Posts by: Heidi Volpe

The Daily Edit: Interview with Frank Ockenfels Part Two

- - The Daily Edit

Heidi: Have you ever been hired for strictly illustration?
Frank: No. I’ve been hired to journal and collage, but I’ve never been hired to draw or ย illustrate something.

If you were offered an illustration project would you take it?
I don’t know. That’s a good question. I think I’d become Beckett at that point. I’d be Beckett and go like, “Eh, no, that’s not me.” Which is what he says.

Since I’m not a skilled illustrator, I’d probably overthink it. But at the same point I might actually embrace it and dive into it and see whatโ€™s there. My ability to shoot faces and form is pretty much “this is what it is.” I follow a lot of illustrators that I think are amazing, and I’m a huge Ralph Steadman fan.

Do you find collage or design easier?
Years ago, Drew Hodges, who used to have a company that did all of the Broadway advertising ย hired me for the Diary of Anne Frank. He wanted the advertising to be a visual diary using pictures of Natalie Portman as Anne Frank. I laughed because at the time I was a 40-year-old man and he wanted me to design a page like a young teenage girl. My handwriting isn’t the same. There’s nothing even close, though I can put the pictures together.

We agreed on doing two rounds and at the end of two rounds if they didnโ€™t get it then thatโ€™s the time for me to walk away. We went through two rounds and sure enough they kept onโ€ฆ the powers that be were all freaked out, didn’t know what to do with it. They ended up using it just in a different context.

I’d done a couple of journal pieces for magazines but I started putting a disclaimer saying, “If you ask me to do this and you want to use the piece you have to use it as a whole, you can’t crop it. You can’t cherry pick out of what I’ve done because, to me, when I do every single edge of the page itโ€™s connected by what’s happening on the page. If you don’t have the whole thing it doesn’t make any sense

How did you establish your own voice while assisting?
I look at the people that I worked for, and consciously didn’t work for portrait photographers for that very reason. I worked for interior photographers.

When Beckett talks to you, do you feel like he’s asking you questions as his dad or he’s asking a photographer?
That’s a good question. I don’t know. He so rarely wants to talk about photography.

How do you answer them? That’s probably the better question. Do you answer like a dad or do you answer like a photographer?
I answer as a photographer. I’ve taught enough that when people ask me questions and I realize what they’re asking me I make sure thatย I’m answering them honestly.

And how much of yourself do you see in him as far as being an artist?
Well, I think it’s funny, at 18, which is where he is right now, he is definitely very similar who I was at 18

Who were you at 18?
I knew I could take pictures, I liked taking pictures, I wasn’t committed to it, I didn’t do it 24 hours a day.

I grew up in a household where we’d do summerstock every summer with my mom because it was all about theatre and I’d take pictures. That made sense to me. It was my one thing but didnโ€™t ever see it as an actual thing I could do professionally. I didn’t understand that. So Beckett is surrounded by a mother being a painter and father being a photographer. He’s surrounded by that. He seeโ€™s it can be a profession, itโ€™s a lifestyle one can have. They have a nice home. They’re able to feed us. We live a good life, considering. I see him being kind of a ย bit irreverent to the process and not really a 100% committed, and a little scattered.

When did it become more focused for you?
I would say it happened when I was in my– I think in my end of my second year in college when we started taking studio classes. I started going in to make sure I could do the studio stuff.

The work on your site now is varied, is that a good approach?
My website is an example of both a good and a bad thing.

I often get notes from industry people and enthusiasts, “I just spent hours looking at your website. It was just so enjoyable.” It’s so all over the place that if someone in advertising is going to hire me, it’s a tremendously hard sell because somebody’s who is not creative and who’s not visual, looks at a site like this and says, “I don’t know what they do. They’re all over the place. What is their style? What are we going to get if we hire this person?”

Isnโ€™t the work Carol curates for you on EyeForward much more of a narrowed edit?
Probably so but not because people like everything. If you look at my website, I give people options of what they want to look at and I try to gear that towards let’s dumb this down. But at the same point, I think it’s interesting to see who you have to go talk to about getting a job nowadays and I think it even goes to the point of photography.

