANNION

 

screen-shot-2016-11-28-at-9-20-11-pm

screen-shot-2016-11-28-at-9-20-20-pm screen-shot-2016-11-28-at-9-20-32-pm
PHOTO BY CHI MODU

 

Contact High Project

Editor: Vikki Tobak

Heidi: How did this idea come about?
Vikki: Hip hop is by now widely accepted as influencing just about every facet of life — ideas, fashion, visual language in general. And now it’s far enough along in its history that archives of rare and unpublished imagery tell the big story. Stories that are deeply woven into the fabric of a global mainstream. I worked as a music culture journalist for many years and before that was in the hip hop industry. When I started working as a producer for CNN and went deeper into photojournalism, the dots started to connect. Behind every photo there’s a story of how it happened and what was happening in hip hop culture during that time. By showing the contact sheet and interviewing the photographer, you go deeper into the story. They were rebels, artists who understood the power of words and the power of imagery. And so did the photographers who captured these images. For example, Janette Beckman, a photographer who was our first story, talks about ‘rebel cultures’ and how photographs encapsulate these significant cultural movements.. She shot the punk scene in England before moving to New York to photograph hip hop. I approached Mass Appeal Magazine with the idea of running the series and we have a great relationship. Bucky Turco is my editor there and he sometimes gives me a hard time for selecting certain contact sheets– like the time I decided to feature a black and white contact sheet from Jamel Shabazz rather than a color one he is so well known for. But it’s a great process and I really like working with the magazine because they are dedicated to urban culture.

In what ways did the “Magnum Contact Sheet” book inspire you?
The goal of the series from the start was to compile stories for a book based partially on the Magnum Contact Sheet book. I became really interested in the Magnum Photographers when I started working in mainstream news outlets like CNN and CBS Magnum Contact Sheet. I was really blown away by seeing all the shots on a contact sheet and knowing what was happening in all the frames before seeing the selected image. It really takes you in! And then to hear the photographers tell the deeper story was just so inspiring. I thought about hip hop imagery and how all these years later we have this archive, but, we don’t really have the stories behind what happened that day or what was happening for the culture at that time. This book was an inspiration to do something like that for hip hop.

My hope in doing this book and telling these stories and going a couple layers deeper was to paint a more nuanced picture of this culture that is now so mainstream. These photographers have played critical roles in bringing hip hop imagery onto the global stage. A rare glimpse into their creative process and understanding the behind-the-scenes of the imagery that shaped hip hop is part of a history. These photographers give me access to the original and unedited contact sheets which means alot to me in terms of trust and telling their stories in a deep way. Photographers typically don’t show their contact sheets. It’s very personal and I honor that.
Allowing us to look directly through the photographer’s lens and observe all of the other shots is a an honor.

What about contact sheets in general inspire you?
Contact sheets are like being let in on a secret, going backstage, going deeper into the story. What did the artist and photographer envision from the outset? What was happening in that artists life at the time? What decisions were being made about the imagery that would shape hip hop? People are curious about specific cameras, editing processes, editorial decisions etc.. For example, Chi Modu, who was the photo editor at The Source magazine for many years was in the room with editors talking about who they’re gonna put on the cover, what image to use, and things that contributed to telling this bigger story. It’s also fascinating to and nerd out on cameras, film and processes used for these shoots. 36 frames on a roll and you start to make some serious decisions about what to shoot and how. Hip hop has always been about self-definition especially when it comes to visual culture and style.

How did you try and make your project, different if at all?
I wanted to keep this projected specifically focused on hip hop visual culture. I wanted to talk about certain images, like the Barron Claiborne Biggie King of New York crown image because it’s such a part of the fabric of everything– you see it on murals, t-shirts on television in Luke Cage. People around the word recognize that image. Hip hop has now had enough of a story arc to be able to look back on certain photos and certain photographers and realize that this vast archive of imagery tells an important story.

Are you photo editing this, and how do you decide what is “iconic” being a writer, what is your narrative arc in both words and images?
Deciding which images and photographers are featured is part gut instinct and part earned knowledge. At 19, I moved from Detroit to New York and got a job working for a record label called Payday Records/Empire Management. At the time they represented Gangstarr,Jeru the Damaja, Masta Ace, Mos Def… we even had Jay Z for a minute. I worked as the director of publicity and marketing there and was the go between all those groups and the media which included accompanying the artists on photo shoots and making decisions on images. I toured with them, I traveled the world with them, and learned what it was like to see these images be put out into the world. So now deciding which narratives to highlight and which images are “iconic” is just a natural as looking back on the past few decades and knowing. That Joe Conzo anonymous Bboy photo is just as important as the Jonathan Mannion Jay-Z album cover shot.

Aside from the book, what are your goals for this project?
We also plan to show the series as an gallery/museum exhibition and have it travel the world to the various communities hip hop has influenced

Has it been difficult to find contributors?
Photographers love this series because they understand that their photos are part of a larger conversation about identity, black culture, race and all that hip hop has manifested. They love telling their stories and understand that it’s important to be part of the broader cultural conversation about hip hop and its influence on just about everything. We live in the digital age that is defined by image overload and the careful curation of artist persona. Showing these contact sheets, showing the mistakes, showing the experimentation and range of emotions is a much truer picture of the cultural conversation.

Who is next on your wish list for a story?
I’m interested in further exploring political or conscious hip hop and the way those artists used imagery. Glen E. Friedman’s cover image for Public Enemy’s ‘It Takes A Nation To Hold Us Back” is definitely high up on the wish list; So is Boogie Down Productions ‘By All Means Necessary’ cover which recreated the Malcolm X photo. Then there are the photographers that are definitely part of the conversation: Ernie Paniccioli, Danny Hastings, who shot the famous Wu-Tang cover, Nabil Elderkin who shot Kanye West’s first set of publicity photos, Cam Kirk, Brian Cross, Ricky Powell, Estevan Oriol etc… I also want to expand coverage of hip hop from regions other than New York — 2Live Crew, Too Short, N.W.A, Geto Boys. Oh and the Ice-T ‘Power’ cover with his then girlfriend Darlene.

The Daily Edit – Andy Goodwin: Exonerated

- - The Daily Edit

Andy Goodwin

Heidi: Why did “give back” and offer up pro bono work? Where did that idea stem from?
Andy: My parents mostly. My mom started a foundation that helped raise over a million dollars for a variety of causes, including children’s charities, the homeless and AIDS research. My dad was a blue collared electrician and social activist, who among other things marched with MLK in Selma, AL. On a personal note, I’ve recently begun attending church, which has been a shocker to anyone that knows me. It’s truly helped me to put things in perspective and shown me what’s important.

How did you decide who would get your time? 
I posted a note on Facebook saying that I had some free time in my schedule and wanted to help out with a good pro bono cause. I got a lot of great responses but Northwestern’s Center On Wrongful Convictions really resonated with me. Over the past 18 years, they’ve helped free dozens of innocent people serving someone else’s time. After reading some of the Exonorees stories, I couldn’t believe what they had gone through and knew that I wanted to help.

Was that your idea to add the chalkboard in the background?
Yeah, me and my small crew brought the backgrounds to all of the Exoneree’s homes and set them up in their kitchens or living rooms. Besides shooting environmental portraits, I also wanted something consistent for everyone. The original idea was to have a hash mark for every day that they had spent in prison but sadly there just wasn’t enough room on the boards to allow for that.

_49a4662

_49a5705

How did the project shape you creatively?
Winning Best In Show at The Midwest Independent Film Festival was pretty amazing- and having a couple of the Exonerees with me that night was an incredible experience. It’s made me realize that I’ve been given a gift that I can use to give back with, like the new projects I’m shooting for Make A Wish and Chicago’s Homeless. Shooting for charities allows me to stretch myself creatively and has also introduced me to some incredible people.

We all agree photography is a powerful tool. That said, hearing people share their story with their own voice has incredible gravity. Tell us about the specific moment when you knew video was a must?
I’ve sort of come to video reluctantly but am warming up to it and gradually feeling more comfortable with it. Going into this I had so many questions that I wanted to ask and realized that only shooting portraits just wasn’t going to cut it.

Since this was your first video effort, what would you do differently next time?
Fortunately video is a far more collaborative effort than still photography, so having Patrick Duffy at Cutters Editing on board really saved my ass. Next time, I’ll have an actual video crew in addition to my stellar “still” team.

Do you have additional plans for this work and will it become an ongoing series.
Everyone involved, including the Exonerees wants to keep this project going, so we’re in the early stages of sussing that out. I’m also really excited to follow-up with video on the Charreada series that I recently photographed. It’s so steeped in tradition and pageantry, you feel like you are in another place and time.

The Daily Edit: Chris Crisman – Women’s Work

- - The Daily Edit

Chris Crisman Presents: Women’s Work

cc2016012_0203_vf

“Heather Marold Thomason is the Head Butcher at Kensington Quarters in Philadelphia. In just a few years, she shifted her career in web design and is now a force in the sustainable food movement.”

cc2016016_brewer_v1bf

Christina Burris, Brewer and Operations Manager, St. Benjamin’s Brewing, Philadelphia, PA.

cc2016017_086_vf

“Alison Goldblum is a talented and inspiring property developer in Philadelphia, PA.
She also happens to be a great friend to our family and a mentor to my wife”

cc2016022_210_vff

cc2016022_pig_farmer_vff

Nancy Poli, Pig Farmer, Stryker Farms, Saylorsburg, PA.

image1

Leeann Johnson, Haul Truck Driver, Round Mountain Gold Mine

cc2016036 - Mindy Gabriel, firefighter, Upper Arlington, Ohio, for Women's Work

  Mindy Gabriel, firefighter, Upper Arlington, Ohio, for Women’s Work

cc2016040_057_vf

“Mira Nakashima, Designer and Woodworker, George Nakashima Woodworking, New Hope, PA.
Mira has been carrying on the traditions of woodworking set forth by her father, George Nakashima.”

cc2016046_005_vf

Sadie Samuels, Lobster Fisher, Rockport, ME.

cc2016046_058_vf-2

Sadie Samuels, Lobster Fisher, Rockport, ME.

cc2016050_053_vf

Beth Beverly, Taxidermist, Philadelphia, PA.
See more of her work at Diamond Tooth Taxidermy.

cc2016052_085_vf

Judy Bowman, Process Operator, Round Mountain Gold Mine, Round Mountain, NV.

cc2016052_206_vf

“Jordan Ainsworth, Mill Operator, Round Mountain Gold Mine, Round Mountain, NV.
She is a fourth generation miner and third generation of mining females in her family.”

cc2016052_249_vf

Carol Warn, Leach Pad Operator, Marigold Mining Company, Valmy, NV.

cc2016052_mine_pano_vf

“Kris Alvarez, Senior Geologist at the Round Mountain Gold Mine in Nevada,
mapping mine sidewalls in preparation for the next phase of development on the 55 mile site.”

What compelled you to create this body of work?
Back in February of this year I was having lunch in New York with some art producers from Droga 5. One of those art producers was Emily Heller. Emily mentioned that she had a friend who had recently relocated from Brooklyn to our home base of Philadelphia. This friend, Heather Marold Thomason, had recently switched careers and is now a butcher. My immediate reaction was how I’ve never met a female butcher. I asked Emily for an introduction and I was photographing Heather at her butcher shop just a few weeks later. Once we completed the shoot it immediately became something I wanted to further develop.

I am a father of two – a 4 year old boy and a 2 year old girl. I was raised to believe that I could do whatever I wanted to when I grew up. I want pass down a similar message to my children and without caveats. I want to raise my children knowing that their dreams have no limits and that they have parents supporting them to dive into anything they feel passionate about.

How did you find the women? 
This original shoot with Heather prompted a number of conversations and a snowball effect of similar shoots. We would do one shoot and then the subject would suggest another person.  Every opportunity being presented felt like one that I could not pass up. I reached out to a handful of my favorite industry contacts and the response was incredible. There are so many people that we would still love to include in the project, but we’ll get there.  I believe that Women’s Work is the type of project where the purpose does not have an expiration date. 

What were the determining factors?
Honestly, there was no exclusion to whom we considered. The strongest factors that led us to the people you see now were availability and excitement for participation. At the onset we did create a big list of professional positions that were not typically held by women, but after a few shoots and making contact with some friends, the participants just started flowing in on their own.

This is a fairly big roll out, did you have a planned strategy or was it more organic?
In mid-October we decided that the body of work was at a point that it was worth putting it out there. In light of last week’s election, I hope that this project can provide a hopeful message as we all move forward.

In a sentence, what’s your message?
Gender should not determine professional opportunities.

Post Production, Stills, Video: PXL House
DP, Must Be Nice: Ezra Migel
Producer, Must Be Nice: Robert Luessen

 

Here is some BTS of Chris and the making of these stunning portraits for Lynda.com

 

 

The Daily Edit – The Red Bulletin: Justin Bastien

- - The Daily Edit

screen-shot-2016-11-06-at-1-01-48-pm

screen-shot-2016-11-06-at-1-01-59-pm

screen-shot-2016-11-06-at-1-02-13-pm

screen-shot-2016-11-06-at-1-06-44-pm screen-shot-2016-11-06-at-1-06-53-pm

screen-shot-2016-11-06-at-1-07-02-pm

screen-shot-2016-11-06-at-1-09-04-pm

screen-shot-2016-11-06-at-1-09-13-pm

The Red Bulletin

 

Creative Director: Erik Turek
Art Directors: Kasimir Reimann, Miles English
Photo Director: Fritz Schuster
Writer: Andreas Rottenschlager
Photo Editor: Rudi Ubelhor
Photographer: Justin Bastien

Heidi: How did this project stretch you as a photographer?
Justin: This project literally stretched me in half at times with the final shoot day being very intense. We had big waves coming from two directions, freezing cold water, 130 mph rotor wash from the helis ripping into the exposed skin on my face. I spent in total about 10 hours in my wetsuit freezing my ass off, about 3 hours were spent swimming big waves and bad current in a remote location. This whole article could easily be focused on that one day in the surf ops shoot and what it actually took to get the shot. Did I mention, I love this stuff!

Did you lose any of your motor skills due to the cold?
Of course, being in in cold water for that long everything stops working. You quickly see why people can’t last very long in the cold, open ocean. Even with our super warm Patagonia wetsuits, booties, gloves, mask and snorkel on, everything just become more difficult and exhausting. It’s especially hard to operate a water housing wearing thick gloves and numb hands. It’s funny,  your lips are the most exposed and by the time you come from the water and hit cold wind, you can’t talk at all (which my girlfriend would think is good thing at times). 

You live in balmy So Cal, did you do any cold weather training?
No, I didn’t do any cold-weather training for this job. I have surfed a lot Alaska and Southern Chile over the years for fun and really enjoy these kinds of conditions and the solitude it brings. I enjoy the remote and wild places other people generally don’t go; the cold is part of that. Also, climbing in the mountains teaches you how to suffer in the cold and to be honest I enjoy the challenge and kind of like suffering. It teaches you a lot.

Did you pitch this to The Red Bulletin? and how often do you work with them?
Yes, I pitched this concept to The Red Bulletin. My cousin is in the Coast Guard stationed in Kodiak, Alaska and I visit his family every year. We surf, camp, explore the island. My cousin gave me a tour of the Coast Guard base; after seeing the place, meeting his great crew and knowing how beautiful Kodiak island was, I knew this story had to be told. It was a passion project from the very beginning. The most difficult part was getting access, which took almost a year, and then getting the Coast Guard comfortable enough to let me get  into some wild outdoor conditions with them. They trusted me, were so cool to collaborate with and so much fun. I felt right at home with the crew. Of course they made sure to torture me a bit in the “sweat cage” during our helicopter evacuation training in the pool. The “sweat cage” simulates a helicopter that goes down in the water and flips upside down. You’re trapped in the helicopter (sweat cage) as it is sinking, and you have to maintain your reference point, release your seat belt, open the door and escape to the surface while you are upside down and can’t see. It’s a great thing to practice because in a real world situation it’s going to be a lot more scary and violent.

How many days were you out there and which was your favorite and why?
I pushed for the magazine to give me an extended period of time knowing weather and access we’re going to be key to the success. I wanted to get into  big surf with bad weather and terrible conditions showcasing what kind of environment these heroic lifesavers work in. The most difficult part was the long wait because we had beautiful, sunny weather the entire time; which is very rare for Kodiak. Then things changed. We had two storms collectiong to the south of us opposite directions, forming great cross chop, rogue waves and with tons of bad weather. There’s a fine line between bad weather that you can fly in and bad weather that grounds the aircraft. Luckily, we were able to fly last minute and get two MH-60s in the air along with a few rescue swimmers for High Surf Ops training. Let the fun begin!

Was anyone from the magazine with you, what type of direction did they give you?
Yes. The Red Bulletin sent Andreas Rottenschlager, a talented writer from Austria. He had worked on intense projects in the past. We both pushed really hard to get the access we needed, the interviews, coverage, he was so great to collaborate with. We also had a blast driving around in a rusty white construction van with a yellow siren I had rented for the job while listening to heavy-metal music. Andreas and the photo editor Rudi Ubelhor wanted me to keep things authentic and shoot everything from the perspective of the rescue swimmers or in some cases the survivor being rescued. They gave me so much support and creative freedom, telling me to just do my thing, keep it real and give the project some emotion. It’s so amazing to be supported like that and have creative freedom. It really pushes the work to a new level with that kind of support from the team at The Red Bulletin

Tell us about the spaces in between taking photographs.
Most of the space in between taking the photographs was spent trying to get the next photographs underway. I often think people have no idea how much hard work goes into just getting immersed in these phenomenal situations. It’s not easy convincing the Coast Guard to send two helicopters and a crew of 10 people into a storm to shoot photographs in high surf (good thing the Coast Guard trains so hard and loves their jobs so much).  The crew on the surf ops day had a total blast, most likely laughing at me “the photographer from LA,” doing donuts in the surf all afternoon. So, the space between was spent on working with the Coast Guard to get the next shot in place and then a little bit of sleep, eating bad food and drying out wet clothes and camera gear. That shoot just destroyed almost everything we had in terms of camera gear.

What are your thoughts on risk?
For the most part, I feel like the risks I take are pretty well calculated and reasonable. I spend a lot of time preparing for the more risky situations and often times they are in environments where I feel comfortable and have already spent a lot of time, most likely for personal activities or interests. I would say the things that worry me more than anything are the elements that are out of my control: the unpredictable behavior of wild animals and people, a catastrophic engine failure or environmental hazards like rock fall and avalanches. Those things, you can’t control and it could get bad quickly. Sometimes, there’s that space between hesitation and action, where you really need to keep your self in check and make a quick decision. In general, if I have any doubts about something being safe or not, I don’t do it. I also think that most bad things happen as a result of more than one bad decision, it’s generally a series of bad decisions that get you in trouble. I think safety is also very relative to your experience and comfort level in various situations. What seems risky to one person isn’t risky at all to another. The scariest thing I have done is gone shark diving without cages, but it was mainly because I was out of my comfort zone and not well educated in shark behavior. The shark scientist I was with thought it was a really mellow and fun day in the ocean playing with a few sharks. I was terrified! I am constantly humbled in my work every single day by the people I work with and the people I photograph. Everything is at such a high level so I am always trying to catch up with everyone; physically, mentally and creatively. It’s not exactly the easiest path, but it sure is fun!