Tell us how things have changed.
You look at photography now, and most photographers, which I kind of make a joke about. Jeff Dunas does this photographers breakfast once a year and it’sย  about 25 of us. We get together and sit around this table having breakfast at the Beverly Hills Tennis Club and discuss life. We discuss what happened in the last year and we’ll tell stories to each other.ย  Everyone from Douglas Kirkland to Gerhard Ludwig attends, it’s a wide variety of photographers, Claxton and Marshall and Herman Leonard.

We sit around and talk as if we are all on the same page and one of the younger guys was talking about something and an older photographers looked at him and said, “Have you ever shot chrome?” and the kid looked at him, ” I don’t know what you’re talking about.” He goes, “Like chrome. Like fly zone.” He goes, “Oh, well no. I haven’t.” He says, “Try it. Go do that one time. Go see what itโ€™s like “THAT will teach you how to be a photographer.”

Shooting chrome film makes you really have to focus while digital has made it so much easier to fix mistakes so quickly. You see immediatelyย that you don’t have the right exposure. You see what’s working and what’s not working. Where when I was a kid I had to shoot chrome. We’d shoot a polaroid and if something changed in the middle of it all, well it is what it is, and you had to be within a half stop of a decent exposure or the whole thing would go south and you’d be overexposed, or the color temperature was wrong, or the light was going off too much, or a good blend of shadow wasn’t there. Itโ€™s very similar in the sense of the people you might work for nowadays. Their education might not be in the creative industry. Thereโ€™s more of a business aspect of it.

Switching gears a bit, did you know that David Bowie wasn’t well?
No. No, I didn’t.

I worked with him kind of on and off over the years. We did 16 shoots with David over a nine-year period. And toward the end that time he said, “We must have done enough for a book.” I laughed and I said, “Well, I don’t know.” that’s when I put stuff together to show him.

He and I sat andย looked at it once and then I didn’t see him for a bit. Later he had that episode which happened in Europe where he was sick — then from there, it got quiet. He said to me when I saw him last he wanted to do, we needed to do one more shoot.

I was going back and forth from New York and I really wanted David to sit down with me and discuss each shoot because that, to me, would be an interesting book. Why’d you pick this kid, me, to go to? To constantly call and say, “Hey, I need pictures for this and pictures for that.” He could’ve asked anybody. But he asked me and itโ€™s always been so baffling. I never was able to ask him that question “What did you see? You’re David Bowie. You could’ve asked anybody in to basically take your money and take pictures.โ€ In my understanding of our collaborations, I think he asked me because I never wasted his time. I always tried to do something different each time and he appreciated that.

I’m sure he probably just didn’t want anybody to see him that way.ย When you found out that he had passed away, how did you feel?
Well, it was weird because it was in the middle of the night in Los Angeles when they announced it. And my phone started beeping which was in the other room and it wouldn’t just stop beeping. What’s going on?” It was all these people calling me, asking me, “Did you know David died?” Then people asking for pictures of David, obviously. And I was just kind of stunned and I kind of got back into bed. And I kind of woke up Diane and I said, “David’s dead.” David died.

I laid there very quietly thinking about it. And I’m not being surprised. I don’t know why I wasn’t surprised and then oddly enough, two weeks later, I’m in London and there was 10 times more news than in the United States. It was all over the press. It was on every magazine cover magazine, every newspaper every day was– the conversation about David all over the television.

Thereโ€™s an amazing exhibition, โ€˜David Bowie Isโ€™, that’s been roaming around, ย prior to his death even. It’ll be interesting to see how I feel walking through it now, you know?

The Daily Edit – Interview with Frank Ockenfels Part One

- - The Daily Edit

Photographsย  by Beckett Ockenfels


Frank Ockenfels

We talk with Frank Ockenfels about fatherhood, photography, and raising boys one of whom is a budding photographer.

Heidi: Why do you think your older son Beckett is a good photographer?
Frank: Composition and light. He figured it out quickly which is kind of bizarre and he knew what good light was which is kind of funny because I would say that’s the biggest problem with a lot of younger photographers. He sees light really quickly and understands this is a good piece of light, or that over there is an interesting piece of light, even if it’s the most basic. I built the daylight studio upstairs and he immediately saw how beautiful the light was and how simple it was. Almost so much that he wouldn’t take a light out and try to light something differently.

So he just looks for the available light and well, he sees it. Now, will he use it is another question! But when he goes to take pictures for himself he’s always trying something. He’s done simpleย and when he does simple, he doesn’t think much of it.

A friend of his asked him to do a couple of lookbooks for friends who are young fashion designers. And he dismisses the pictures, but the light is beautiful and simple and exactly what is needed as people want to see the clothes and the fabric. But then on the same hand he’ll turn around and use a LED panel that we have here. It can be set to constantly change colors so he shot images with the it rotating like a party light, moving and flowing through things. Then he was doing slow-motion pictures of his friends blurred and the colors were moving through it. When I was 17 THAT was not my brain.

Has Beckett taken any formal photography classes?
Diane found a photo class for high school kids at SVA. He ended up taking a class from a photographerย Clay Patrick McBride I met when I was just a kid.

Clay told me “Go be a photographer, man. Your work is great.” And so, oddly enough, without us knowing it, he ends up in Clay’s studio lighting class.

Anybody who was around me started laughing, “But, he stands around you all the time. Why would he go take a class like this?” ย and I thought he should take the class and forget he knowโ€™s anything and listen. Listen and do it the way the instructor is telling you and then take it and learn that process. Itโ€™s not like telling you do it the for the rest of your life like that.

You’re learning and feeling how they see. But first, execute what they’re asking you to do. He and Clay totally butted heads because Beckett is very straightforward. If he likes something he likes it, if he doesn’t he doesn’t. If he doesn’t like to do a certain style he doesn’t want to do the assignment.

What do you say to encourage him?
My response: ย “Well, welcome to the world of photography. You’re always going to get assignments you don’t want to do. But you have to go above and beyond what that is. I think the hardest jobs to do are the ones that everyone thinks you’re amazing at. And the ones that are the easiest sometimes, which people don’t really get praised for, are the ones where you are given something to push.

If the directive is “Shoot this can on this white seamlessโ€ I think that’s easy because you know you can do it, but the fun part is how much more are you able to push it?ย  Itโ€™s funny to watch your kid at 17 have just such an incredible eye and not really 100% embrace it.

Nowadays his generation of people do multiple things. You become a photographer, get connections, then become a fashion designer, you can be both. You can be an actor and a fashion designer. Actor, musician. Musician, actor. Everything is overlapped in using the opportunities to get you where you want to go. And using your education along the way to do so.

How much does Beckett talk about you influencing him?
Not at all.
When he wants to do something he’ll say, “Just tell me how you did this.”
And I’ll say, “Okay, and I still need to show you?”
“No. Just tell me.”

And then, he’ll go and try it himself and he’ll find his own answer to whatever that is, which is great. Clay told him, “Don’t be your dad. Youโ€™ve got to be yourself.” ย Which at 17 or 18 years old can be tough, he’s going to be influenced by me. Heโ€™s standing around me, he works for me, he sees how I shoot. Like any assistantย would be influencedย byย the photographer they work for when they go to do those things for themselves. They’re definitely going to have in their brain, “Oh, this is how I just saw it done.” The key is what you do with that knowledge, and where you push yourself to take it.


Paintings by Diane Ockenfels

How did you raise two boys?
I didn’t raise the kids, Diane did. She really was always here for them, when they were younger, they would always rely on her more. If something went wrong, they would immediately go to her, not to me, which was tough when I realized it.

At what point did you start worrying about your boys?
I think with the boys, it’s interesting to see them grow up and all of a sudden being worried.