What type of watermen skills do you have and why do you think the Red Bulletin picked you?
It’s funny, I don’t really consider myself to have “waterman skills”, I just like playing in the ocean and making cool photos. Real waterman are those big wave surfers that ride huge waves and free dive to unfathomable depths. To me the whole thing was fun,  none of us could believe we were working. There’s nothing like being out in the wild ocean, feeling all of that raw, natural power and getting tossed around with some like-minded individuals that enjoy the ride as much as you do.

201605310669jb

201605310682jb

201605310872jb

Any time survival is in a title surly that adds a thrill. I saw you were photographed with “Aviation Survival Technician’s”what was the hardest part of shooting rescue swimmers in high surf ops?
“Survival.” I don’t know how people survive normal life without doing cool stuff like this. All of the people I worked on thrips project really love their jobs and and work so well together as a team. Imagine going to work every day, training hard, flying over the beautiful Alaskan ocean and realizing you are doing all of it to save lives. That’s pretty meaningful for a day’s work. Most difficult part about this whole thing was almost not getting to do it. I would’ve been so disappointed if we didn’t get the big surf day and the bad weather that we really needed to tell the story well.

What advice do you have for anyone photographing high risk situations?
I would just say in a high-risk situation you want to be very competent in the environment you are operating in. It’s difficult enough to just be in certain environments like this or in the mountains,  you really want to feel comfortable, so being there is almost second nature. Adding the element of photography and all the equipment it requires, problem-solving on the fly creativity, makes for a big challenge but that’s what makes it so fun. I couldn’t image doing anything else but this path I am on and I feel so grateful for it everyday. To travel the world, meet interesting people, always learning, being humbled and challenged.

Here’s a behind the scenes video and some content showing what it was like out there for Justin.

201605241964jb

201605242175jb

201605263975jb

The Daily Edit – Gregg Segal: 7 Days of Garbage

- - The Daily Edit

gregg_hankanddani

Gregg Segal and his family amongst their garbage.

alicia_priscillaanddelilah

arjay_deanna_carly_ronandderon

dana

gaby

greg

7 Days of Garbage

Photographer: Gregg Segal

Kickstarter Campaign:  Daily Bread

Heidi: What is your message with this series?
Gregg: The seed for 7 Days of Garbage is that I wanted to call attention to a problem (consumption, waste, excess, packaging) that most of us, including me, are/were oblivious to.
Even though there’s awareness about the problem, there’s a laziness to do anything about it.  You could say we’re all victims of comfort and convenience.

Where did your inspiration come from?
I figured if you’re laying in the garbage and packaging you generate in a week, you can’t ignore it. The pictures are meant to be a wake up call and to provoke action – or at least consciousness. In a way, the subject is both victim and perpetrator, which makes some audiences uncomfortable. We tend to expect issues to be black and white/good guys and bad guys, but in reality problems are more complex. Several years ago, People magazine assigned me to photograph Bea Johnson, who, with her family, produces virtually zero waste. One year’s worth of their garbage fit into a mason jar. Bea inspired me and was one of the seeds that led to my project.

Did you foresee Daily Bread as part of the 7 Days or Garbage? or was this more of an organic evolution?
Daily Bread sprang from 7 Days of Garbage; in the process of photographing people’s garbage, I began to look more deeply at food – what we’re eating and throwing away. Again, I’m calling attention to a cultural blindspot.

We know that eating processed foods loaded with salt, fat and sugar has serious consequences to our health – and that there’s truth in the old maxim, “you are what you eat” yet many of us have poor diets. We tend to put our faith in medicines that will make us better when we’re sick rather than going to the source of the problem. I chose to focus on kids because eating habits that form when we’re young last a lifetime. Childhood obesity has more than doubled in children and quadrupled in adolescents in the past 30 years. Still, there are kids eating well both here and abroad and often indigenous cultures have healthier diets than we do here at home (simple whole foods & balanced meals prepared at home). My aim is to photograph children in other parts of the world surrounded by the foods they eat in a week – and I think the results will be inspiring and actionable; I plan to share recipes and menus with viewers, which will accompany the portraits in a book that is part social commentary, part public health initiative and part international cookbook.


02_03nonadelgrosso_0349
04princemiller_0661
06_01ninokhaburzaniafood_0047_v4-copy
08_04alexandraandjessicalewistogether_0460
10_01carolinabonet-sanabrais_0086
14_04hanksegal_0571

Is your travel funded by kickstarter alone?
The budget I created will allow me to shoot in two regions and cover the costs of travel, crew, and equipment – and all the food I’ll be photographing. The goal is to produce the first leg of the project thru kickstarter and have enough material to present to potential publishers.

How will you pick the children you are going to photograph; how will you find them?
I’m collaborating with Dr. Maya Adam, a Stanford professor whose on-line course, Child Nutrition and Cooking has drawn a quarter million students from around the world. We’ve reached out to her students (in 80 countries) inviting them to participate and have gotten a lot of interest! So, the next step is to cull and figure out which two regions to begin with.

What did this project teach you about yourself as a photographer? how about as a father/family man?
Shooting these projects has shown me that it’s possible to achieve social change through art without being pedantic! I think it’s key for the work to have a service component, which is why, with Daily Bread for instance, I plan to highlight diets that are balanced and healthy. I’m planning to photograph in parts of the world where you find longevity and unusually low rates of diabetes, heart disease, and many kinds of cancer.  With 7 Days of Garbage, I wanted it to be clear that we’re all in this together – and all of us are culpable on some level. I felt it was important for my son (7 at the time) to see that we’re part of the problem, so we lay down in our garbage, too. A few weeks later, Hank said, “soon the world will be covered with plastic bottles. They’ll have to make giant towers to keep all the plastic bottles in. Probably a tower to the moon. 1,000 years ago, there were no plastic bottles. There wasn’t even one plastic thing on Earth. Too bad, there sure are now!” My son’s comments showed me how he (and children in general) process their experiences; though at first they may not seem to get it, the seed is planted and germinating and when you don’t expect it, a light bulb is illuminated – which is why it is key to model well!

What are 3 simple things we can do to change our habits?

As a consumer (waste)

1) Compost – rather than toss food waste in the garbage, you can compost and add nutrient to your soil.
2) Buy products with as little packaging as possible. Even small changes make a difference. Instead of buying the package of pomegranate seeds, for instance, just buy the whole fruit. More work, but less to recycle. Recycling comes with an energy cost that you can help reduce.
3) Re-use whenever possible (try not to do use something once and then toss it – like a plastic cup for a drink of water). Better to bring your own water bottle with you.

As a consumer (food)

1) Eat something green every day (ideally you want a variety of colors on your plate).
2) Don’t eat anything that has a commercial – this may sound extreme, but if you think about it, foods that are nutritious aren’t made by a corporation. It’s the processed and packaged foods, loaded with additives – and salt, fat and sugar – that you want to avoid.
3) Prepare one meal a week with your kids. Find a recipe for a dish they like and prepare it together. Hopefully, they’ll take an interest, begin to develop their palate and next thing you know, you may have a burgeoning chef!

Have you made any of these changes to your shoots that call for catering? Those are notoriously wasteful.
Yes, they are – especially those cases of bottled water. The last couple shoots I’ve done with larger crews I’ve brought gallon jugs of water and asked crew to bring their re-usable containers – still have plastic bottles – but less of them.
I often end up being the producer on my shoots and if I cater, I ask for paper plates (biodegradable) rather than the dreaded plastic – or worse, styrofoam, which takes like a million years to decompose!

When you were shooting the garbage, did they clean out the containers? 
Yes, some people washed their garbage before showing up to be photographed.
One guy even washed his eggshells! Some cut corners and didn’t show up with the really stinky stuff.
Others included everything. I had an assistant who very nearly passed out when catching a whiff of liquid leftovers that appeared at first glance t0 be milkshake but which smelled like rotting chicken! One family called to cancel mid week; they had been saving their Chinese leftovers and the husband couldn’t stand the smell any longer. I suggested they just put their trash in the garbage and bring on shoot day, but they had already lost their initial enthusiasm for the shoot.

What were some of the most striking comments from the subjects?
In general, most were taken back by how much packaging was in their weekly trash. Some (subjects and viewers) were curious why I asked them to include recyclables since they weren’t being thrown away. I explained that I was
1) calling attention to how much excess packaging we unwittingly
consume
2) recycling has a cost; trucking it to a plant, melting it down, reconfiguring it, trucking it somewhere else in its new incarnation
3) Many of the things we think of as recyclable, really aren’t. For instance, most people assume pizza boxes are recyclable and, in and of themselves, they are, but when they’re soiled with grease and cheese, the paper is contaminated and can’t be effectively recycled (paper fibers won’t separate from oils during the pulping process).

img_5620



devon_glad_657

The Daily Edit – Wired: Benedict Redgrove

- - The Daily Edit


wired-november-2016

 

 

 

screen-shot-2016-10-25-at-11-19-52-am screen-shot-2016-10-25-at-11-20-00-am screen-shot-2016-10-25-at-11-20-07-am screen-shot-2016-10-25-at-11-20-15-am screen-shot-2016-10-25-at-11-20-22-am screen-shot-2016-10-25-at-11-20-29-am screen-shot-2016-10-25-at-11-20-35-am screen-shot-2016-10-25-at-11-20-41-am screen-shot-2016-10-25-at-11-20-48-am screen-shot-2016-10-25-at-11-20-55-am

WIRED

Creative Director: Andrew Diprose
Director of Photography: Steve Peck
Deputy Director of Photography: Dalia Nassimi
Photographer: Benedict Redgrove

 

These never-before-seen photographs are part of an eight-year project that took photographer Benedict Redgrove deep inside three NASA facilities across the US. He uses Alpa MAX and 12 STC cameras, stitching together multiple images to create photographs with an epic quality. “I shoot about 40 images,” he explains, “then layer them to achieve the highest definition.” Redgrove’s project won’t be complete until 2018, but WIRED offered its readers an exclusive glimpse into his epic space journey in its 11.16 issue.