Every parent worries about what the kid’s going to become. You want them to succeed at what they do. With Cooper, my younger one, he started out being the kid who needed more hands-onย because he was not very focused. And all of a sudden he hit high school, we don’t worry about him at all. He goes to school at 6 o’clock in the morning and comes home at 9 o’clock every night. And he’s just tremendously active and proactive in the sense heโ€™s A, B student plus heโ€™s involved in the theatre program. He wanted to play bass about a year and a half ago and just started learning online. Essentially he taught himself how to play. Now heโ€™s in the school jazz band and they’re teaching him how toย read music.

Where Beckett is the complete polar opposite. He’s a tremendously talented photographer but doesn’t push forward at all — doesn’t have that thing to every single day stand up and go take a picture.

Did you take photos everyday as a teenager?
I probably didn’t have that till I got to New York and probably my third year of college is when I finally hit it where I was like, Oh! This is something you do every day. Every single day, you wake up and you have to take pictures and to basically answer that question that’s in your head. That is the reason why you would become a photographer. Why is it that one person figures it out while another person doesn’t figure it out? There is no rhyme or reason even though there’s a passion in photography on both ends equally. At my workshops people are looking for me to for the answer, I wish I had the golden ticket.ย “Look at my book and tell me why I can’t get a job.” I tell them,

“Don’t look at me. I can tell you what I think and what I see in your work and what I don’t see in your work and how you’re presenting it to me, but I’m not the one hiring.”


to be continued next week…



The Daily Edit – The Atlantic: Maciek Jasik

- - The Daily Edit


The Atlantic

Creative Director:
David Sommerville
Art Director: Paul Spella
Photographer:ย Maciek Jasik

Heidi: What type of direction did you get from the magazine?

Maciek: The Atlantic wanted an abstract artistic way to show gender dysphoria in youth. So the soft, colorful approach of my ‘A Thousand Souls’ project appealed to them, as well as my ‘Bypassing the Rational’ series of nudes, which I shoot in a way that’s very obscured and indistinct. They also inquired about a double exposure element that could show both genders in the frame, which I was able to do in-camera with two trans youth.

How did you decide casting or are those people mentioned in the story?
I took care of casting by contacting several trans organizations in NYC and other cities. Word got out to the trans community and several people got in touch. I actually shot many people for the shoot, but only a few made it into the final story. I would receive photos, forward them to the magazine, confirm mutual interest and invite them to the studio.ย None of them were mentioned in the actual story.
Was this done in camera or post?
All the effects you see were performed in-camera. They’re all very lo-fi techniques that I’ve developed over time. I don’t like to get too involved in that conversation, but I will say it involves placing different elements in front of the camera to alter the focus or add color to the image.
Why did you choose those particular colors?
I tend to combine warm and cool colors in all my images to maintain a balance visually. I never plan on any specific colors until I am there, shooting with the person. So it’s generally an intuitive process informed by many years of combining colors and generally knowing what works and what doesn’t.
What direction did you give the subjects during the shoot?
If I don’t need to say anything, I won’t, as it’s often better to just see what the subject will do without having to interfere. For the full-body shot, the magazine had suggested the subject looking down or away and I thought that was a good idea, to make the image less deliberate. Two pairs of people came together, so that made shooting easier, as they were comfortable with each other and we would all chat during the shoot.

The Daily Edit – Bicycling: Ryan Young

- - The Daily Edit


Creative Director: Jesse Southerland
Art Director:ย Colin McSherry
Photo Director: Amy Wolff
Photo Editor: Kristen Parker
Photographer: Ryan Young

Heidi: What type of direction did you get from the magazine?
Ryan: Kristen Parker, photo editor of Bicycling Magazine and Runnerโ€™s World, reached out to me about an assignment in Petaluma, CA focused on Alison Tetrick. The direction for thisย  was fairly loose. I was told that this story would be a full feature and potentially a cover. She referenced a few personal projects on my site and said she wanted me to shoot in a documentary style focusing on portraits, real moments, landscapes, and any other details that I was drawn to. She was very clear that she didnโ€™t want anything set up and or overly lit. Runnerโ€™s World and Bicycling Magazine have recently undergone a pretty dramatic change in their visual direction theyโ€™re looking for authenticity and are embracing real athletes, grit, and sweat. After the call with Kristen, I came away feeling very excited. There was no shot list or anything specific to execute. It was truly a dream opportunity.

Did you have a full draft of the article prior to shooting?
Fortunately, I was sent quite a bit of information on Alison prior to the shoot. Kristen sent me a rough draft of the story they had written which covered everything from her introduction into cycling to her comeback after a pair of horrible head injuries. Researching and learning about a subject before a shoot is just as important as charging camera batteries. When shooting an athlete I like to have a full understanding of where theyโ€™re at in their careers and life in general. Are they injured? Are they training? Whatโ€™re they working towards?

Were you aware of her Dirty Kanza gravel win that put her on the map in this sport?
Honestly, I wasnโ€™t aware prior to reading the rough draft and doing further research an Alison. I like to ride occasionally, but Iโ€™m a bit of a noob when it comes to the world of cycling. I loved that part of her story though!

Tell us about the spread image.
Given everything Alison had been through mentally and physically with the bike crashes and the traumatic brain injuries, I wanted to create images that expressed uncertainty and isolation. I wanted to play with focus and obscure a few portraits at some point in the shoot. As we were leaving her house she leaned up against a wall on her back porch and had a quiet moment to herself. I asked her to hang tight in the same pose so I could take a few photos through a screen door. I was excited to receive the final image order and have that as one of the selects. It felt very appropriate for the story.

Did you plan out that cover shot or was that pulled from the edit?
The cover shot was pulled from the edit. On our call, Kristen specified: โ€œDonโ€™t shoot for the cover.โ€ I typically like to shoot as many options as possible within the given timeframe. For this assignment, I was blessed with 6 hours with Alison. I shot everything from wide environmental to tighter portraits and had more than enough to work with by the end of the day. Once I had a few options I felt could work for a cover, I began experimenting more with focus and shutter speed. It was very liberating to go out and react to a new subject and location without having to obsess over a specific execution. Thatโ€™s pretty rare, especially for a cover shoot.

How did the shoot day unfold?
This shoot was a true collaboration between Alison and I. Prior to the ride, we had a phone call and went over different routes, aiming for what we felt would give us the most visual range. Alison suggested a route that offered us rolling hills, tall redwoods, and a vantage point overlooking the ocean a trifecta for the location scout. As expected, she was quite the trooper and ended up spending 6 hours working with my assistant and me.

How did this project inspire you?
Iโ€™ve been skateboarding since I was in middle school. Iโ€™ve suffered a string of injuries ranging from head to toe. Earlier this year, I underwent shoulder surgery. Itโ€™s as much of a mental battle as it is a physical one to push yourself after getting hurt. For me, having a chance to work on a comeback story involving an athlete was a dream assignment. Iโ€™m constantly searching for stories like Alisonโ€™s to pitch to magazines, so being approached by Kristen and the folks at Bicycling Magazine was beyond exciting. I thoroughly enjoyed reading about her ups and downs as she battled her way back onto the bike and life in general.





The Daily Edit – ESPN the Magazine: The Body Issue with Karen Frank

- - The Daily Edit

Saquon Barkley photographed by Sophy Holland

Breanna Stewartย  photographed by Marcus Eriksson

Lauren Chamberlainย  photographed by Hana Asano

Adam Rippon photographed by Mark Seliger

Jerry Riceย  photographed by Carlos Serrao

Crystal Dunnย  photographed by Marcus Smith

Zlatan Ibrahimovicย  photographed by Peter Hapak

Yasiel Puigย  photographed by Peggy Sirota

Karl Anthony Townsย  photographed by Martin Schoeller

Sue Bird + Megan Rapinoe photographed by Radka Leitmeritz

ESPN The Magazine: The Body Issue

Creative Director: Chin Wang
Director of Photography, Print + Digital: Tim Rasmussen
Director of Photography, ESPN The Magazine: Karen Frank
Deputy Photo Editors: Kristen Geisler, Jim Surber
Senior Photo Editors: Nick Galac
Photo Editor: Kaitlin Marron
Associate Art Director: Linda Pouder

Heidi: This is a moment the industry looks forward too, how long does this issue take to plan?
Karen: The Body Issue is almost a year-round project. Discussions about athletes begin happening almost immediately after the issue closes in June.ย  However, assigning and shooting typically start in January, so you could say itโ€™s about six months of serious production.