Was this photo essay presented to you by Benedict Redgrove with a six-year timeline in mind?
Benedict came to us when he was three years into the project – it was just a labor of love at that point. He got in touch with us in order to gain deeper access at NASA. He thought a bit of WIRED name-dropping might help, and it did – eventually. It took three years of negotiations, and about 400 emails, to get to this point.

What type of clearance was needed for such unprecedented access?
NASA is a bit like an onion – you peel off layer after layer. We encountered a lot of “We cannot help, you need to talk to so-and-so department” along the way. But the more Benedict shot, the more the various departments in NASA understood what we were trying to do, and the more doors opened to him. It was very much a case of finding the right person to talk to at each stage.

Where were the images taken?
Benedict gained access to the Kennedy Space Centre in Florida, Johnson in Houston and the Smithsonian in Virginia. Next up are the Lunar Lab and training facilities.

Six years is a quite a long time horizon. Was this difficult for the magazine to commit to?
Is it difficult to commit to an elaborate documentation of NASA technology by Benedict Redgrove? Absolutely not – we did not bat an eyelid. It didn’t matter how long it was going to take. We knew the results would be a groundbreaking body of work.

How long will this be a running theme within the magazine?
It’s running across 16 pages (on special paper) in our current issue, November 2016, and of course on wired.co.uk. We also have a photography exhibition planned at our annual WIRED conference in London on November 3-4, which will also have a Q&A with Benedict himself.

Future plans?
Benedict will conclude his work with the launch of SLS and Orion in 2018. After that, there are talks of a book and an expansive exhibition with virtually life-size prints!

NASA is an independent agency of the executive branch of the United States federal government, how did this end up in WIRED UK, and how much was published in the US version?
Interest in NASA is not restricted to the US – it has universal appeal. Benedict put it very nicely himself: “To me, there is no other organisation in the world that is more progressive, more exciting or stands more for the betterment of mankind and peace than Nasa. In my opinion, it’s the greatest institution in the world. It involves, science, art, design, engineering, manufacturing, passion, belief, education, information, creation and technology. It’s always moving forward, always seeking answers and finding them, then asking more questions. They educate us, inform us not only about the Universe but also about our planet, and pass down technologies into our everyday lives.”

This collaboration was solely with WIRED UK, but other international editions of WIRED are keen on running the story too. Watch this space.

 

The Daily Edit – Fortune: Michael Clinard

- - The Daily Edit

1_fortune_500_international_cover

2_fortune_500_hero_plate

3_fortune_500_in_lights_doodle

4_fortune_500_in_clouds_doodle

7_fortune_500_in_shadows_doodle

9_fortune_500_national_toc

Creative Director: Paul Martinez
Director of Photography: Mia Diehl
Photo Editors: Armin Harris, Michele Taylor
Art Directors: Mike Solita, Peter Herbert, Josue Evilla, Christine Bower-Wright
Retouching and Post-Production: Zach Vitale
Photographer: Michael Clinard

Heidi: How did this come about?
Michael: I met the assigning photo editor, Armin Harris, six years ago at a portfolio event in Manhattan. It took that long to get an email back in May from him asking as to my interest in shooting a feature for their annual 500 issue on Microsoft’s Scott Guthrie and the cloud services division he oversees.

Did you pitch the 500 cover idea or did you have the assignment and the magazine wanted to see what you could come up with?
Neither. Having already shot the portrait component a week earlier at Microsoft’s headquarters in Redmond, I wasn’t really thinking a server room could be jazzed up all that much because it’s kind of ”blah” subject matter. I’m typically sketching before shoots, but I didn’t know the server facility was being considered for the cover until Armin gave me an “extra credit” assignment the evening before leaving for Quincy, Washington.

Because the magazine publishes what they call under covers — takeoffs on a Fortune 500 cover highlighting other companies featured in the list — he asked I look for details that I could later recontextualize in post. To this end, I thought the best I’d do is some retro-futuristic version of the numeral in glowing, server lights or big, puffy clouds to play on the cloud storage idea.

6_fortune_500_blue_green_server

Did you have to get any special clearance to get inside this room to shoot?
Absolutely, NDAs and special concessions were being shared in the week leading up to the Quincy shoot. Additionally, I was asked to drastically reduce the amount of gear and flash units I’d typically bring in, so I got my kit down to a few heads, some niche grip items and Hasselblad’s tilt shift adapter because there were specific elements (clouds, cords, blinking lights) that I wanted to utilize to help tell this story.

Did they disable the servers?
Ha ha! No, I wish we’d been given the time to create the image fully in-camera, but I only had a couple hours to shoot multiple locations. I should note that I was given a folder of scouting pics to study before the shoot, so the only big allowance was that I was given a ten minute window to shoot in complete darkness to create the long-exposure image that opened the article.
This blue and green image was created in-camera?
Yes, it’s a 16 second exposure balanced with off-camera strobe. It is the style and direction I’d intended to take the cover since laying the number 500 in the shadows of the composition seemed doable. It was imperative I left the facility with enough image assets to create the final cover magic conjured in my sketches.

8_fortune_500_w_loopy_5

Was there a discussion about which typeface the number 500 would take?
Yes, font and typeface was very important. At one point, we entertained a big loopy five, but Armin shared a number of Fortune 500 covers throughout the years to help the entire team hone in on the best direction. In the end, we enjoyed the idea that the viewer might need do a double take to notice anything out of the ordinary, so our representation method mimicked the orderly presentation of wires and cables already evident on the server arrays.

How long did it take to create the final cover composite once the direction was chosen?
With retouching by Zach Vitale and under the esteemed direction of Mr. Harris, we delivered the final composite in a few days. A tremendous honor and privilege to execute, the image ran as both the international cover and national TOC page back in mid-June.

The Daily Edit – National Geographic Magazine: Ami Vitale

- - The Daily Edit

Please read the entire story here.

Photograph by Ami Vitale Ye Ye, a 16-year-old giant panda, lounges in a wild enclosure at a conservation center in Wolong Nature Reserve. Her name, whose characters represent Japan and China, celebrates the friendship between the two nations. Ye Ye’s cub Hua Yan (Pretty Girl) is being trained for release into the wild.

Ye Ye, a 16-year-old giant panda, lounges in a wild enclosure at a conservation center in Wolong Nature Reserve. Her name, whose characters represent Japan and China, celebrates the friendship between the two nations. Ye Ye’s cub Hua Yan (Pretty Girl) is being trained for release into the wild. © Ami Vitale / National Geographic

Photograph by Ami Vitale Zhang Hemin—“Papa Panda” to his staff—poses with cubs born in 2015 at Bifengxia Panda Base. “Some local people say giant pandas have magic powers,” says Zhang, who directs many of China’s panda conservation efforts. “To me, they simply represent beauty and peace.

Zhang Hemin—“Papa Panda” to his staff—poses with cubs born in 2015 at Bifengxia Panda Base. “Some local people say giant pandas have magic powers,” says Zhang, who directs many of China’s panda conservation efforts. “To me, they simply represent beauty and peace.” © Ami Vitale / National Geographic

Photography by Ami Vitale Is a panda cub fooled by a panda suit? That’s the hope at Wolong’s Hetaoping center, where captive-bred bears training for life in the wild are kept relatively sheltered from human contact, even during a rare hands-on checkup.

Is a panda cub fooled by a panda suit? That’s the hope at Wolong’s Hetaoping center, where captive-bred bears training for life in the wild are kept relatively sheltered from human contact, even during a rare hands-on checkup. © Ami Vitale / National Geographic

Photograph by Ami Vitale Wolong Reserve keepers transport Hua Jiao (Delicate Beauty) for a health check before she nishes “wild training.” The habitat also protects red pandas, pheasant, tufted deer, and other species that bene t from giant panda conservation.

Wolong Reserve keepers transport Hua Jiao (Delicate Beauty) for a health check before she nishes “wild training.” The habitat also protects red pandas, pheasant, tufted deer, and other species that bene t from giant panda conservation. © Ami Vitale / National Geographic

Photograph by Ami Vitale In a large forested enclosure of the Wolong Reserve, panda keepers Ma Li and Liu Xiaoqiang listen for radio signals from a collared panda training to be released to the wild. Tracking can tell them how the cub is faring in the rougher terrain up the mountain.

In a large forested enclosure of the Wolong Reserve, panda keepers Ma Li and Liu Xiaoqiang listen for radio signals from a collared panda training to be released to the wild. Tracking can tell them how the cub is faring in the rougher terrain up the mountain. © Ami Vitale / National Geographic

 

cv-0816_001

National Geographic Magazine

Director of Photography: Sarah Leen
Creative Director: 
Emmett Smith
Print Designer: 
Hannah Tak
Photo Editor: 
Sadie Quarrier 
Photographer: Ami Vitale

Heidi: How did you find yourself shooting people in panda suits raising captive babies at the Wolong center of the China Conservation and Research Center for the Giant Panda?
Ami: I was part of a film team that came in 2013 for PBS/NatGeo production. Realized what an extraordinary story this was and pitched it to National Geographic Magazine once I got access to it.

Were there any unique challenges and how did you overcome them?
Many challenges. First, I had to pitch a story and convince editors that I could make it unique and different from what was already done. They had published a story on pandas about 7 or 8 years earlier so my job was figuring out what would be special about this story. Also, these are tiny, fragile creatures and the keepers were quite stressed about their health and safety. I had to work around these concerns and was not allowed to use flash so there were technical issues that needed to be solved including flickering fluorescent lights. It means you have to shoot at 30th of a second to avoid having lines going through every image. Pandas make quick rapid movements so coming away with a sharp and compelling image was harder than it might seem. Plus they are solitary creatures who like to hide in the thick bamboo or high up in the treetops when they are young.

I understood from reading the story that bears being trained to live in the semi wild must not get used seeing humans. Did you wear a panda suit too?
Yes! of course. the best part!

What did it smell like, the suit? 
They scent the panda suits with urine but wasn’t too bad because pandas are mostly vegetarian. They smelled more like wet puppies or bamboo.

ken_6647

You’ve had a wide range of experiences, how did this one strike or move you as a photographer?
I was constantly thinking how incredibly privileged it was to be there!! Still can’t believe it and miss them every day!

In your motion work on this piece, Papa Panda describes falling in love with the baby panda’s as if they were your own children, did you share that same sentiment of falling in love?
How can you not fall in love with them. I died of cuteness overload many times over.

How long were you there?
5 visits over the course of 3 years.

Did you have to get any special shots to spend time with the pandas?
No special shots but we were careful, especially around baby pandas. We wore masks, disinfected hands and shoes every time entering new space.

The Daily Edit – Grayson Schaffer

- - The Daily Edit

 

 

Grayson Schaffer:  Partner Talweg Creative/ Outside Magazine Editor at Large / Photographer

Heidi: Tell us about your transition from photography to cinematography and what are your thoughts overall about that for photographers?
Grayson: We’re at a point in time where a lot of still photographers are becoming directors. Sometimes that just means buying a Red camera and hanging up a shingle. Sometimes still photographers have clients who are asking for motion as part of a project. From an image-making perspective, motion isn’t that difficult. There are some frame rate and shutter angle considerations that you don’t have to deal with in still photography, but at the end of the day, a frame is still a frame. The hard part is having something to say. And for that, more photographers need to be leaning heavily on their writer friends to figure out what the film is going to be about before you get out there. We see it again and again where competent still photographers—many of whom have sizable Instagram followings and interpret that as a sign from the universe that whatever they do is great—just end up with a series of pretty but disjointed images. We all make crappy movies or write crappy stories from time to time, but you can minimize that if you lean on your talented friends and assume they’re smarter than you.

What made you take to the leap from producing editorial content to producing advertorial or native advertising? 
My personal goal is just to find and report on interesting people. At Outside magazine, that mostly involves finding great characters who are at an inflection point in their lives or careers. It wasn’t until raw cinema camera technology reached the point where we felt like we could get our ideas out onto the screen that we decided we had something to say. At the same time, brands have realized how important stories are. So in a lot of ways the ad world came to us rather than the reverse.

One would think you’d have less control, is that true?
One of the mistakes I see filmmakers make again and again is in sending their work out for criticism and then completely ignoring that criticism either because they’re tired from getting all the way to a rough cut or because they can’t put themselves in their viewer’s shoes to see that the work is missing basic clarity or is overly self-indulgent or precious. Working at a magazine doesn’t give you more control, it just means you get your ass kicked by editors instead of a client. Either way you can’t ignore the feedback. After a few years of it, you realize that they’re trying to fix actual problems and not just make your life miserable. Once you get to the point where your default position is to believe the criticism rather than immediately defend against it, then you’re actually in a place to push back. But, yeah, sometimes commercial clients will sacrifice the story in order to obey the data, stay on message, or avoid getting too real. It’s one reason that the word documentary should be reserved for actual documentaries. That’s gotta stay sacred. Films by brand ambassadors about other brand ambassadors can be amazing to watch. Some of them can even be true and accurate. But I still haven’t come across a brand that has editorial guidelines, fact checkers, or a public editor.

How long has your Talweg been in business and how much have you grown since inception? 
About a year and a half ago, Ryan Heffernan and I had the opportunity to move from production work into being a full-service ad agency. We’ve got a Jedi media planner who’s a real millennial whisperer and a couple of account managers who are super sharp. That core team has allowed us to service clients like New Mexico Tourism and other state agencies. We’ve also been doing work for Yeti coolers and a number of other clients in and out of the outdoor space.

Yeti  has been very successful in getting so much coverage for their brand, what do you attribute this to?
The word storytelling has been getting thrown around a lot lately. There was that great rant by an Austrian designer recently about how that term gets misused.

If you’ve been watching social media, you’d think storytelling was anything where somebody reads poetry in an affected voice while slow motion pictures roll by. But Yeti actually gets it. They find filmmakers they believe in. We all work together to pick characters we believe in, regardless of whether they have any affiliation to Yeti or not. And then we all roll the dice. The very first film in the series was one we did in the Grand Canyon last May called In Current

Our plan was to bring models down the Canyon and have them be “trainees” who were learning the ropes. But about five hours into day one of the trip, we realized that there were actual baggage boatmen who’d been cutting their teeth for years trying to get a shot at rowing a dory. We immediately pivoted to focus on this amazing woman Amber Shannon and were lucky enough to have a client—Yeti’s marketing director was with us on the trip—who didn’t hesitate to go with what was real over what was storyboarded. That project laid the groundwork for the Yeti Presents series, which has been a huge success.

What sort of notes can other companies take from Yeti’s playbook in your eyes?
Some agency types have since told us that the branding is way too subtle in these films for their clients’ tastes. Others have told us they’re perfect. We believe that the most important thing is making a film that people want to watch, not one that requires a huge media spend to get eyeballs on it. If I had to chalk up Yeti’s success with these films to one thing it’s that they’re willing to fail. They assign dozens of these 5-7 minute shorts. They don’t all work out. But the ones that do more than make up for the ones that fall short.

The most important thing for a client who wants to get into storytelling (actual storytelling) is to relax their guardrails and trust the process. This is what doc directors, reporters, and editorial photographers have always done. It doesn’t always work out like you planned it but it always works out somehow. In our REI short film Fast Forward, ultra-distance cyclist Lael Wilcox, who was trying to break the record for the Arizona Trail, came down with a respiratory problem only 36 hours into her ride. The record attempt was a disaster, but you ended up believing in her as a character. And that was more important than success.

How do you manage working at a magazine and then working for advertisers at the same time?
I’ve been an editor at large for Outside since April. So I’m not on staff at Outside anymore. Finding time to write and shoot and make movies comes down to working with a great team at Talweg, great editors at Outside, and only swinging at fastballs over the plate.

The Daily Edit – AFAR: Celine Clanet

- - The Daily Edit

publi-afar-lecreuset-01

publi-afar-lecreuset-02

publi-afar-lecreuset-03

publi-afar-lecreuset-04

AFAR

Director of Photography: Tara Guertin
Art Director: Jason Seldon
Associate Photo Editor: Alex Palomino
Photographer: Celine Clanet

Heidi: I read that Creuset translates to cauldron or crucible. In this image the iron is heated  5,184°F (2,862°C) how close could you get to the iron before the heat became too much to bear?
Celine: Well, pretty close actually, but not for too long, that was the thing.

Did you wear special clothing and did it affect your gear?
I just wore regular safety equipment (shoes, glasses). It didn’t affect my gear, but there was just some black dust covering it, covering all of us actually.

How many days did you spend at the factory?
Two full days.

How long did you spend at each assembly line station?
It depended on the visual interest of each one. I remember spending much time on the sanding line: the guys – it’s a guys-only line – were wearing special breathing helmets, moving like robots, grabbing pots, sanding and throwing them out in a beautiful collective ballet. The industrial world is such a ballet.

When you were developing the narrative arc of the story, how did you keep track of big sweeping environmentals, portraits and tight shots to make for a dynamic story?
You have to think of every details that will make the viewer feel the experience of a place, which is basically the point of a magazine assignment. Photography is limited: no sounds, smells, nor movements, therefore every detail possible matters, and I just have this in mind when I shoot. I always try to step back, and ask myself what did I miss to shoot in what I see right now?

Did you review the shoot and then go back to visit anything you feel you may have missed?
No, two days were enough to stick to Afar’s expectations for this assignment.

Which part of the factory drew you in as a photographer?
The foundry. It was such a show.

How did this story come about? Did you pitch this idea to the magazine?
No, they thought of me first, as I do a lot of industrial photographic assignments, outside of my personal work and other kind of assignments.

02-lecreuset-afar

03-lecreuset-afar

05-lecreuset-afar

06-lecreuset-afar

07-lecreuset-afar

08-lecreuset-afar

15-lecreuset-afar

The Daily Edit – ESPN: Zachary Bako

- - The Daily Edit

Screen Shot 2016-08-24 at 2.54.20 PMScreen Shot 2016-08-24 at 2.54.26 PM
ESPN

Creative Director ESPN Print & Digital: Chin Wang
Director of Photography: Karen Frank
Senior Photo Editor: Kristine LaManna
Associate Art Director: Linda Pouder
Photographer: Zachary Bako

Heidi: Was this originally a studio shoot which transformed into a roof top option?
Zachary: This was a two-day shoot in Los Angeles. On the first day, we captured the Bennett Brothers working out in Hollywood at Jay Glazer’s Unbreakable Performance Center. Followed by lunch at Stir Market then at Stoopid Buddy Stoodios where Martellus is creating a stop-motion television show. The second day we were at DSR Studios in DTLA, where the rooftop image was created.