Was it a conscious choice to have 5 men / 5 women for the cover?
Since the beginning weโ€™ve had multiple covers for the issue.ย  In past years, weโ€™ve had as many as 9 covers and we joked at the beginning of the year that weโ€™d do 10 for 10.ย  We actually never have a set number of covers for the issue, so we approach every shoot as if it could be a cover.ย  At the end of shooting, we take a look at what we have and propose any images we feel strongly about as potential covers.ย  The fact that it came down to an almost even number of men and women (6 men, 5 women) was a really nice coincidence.

Seeing that itโ€™s the 10th year of your annual body issue, what did you learn about the process this year?
This is the 10th year, and we wanted to mark the milestone in a special way.ย  Several weeks before the issue went live, we released our newly designed Body Issue Archive, a comprehensive collection of every shoot weโ€™ve done since 2009.ย  For that project, we spent time going back through all the shoots, searching for images we may have overlooked in our initial edits.ย  Many new, never-before-seen-images are included.ย  The site has a fantastic search engine; you can search by year, by sport, by name, and see everythingย here

We also launched a premium digital Body 2018 experienceย Going back through all the years of Body was a great exercise.ย  I could see how the photography had evolved from the beginning, where the shoots were much more static and carefully posed, to the place where we are now creating very active and dynamic images

How did you decide what image was environmental and what was studio?
Once we know which athletes have signed on to shoot Body, we do a lot of research about who they are and their particular sport and we begin to imagine how and where weโ€™d like to photograph them.ย  When we have the photographer assigned to the shoot, we present them with the information weโ€™ve gathered and get their feedback and their ideas about how theyโ€™d like to approach the shoot.ย  For a lot of the shoots, we are able to shoot options that are both studio AND environmental.ย  That was true this year with our shoots of Jessie Diggins, Jerry Rice, Lauren Chamberlain, and Megan Rapinoe + Sue Bird.

How many different photographers were involved in this issue for the series?
We had just come off a year (2017 issue) where we had, for the first time, made a conscious decision to hire a different photographer for every shoot.ย  Many of those photographers were new to the Body issue.ย  In past years, weโ€™d assigned a wide roster of photographers, but several photographers would shoot 2, or sometimes 3 athletes per issue.ย  We loved the energy that hiring new photographers who had different and diverse approaches to shooting Body brought to the portfolio.ย  We wanted to continue that for our 2018 issue but also, knowing that this was an anniversary issue, we wanted to include some of the photographers who had created so many iconic images for the issue over the years.ย  We ended up with a roster of 6 photographers new to the project: Hana Asano, Kurt Iswarienko, Nick Laham, Radka Leitmeritz, Dina Litovsky, and Dana Scruggs; and 9 photographers who had previously shot for Body: Kwaku Alston, Marcus Eriksson, Peter Hapak, Sophy Holland, Martin Schoeller, Mark Seliger, Carlos Serrao, Peggy Sirota, and Marcus Smith.