What type of direction did you get from the magazine for this section and how many different set ups were you asked to provide?
Kristine placed emphasis on the roof option. Finding a real moment between Michael and Martellus. This would be the most important option for the magazine. I was asked to do a grey seamless and a roof option.

How much time did you have with them?
ESPN’s E:60 film crew was with us for the two days conducting interviews so once they wrapped their set, I was given five minutes as they made camera changes to capture what I needed.
Michael had a meeting across town when the outdoor option had to be shot, so time was extremely limited for this setup.
Initially, the plan was to have them for an hour and a half to shoot singles and doubles on a black and grey set then head to the roof for an outdoor option. In the end, we were given five minutes here and there throughout the day with Michael and Martellus to cover what we needed.

Was it hard to shoot on such a severe slant?
No, it was not. I have been known to hang out of passenger side windows of moving cars to get the shot. This slant was pretty easy.

Did you have them crouching because they were different heights or it just naturally unfolded that way?
It was through direction. When I ran up the slant, I started to slip and my assistant pushed my shoulder into the roof to hold me in place. Martellus commented that my crew really did have my back. We all had a laugh and that is when this image was captured.

Congratulations, I see you have consistency in your “Awards,” can you share your submissions with us for 2016?
Thank you. American Photography is always beautifully curated, here is what I submitted for AP 33.

Screen Shot 2016-08-24 at 2.54.43 PM

 

Screen Shot 2016-08-24 at 2.54.52 PM

The Daily Edit: Tiny Atlas Update

- - The Daily Edit
colorblock_laydown_i

bag_11Tiny Atlas Quarterly


Founder/Creative Director: Emily Nathan
Photo Editor: Deb Hearey
Executive Editor: Jennifer Rodrigue.
Recent rebrand (new logo and Solas logo/branding): Mark Sloan who is also Director of Design at Chiat Day

 

Heidi: We know you are looking into different ways to support Tiny Atlas moving forward. If you were to start your business plan over, what would you have done differently?
Emily: Tiny Atlas is always evolving — we are constantly trying out different ways to bring revenue in. Our team is steeped in creative energy, so the challenge is the business side of TAQ – creating revenue and managing operations. Maybe I should have gone to B-school for an MBA? That would have helped! All joking aside, I’m not sure that we would do anything differently but we would definitely like to expand our relationships and find more like minded brands or entities that are a natural fit and make good partners. When we integrate well fitting partners, it’s very organic and helps the brand thrive versus being too commercial.  We’ve worked with travel destinations, properties, art galleries, art and craft fairs, and fashion brands.  Having more of these relationships to help underwrite the cost of printing another annual is something that would be very positive for us. In addition to the Solas bag with Alite Designs, we have recently teamed up with AllSwell Creative and Earth Missions to create our first  Tiny Atlas Adventure trips. We’re heading to Tofino, BC (October 6 -11 , 2016) and Tahiti (November 9 – 15) with local guides and the promise of lots of photo training opportunities and lots of water.  Not just for surfers, we’ve planned these for anyone who loves the ocean and arts, all levels are welcome.  Since TAQ is all about experience of place, we want to connect with like minded folks off our of screens, in real life, and are really looking forward to these trips.  We’d love to have a few “aphotoeditor” readers join us.
How did the bag idea come about and how did you determine your money goals?
Tae Kim of Alite Designs graciously designed a limited edition bag as a reward for TAQ’s first Kickstarter campaign we held to help fund the printed annual we published in 2013.  The bag was a great success, so we started talking about collaborating on another one. Since a good camera bag is hard to find, we focused on fulfilling that need. The revenue goal for the Solas Kickstarter has been to keep it low and reach it early, which we did.  This means, we will definitely be making the bag – yay! but the more pre-orders we receive, the less expensive the manufacturing becomes. This is important because we’re trying to generate a little profit in order to help move forward as a whole. At this point, it’s challenging to stay ahead of operating expenses, and we’re hoping to reach more people interested in supporting our campaign. If anyone is interested in Tiny Atlas, now is the time to express it!
Was your goal to create a stylish camera bag ?
Yes! Today, so many women are photographers and when you around, most bags are heavy, bulky and masculine.  Solas isn’t just for women but it’s designed with style (simple, easy) and comfort in mind.
What is the concept behind this particular bag and what makes it so different?
The idea was to make a bag we love that also hold a camera. No photographers I know love their camera bags. They put them in a corner and take them out when they need to. When they go out for the day, and don’t want to bring a camera bag, most people just defer to their phones now. Camera bags usually hold some very small non-pro something, or they are huge, bulky, and heavy to start with (or all of the above). We wanted to make something that was lightweight to begin with (since cameras add a lot of weight) but that would just carry what we really needed, which is one DSLR with a lens on it, and a second lens. That is it. Except then there are the things that go with your camera and your life for example, a laptop or a sweater. We designed Solas with the essentials in mind.  We made the right number of zippered pockets, and some padded zipper pockets for your phone and sunglasses or filters, a key leash, and a protective sleeve to store a laptop. I have been beta testing these bags with friends for a year and they’ve helped with R&D — we think we have the perfect balance of lightweight, durable and safely holds the gear we really need. [When I go to the airport, my id goes in the little zippered phone pocket on top, my laptop slips easily out and the camera stays safe in the integrated foam compartment at the base of the bag. If I have a bulky sweater, I use the leather buckle to expand the top section of the bag. ]
How did the relationship develop with Atlite Designs and why them?
When we created our first Kickstarter, Alite backed the project to support us because they liked what we were up to. Afterwards we connected with them to see if there was a project to collaborate on or some such. We put together our first #mytinyatlas show, #lovemytinyatlas, at their shop in the Mission, at the Alite Outpost. The call for entries was a wild success. Tae Kim, the founder of Alite, asked up if we wanted to make a  limited edition bag for the opening. We said, hell yes! Tae designed a really lovely bag, and my sister, Amy Nathan, who is a painter and illustrator, made a special print just for the bag, it was a great success.  Next, somehow, Tae and I started to talk about a  camera bag. We brought in photographers and went through a design process around how they carried their cameras and any issues they had. Then we made prototypes and tested them. I brought different prototypes on shoots with additional photographers to Baja, Hawaii, all over the US and Macao. Finally, we worked on color and the fabric. We wanted something natural and beautiful, but as light as possible.
Along with the online show you are having a show you have another show coming up next Thursday  Sept. 15th from 6-8pm as a preview for the new Independent Art Book Fair in Greenpoint. What are you goals for this and how do you see that supporting the magazine financially?
The September 15th show is bringing the #mytinyatlasSOLAS selections I made alongside curator Cory Jacobs to New York City. NYC has the largest percentage of the @tinyatlasquarterly Instagram community is the world (likely thanks to some nice early support from Design Sponge and Refinery 29 – thanks to both!) and we have not had a show in the city yet. I wanted to bring the beautiful work to the community that supports us. In addition, we will have the bags on hand so people can check them out in person before buying them online. The new fair has an incredible array of independent artists works, as well, so we are hoping to connect both our magazine and our bag with such a perfect audience.
#mytinyatlas has over 1.7 million posts, why do you think it has become viral?
I think #mytinyatlas became viral for a few reasons. One, it is a good name, and easy to write. Two, Tiny Atlas has not really been a commercial venture, so people felt comfortable adding our tag to their personal lives. The mission of the magazine (as a commercial endeavor) as well is to highlight personal stories. Tiny Atlas has a different perspective. We are not principally sharing images that look like postcards, or perceived “perfect” shots. We are looking for unique moments, and personal vision, just like in the magazine. The other reason is because I edit the tag. I am not an inexperienced starter employee, I’m an experienced photographer and editor which helps.

aquinnm-3

@aquinnm Allison Quinn McCarthy

aquinnm

@aquinnm Allison Quinn McCarthy

Processed with VSCO with e4 preset

 Kevin Mao @k_mao

mafyno-2

@mafyno Maria Fynsk Norup

moneal_pink

@moneal Michael O’Neal

potatopanda

@potatopanda Tanya Doan

saltywings-3

@saltywings photographer @micgoetze Michael Goetze

twheat_updatedfile

@twheat Tyson Wheatley

Your online show had 9K submissions. How did you go about photo editing that and how did you manage all that imagery?
It takes a lot of time; I look through them all and select the ones that resonate most. Then, I take screenshot and then upload the screenshots to a web gallery. We have tried ways to facilitate this online and there are not any tools that are faster than scrolling directly on instagram or on iconosquare and  taking screenshots. Then editing in Bridge. Adobe Creative Cloud is useful as well.

The Daily Edit – Josh Schadel: Good Magazine

- - The Daily Edit

Screen Shot 2016-09-04 at 1.34.06 PM Screen Shot 2016-09-04 at 1.34.16 PM Screen Shot 2016-09-04 at 1.34.24 PM Screen Shot 2016-09-04 at 1.34.31 PM Screen Shot 2016-09-04 at 1.34.39 PM

Good Magazine

Art Director:  Tyler Hoehne
Managing Editor: Caroline Pham
Photographer: Joshua Schaedel

 

Heidi: What type of direction did you get from the magazine?
Josh: Art Director Tyler Hoehne, the writer Stacey Leasca and myself talked a little about the direction of the piece and the type of emotion that was needed conceptually. Luckily, I have worked with Tyler on a few assignments before; he mentioned certain pictures that I had made in the past for Good, and how to pull some of those moments into this project. The communication was great so I had a pretty good idea what I was after prior to arriving on site.

Did you pitch them this story or was it assigned?
No the assignment was based on the writer Stacey Leasca’s story that she pitched to the magazine after doing a related story on the female prison that is located directly across the street from the men’s facility. Stacey wrote, “The existence of a cosmetology school inside of Valley State Prison is a coincidence of history. The program launched in the mid-‘90s when Valley State opened as a women’s facility. … In 2011, the Public Safety Realignment Act enabled the early release of thousands of low-level offenders across the state. Many of these offenders were women and the decision was made to convert the under populated facility to house men. When these inmates arrived, the California Department of corrections and Rehabilitation chose to maintain the cosmetology program. It currently boasts a near-100 percent graduation rate—one of the highest of any prison education program in the country.”

Did you send promos to the art/photo director?  How did you meet Tyler and how did your creative relationship develop?
No, Tyler came to my studio in Pasadena to hang out with my studio mate and business partner Ben Sanders. We ended up talked a little bit about our photo-illustration business “Those People” and I think he eventually hired us to shoot a food related concept for Good Magazine. Tyler was on set that entire shoot and played with props and lights with us. We really had fun and hit it off. A couple of months later he reached out and said he had a cool assignment that he thought my documentary style would fit for. I had such a great experience on that next assignment and myself and everyone involved just hit it off. After that, Tyler just continued to send me on really interesting assignments.

How many days were you at the prison?
I just went in for a single day. Stacey and myself were allowed in after the inmates were settled in for the day at the Cosmetology school. We went through a normal day of their routine and then just before their day was over we had to go back. In all, I think we spent about five hours with the guys.

Were you able to interact with the inmates without supervision?
There was a Lieutenant that escorted us around but for the most part but once we were in the class we were allowed to walk around the salon pretty freely. If I am correct, to be in this particular program most of the men are exceptionally well behaved. From my perspective, everyone that I met in the cosmetology school really wanted to be there and I never once felt like I wasn’t in a salon.

Were you able to connect enough with the inmates to ask why they pursued this?
I definitely was able to connect with some of them. I have even received a few letters from a couple of the guys that I met. I never really asked them that specific question but for the most part the guys that I talked to said that their ambitions were to take the skills that they learned while they were in this program and find a job. One guys told me, “ It doesn’t matter what you did as long as you make a proper cut.” Some of the guys told me that they had dreams of opening their own Barbershops and Salons when they got out. One gentleman told me that his biggest goal was to get out and cut his daughter’s hair, that one really stuck with me the most.

At any time on this project did your mind ever wander to thinking about why crimes they committed?
During the time I was there I definitely thought about all the stupid things I have done in the past and how lucky I wasn’t on the other side of the lens. I was cornered by a guy on the street, and in defense, I got in a stupid fight near my apartment in Hollywood. I beat the guy so bad I thought I might have well,  don’t even want to say. I waited with bloody hands for hours for the police to come get me but they never did. I went down stairs and it was like nothing had happened. No cars, no cops, no guy, nothing. It was a big wake up call, I got help for my issues, and it changed the entire course of my life for the positive. I have only told a few close friends that story but it was essential for me while shooting this assignment. I went into the assignment knowing I was no better than them and I think they somehow knew that.

I know you are a recent Art Center Grad and have had success with your personal work as well, tell us about your publishing company.
Well, the publishing company, The Fulcrum Press, grew out of my relationship with my business partner Rebecca King. I met Rebecca King after she moved back to LA after graduating from SVA in New York. We hit it off pretty quickly and we started working on a series of publications for a few art shows that I had. It has really become a labor of love, not a day goes by that I don’t think about our publishing company and all the decisions that we are making.

I really love it and love the people that we are working with. We are luck enough to have some really good friends over at The Ice Plant who has really helped us out a lot. Right now, we are pretty excited about the two publications that we are working on and are trying to finish up before the end of 2016.We are not really rushing anything and are just taking our time and enjoying the process of collaborating with our friends, making cool publications that we emotionally and conceptually are attached to. I’m  really fortunate to have such an amazing, like-minded business partner in Rebecca King.

What has been the biggest surprise for you after graduating in terms of commercializing your images?
Ha-ha, that I know nothing. You can only learn so much in school and no matter how much you work on your craft the only way to see what works for you is just trying different things outside your comfort zone. For me the biggest surprise that I learned is how much I really love collaborating with so many different kinds of people. It may sound cheesy but it’s true; it is all about the people that you work with that determines how your day is going to go and how good the images are going to turn out. Good collaborations makes photography so enjoyable. In addition to that, how much you need a good set of friends who will help you along your way. Everyone needs help and having other good friends in the photo industry is such a valuable asset.When a client asks you a question and you can turn to a friend who has been there and they can give you sound advice that makes all the difference in the world. I was really surprised by how many unexpected people really helped me out and supported me and it has motivated me to do the same and pay it forward.

Was there anything that you wish your education prepared you for?
This is hard question for me because I really have no complaints now that I have some distance and perspective. I think every school is different and they have their strengths and weaknesses. I felt like I got a great education at Art Center. I was lucky because I had to paint houses for extra money all the way through school and because of that most of my teachers went out of their way to help me. I still maintain very close relationships with some really great teachers who I still turn to for advice. It’s funny, now that I am teacher, I am asking all of them for teaching advice.

I personally don’t think you are really ever prepared enough till you have to make real life decisions. Balancing life and work and art is difficult after school and getting over that hump and transitioning into a professional practice from an educational practice is tough and you have to learn to forgive yourself for making mistakes. It takes time, which seems like is different for everyone. It’s just one of those things where you have to find your own way of doing things that makes you happy and just don’t stop making pictures. How you act and how you treat people while you are in school will dictate most of your young professional life. It is kind of silly but I wish someone had said that to me.

I think I got really fortunate; I was lucky to have some really great teachers/ mentors while I was going there. I made a lot of really good life-long friends and I don’t know where I would be without the relationships that I made while I was in school. To be honest, nearly every opportunity that has come my way has been a direct connection through some friendship that I made while I was in school. Anything I didn’t learn from my teachers I learned from my friends. Hindsight is always 20/20 but I really can’t complain, I am really happy these days.

 

To see some more of Josh’s work, 
NowSpace is presenting YIELD, a joint exhibition by Josh Schaedel + Aaron Farley  both are artist in residence there.

The Daily Edit – Foot Wear News: Annie Tritt

- - The Daily Edit

Screen Shot 2016-08-19 at 2.00.43 PM

Screen Shot 2016-08-19 at 2.03.20 PM Screen Shot 2016-08-19 at 2.02.50 PM

Screen Shot 2016-08-19 at 2.02.59 PM

Screen Shot 2016-08-19 at 2.03.07 PM

Foot Wear News

Fashion Direction: Mosha Lundtrom
Fashion Assistant: Christian Allaire
Production: Emily Taylor
Social Editor: Nikara Johns
Assistant: Perry Flowers
Photographer: Annie Tritt

How did you get connected with them?
I originally got connected with them when I was on a shoot for Variety. They share the same photo studio in NY. I was shooting the director of Hamilton which was a really fun shoot and Emily was there to help me. She’s really awesome, we just connected so well; she then introduced me to Mosha and they asked me a few weeks later if I wanted to do the shoot (which I said immediately yes to).

Was this your first assignment with them?
Yes, this was my first assignment with them. We discussed as I said beforehand and had an idea of what we wanted. They were with me on the shoot so we could discuss during what direction to take and what was working especially with the big crowd. I like to work collaboratively and so this worked very well for me. I don’t get to do a lot of fashion so this was really fun.

What type of direction did you get from the magazine?
Mosha and Emily were really great,  we shared ideas back-and-forth. Because I was shooting for the few days before they went out and did some scouting shots and then I did some the day of the shoot, it worked out well. The team is a great team so that made it a joy to do. They originally wanted something softer and more lifestyle But I thought given who the subject was a more “poppy” fun shoot would be better and they agreed. The locations they picked were amazing and I added the lion into the mix.

Were his fans an issue since you were on location and how many days was this?
We had to get a lot done in a day and so I had to work fast. We were also shooting midtown near Grand  Central and the Public Library and there were a ton of crowds around. He bought a big crew with him so every time I shot I was surrounded by a huge crowd of people. He also was SnapChatting during the whole shoot, which with his back to me which may have been the most challenging part. Wale was game to do a lot of things so that made the shoot fun.

The Daily Edit – The New York Times Magazine: Christopher Anderson

- - The Daily Edit

Screen Shot 2016-08-15 at 3.15.50 PM

Screen Shot 2016-08-15 at 3.16.08 PM

The New York Times Magazine


Design Director:
Gail Bichler
Director of Photography: Kathy Ryan
Art Director: Matt Willey
Deputy Art Director: Jason Sfetko
Designers: Frank Augugliaro, Ben Grandgenett, Chloe Scheffe
Associate Photo Editors: Stacey Baker, Amy Kellner, Christine Walsh
Photographer: Christopher Anderson

Heidi: Arguably one of the most stunning covers of the year, what set this particular portrait session apart for you?
Christopher: Well, there is always a different dynamic when the subject is so aware of what is happening in a portrait session. Celebrities are aware of their image, but Chuck is very aware of what you’re doing while making that image.

What type of direction did you get from the magazine and was that amazing composition part of the plan all along?
There wasn’t so much direction other than some of the basics we needed to cover such as room for type etc.  I have a long working relationship with the magazine, so I understand a bit about what their expectations are. Mostly we both knew that we wanted something that felt very intimate

When you shot that image, did you know right away, this is the one? or are there other jewels we didn’t get to see?
There are several images that I like from the shoot, but I knew this is the one I was looking for. There is a slightly different version that I like better purely as a photograph but I understand why this particular one is a better cover. You can see the other one on my instagram and the opener they used was a different image than the cover.

Screen Shot 2016-08-15 at 2.08.56 PM

Were you aware of the subtle type treatment for the cover line going into this project?
No, that came about after the fact. Designer Matt Willey is fantastic

How long did the session take? and in a word, describe the vibe.
I photographed him on a couple of different occasions for this piece, but this sitting was specifically for the portrait. I don’t really remember how long it was, it was a relaxed Sunday afternoon. We did other things like drink coffee and make pictures of his kids and grandchildren. He was under the weather with a cold, so he got a little tired at some point. We took a break to have a coffee and I even think he went to lunch, if I remember correctly.

What did you learn about yourself while shooting this project?
I think when I make a picture that I really like it helps me to better understand what it is I am seeing, what kind of image I make. It is a process.

What type of conversation was happening on set between you two? Did you direct him at all?
We talked about a lot of things, but when we were shooting, we weren’t talking much. I was directing him, but this particular frame, he broke from my direction to look up at me. That spontaneity made the image.

The Daily Edit – Bonded by Bikes

- - The Daily Edit

Screen Shot 2016-08-14 at 7.09.34 PM

Screen Shot 2016-08-14 at 7.09.47 PM

Screen Shot 2016-08-14 at 7.09.54 PM

Screen Shot 2016-08-14 at 7.10.06 PM

Screen Shot 2016-08-14 at 7.10.21 PM

Screen Shot 2016-08-14 at 7.10.31 PM

Screen Shot 2016-08-14 at 7.10.41 PM

Screen Shot 2016-08-14 at 7.11.00 PM

Screen Shot 2016-08-14 at 7.11.10 PM

Screen Shot 2016-08-14 at 7.11.24 PMDarren Hauck


Milwaukee public schools
NICA mountain bike series

Heidi: How often do you ride and do you race cyclocross?
Darren: Cycling is a huge part of my life and when I am home I tend to ride around at least 5-6 days a week typically. I live in the midwest so I ride until there is snow on the ground or it dips below the low 20’s outside for the most part, then I ride on a compu-trainer in the basement. I just started racing cyclocross a few years back on and off for a local team where I live, it has been a blast when I am not suffering so bad I can’t see straight.
Screen Shot 2016-08-15 at 10.31.01 AM
Screen Shot 2016-08-15 at 10.31.07 AM
Screen Shot 2016-08-15 at 10.31.12 AM
Screen Shot 2016-08-15 at 10.31.31 AM
How was you being a rider helped you be a better witness of the sport? and in turn take better images? 
I think like anything, be it sport or a specific interest, you are deeply involved and part of the scene and this helps you know what is going on and better try to predict what is happening or is going to happen. Just being in the same place mentally and knowing physically how they feel as what you are shooting helps you get in a better position and feel out what might happen next. Also I think being involved in it lets you explore how to photograph something differently because you have shot the typical image so many times before you feel more free to take chances and look for something different. Also it’s easy to relate to the subjects and just blend in and hopefully get images without being in the way.
What are your hopes for this body of work?
Well for one I did this work with no real intentions other than I could give the pictures to the group to help raise awareness and gather more support to help expand the team and get more kids involved. Beyond that I also shot it just for myself to photograph something I love and just have fun, no restrictions or end goals just shoot and see what happens. Its been a lot of fun and I will shoot some more this fall of the team to see some of the kids from last year and some of the new kids who joined over the summer. After all, shooting for the joy of just taking great pictures is why most people got into photography.
What have been the rewards of this personal project?
The rewards I have gotten so far is just seeing these kids who some have never really ridden a bike get together with others and just enjoy  being outside having a blast. I heard so many times after a race when asked how it went and many of the kids would all say “oh man that was so hard I was suffering so bad I did not think i could finish”. Then they would pause and all say the same thing, “that was awesome can we do it again?!!” That enthusiasm is contagious and just makes you want to keep charging along and remember in life you just have to have fun and keep moving forward.
Are you planning on trying to commercialize these images? 
Now that I have made a promo and gotten some real positive response from the images I am trying to use this to reach out to potential new clients and show them some fresh work that has a positive feel to it. I think most people can relate to this project even if they do not ride bikes, it has a great universal positive vibe to it.

Danny Duarte: Art Center College of Design

- - The Daily Edit

Screen Shot 2016-08-01 at 10.21.11 AM Screen Shot 2016-08-01 at 10.21.17 AM
Screen Shot 2016-08-01 at 10.21.25 AM Screen Shot 2016-08-01 at 10.21.36 AM Screen Shot 2016-08-01 at 10.21.48 AM Screen Shot 2016-08-01 at 10.21.54 AM

 

 

Screen Shot 2016-08-08 at 10.16.33 PMScreen Shot 2016-08-08 at 10.16.41 PMScreen Shot 2016-08-08 at 10.16.48 PMScreen Shot 2016-08-08 at 10.16.57 PMScreen Shot 2016-08-08 at 10.17.04 PM
Screen Shot 2016-08-08 at 10.17.22 PM

Screen Shot 2016-08-08 at 10.17.32 PM


Screen Shot 2016-08-08 at 10.17.55 PM

Screen Shot 2016-08-08 at 10.18.02 PM

Screen Shot 2016-08-08 at 10.18.12 PMScreen Shot 2016-08-08 at 10.18.19 PM


Screen Shot 2016-08-08 at 10.20.56 PM


Danny Duarte

I had the pleasure of being at the 5th term and 7th term reviews at Art Center College of Design in Pasadena. It’s always a treat when you can see people’s work progress. Danny Duarte was one of those standouts. I was so impressed with his commitment to craft. What initially caught my eye was his personal project called Reseda. Reseda isn’t an impressive area here in So Cal, there’s nothing remarkable about the neighborhood, which is exactly what Danny honed in on: the beauty in the ordinary. When I first saw his work I was so impressed and had a lot of fun discussing pairings and how powerful that can be. It was so cool to see how he juxtaposed his work, how he carefully looked at pacing, everything was deliberate.  I asked him where he shot most of the work ( since it covered some much of that area ) did he walk around? I should have known better, he took the bus. There again, surrendering to the mundane. Here’s what he had to say about his Reseda project.

Danny: I was born and raised in the San Fernando Valley and have lived in Reseda for twenty-plus years. As I got older, I realized that the Valley was looked down upon by those on the outside. I also learned as soon as I started attending Art Center that nobody had ever heard of Reseda. I had always shot images of my neighborhood, but those two reasons are what made me think about creating a series about where I live and grew up. It wasn’t until my Editorial Photography class with Lisa Thackaberry that I began to really focus on it. She really helped me understand different ways to approach this project as she was one of the few that was familiar with this area. Reseda is quiet, amorphous, misunderstood, lonely, and remote even though it is in the city of Los Angeles. I am photographing my neighborhood because it is a part of who I am and i want people to know it exists. I want to show that although it may seem boring and empty, the boring can be interesting.

Along with doing this cool ongoing project he did this zine about gun violence. He created the images, collaborated with an illustrator (Arpawan Ratanamangcla) did the research for the lyrics, designed some type and of course confronts us with an ongoing crisis.

Img-0002, Danny Duarte-CoverZine, 08-08-2016

 

 

What drove you to create this book?  Why did you choose this illustrator?
This was a final project for my “Race and Racism” class. I collaborated with a fellow classmate, who is an illustration major, to create a zine about gun violence and police brutality. We had been paired up in a group all term, but when the opportunity came up we decided that by working together we could make a really compelling project for our final. The idea to create a project based on this subject started last year so I used this opportunity to pursue it.
It feels so confrontational, which is different from most of your work.
When it comes to still life photography I approach it differently than how I shoot my street photography. It is another way of expressing myself.  With still life I’m in control of everything in the frame. I can create a narrative based on things I enjoy researching such as science, politics, sports, and technology.
Where did you get gun?
It’s funny. I always get asked where I got the gun from. My dad is a California State Park Ranger so I was able to borrow it from him.
Was it awkward to shoot the gun straight on?
Photographing a gun was no problem but to photograph it pointing at the camera was a bit chilling. It didn’t hit me until I looked through the view finder. I suddenly felt this heart-stopping sensation go through my body. I have never really had a fear of guns but being on the other side of one is an entirely different and frightening experience.
What were the notes that the lyrics had to hit for you to include them in the book?
The lyrics included in the zine are very important. They are the foundation for this project. I’m a huge fan of hip hop music and KRS-One is a huge influence when it comes to this project. What started it all was his song “Sound of da Police”.
The first time I heard it I must have been in the 8th grade and back then I remember thinking how strong the lyrics were. Sometime last year it came on while I was driving home so I listened to it over and over again. I must have listened to it non stop for a week straight, letting it sink in. Every time the song came on my mind created different ideas and visuals. There were also lyrics from Gang Starr’s “Tonz ‘O’ Gunz” that influenced me as it focuses more on gun violence.
What are your hopes for this body of work?
My hope for this project is to create a discussion and figure out solutions about the issues that are going on right now that deal with police brutality and gun violence. No matter which side you are I’m sure that we can all agree that it’s getting out of hand. I believe that photographs can create impact and cause change.
 How did your time at  Art Center help you develop this project? or Who/what were your biggest influences?
My time at Art Center has given me the tools to create this project. Every instructor I have had has made me look at art, photography, and life differently even if I don’t always agree with them.  Two instructors that have hugely influenced my still life photography are Paul Ottengheime and Everard Williams.  I have spent hours talking to them outside of class and the discussions I have had with them have greatly helped me throughout my time there as they have a lot of experiences to share. I also believe that having an open mind definitely helps develop new concepts and allows me to be more creative.