The Daily Edit – Runner’s World: Jake Stangel

- - The Daily Edit

Runner’s World

Creative Director: Jesse Southerland
Photography Director: Amy Wolff
Photographer: Jake Stangel

When the direction is โ€œdo your thingโ€ how do you approach/prepare for the shoot?
Iโ€™ve found my best approach to be a good nightโ€™s sleep so I can come in to the shoot with sharp mental/visual acuity, and to have some rough shot concepts/sketches in my back pocket, in case things are situationally different from thatย Iโ€™ve planned on. Iโ€™ve attempted to come into past shoots with a specific โ€œplanโ€ and exact images I want to achieve, but it ended up locking me in to a set plan and hindering the types of chance encounters I like to seek. Portraiture/sport work is also so very much about the subject and the rapport we quickly build on the shoot day, which is a beautiful unknown that Iโ€™ve learned to embrace and lean on. The best way to prepare is to keep my eyes open and observant, my attention on the subject and her environmentโ€”as opposed to my cameraโ€™s LCDโ€”and to always have my focus and exposures dialed for every minute of the shoot, so I donโ€™t ever miss a potential shot.

Since there was a new creative direction to the magazine what were you trying to bring that was different?
You know, if anything, it was just to stick to my guns more, make work that felt like personal work. Iโ€™d done work for RW before, including a cover, but the shoots were pretty art directed and it was one of those situations where I made images that didnโ€™t really feel like they were mine, even as I was shooting them… I was more executing a concept. Which happens sometimes, and you just gotta move with that river as opposed to causing a ruckus and fighting the current too much. So I wasnโ€™t necessarily trying to make โ€œdifferentโ€ images for this RW cover (even though CD, Jesse Southerland told me to โ€œnot shoot for a coverโ€), but make work that felt intensely personal and really conveyed the story of this amazing woman, Amelia Boone, who has been through a phenomenal level of physical and emotional struggle and growth.

As an active person can you tell when youโ€™ve pushed a subject too far for do overs? What are the cues you look for?
Mostly itโ€™s a check-in with the athlete beforehand, and having really open communication of where she/he will be at on the shoot day. Are they injured? Are they tapering (reducing your training mileage before a major event, like an ultra)? Are they on a rest day? What does their coach say? I literally will have conversations about the mileage they can run on the shoot day, or duration of time. These athletes are often at the pinnacle of their career, and the last thing I want to do is jeopardize that in any way because of a photo shoot. I think it also helps convey to them that Iโ€™m serious about their well-being and understand their needs, and in setting clear goals and limits, it drops any apprehension they may have about being asked to physically do more than they can or should on the shoot day.

Was this all shot with natural light, if so why?
All natural light. There was no need to use lights that day. I think sometimes people forget thatโ€™s an option. Photo has gotten to be such a gear contest sometimes, and I think people whip out strobes automatically now, because thatโ€™s โ€œwhat you doโ€ on a โ€œphotoshootโ€. Thereโ€™s a time and a place for lights, but I was really happy with the atmospherics we had that day. Even though I had strobes in the trunk of my car, there was no need to use them, or even use a reflector. Iโ€™m puzzled by the compulsive need to use reflector to falsely open shadows. Iโ€™m not a religious person, but I believe in the power of mother nature and the atmospherics she brings out into the world, so I generally love to work with whatever sheโ€™s got planned for the day, whether itโ€™s bright golden sun or some mystical fog or pouring rain. I love the range of natural light we see in our life, thatโ€™s my inspiration for my own lighting.

The Daily Edit – 7 Hues Beauty: Anthony Rhoades

- - The Daily Edit

7 Hues Beauty

Model: Katherine Schule
Makeup: Becky Rothmaler
Hair: Damian Monzillo
Creative Director: William Mydell
Photographer: Anthony Rhoades

Heidi: Did you pitch them work or was this assigned?
Anthony: I submitted the story as a completed project. When testing, I like to conceptualize a bit beforehand with the team, pitch the idea with a mood board to the modeling agencies and go after publication later in the gameโ€”the more eyes on a project the better. I try to create new work as often as possible and editorials allow for more creative control and show my artistic range.

How did the collaboration come about with you and the hair and make up team?
Becky Rothmaler, the makeup artist, had written a kind note to me about my work and inquired about the possibility of collaborating on a project. This happens to me a lot, and generally I take people up on it. Iโ€™ve been fortunate enough to work with a variety of talented people. One of the best parts about being in New York City is coming across so many creatives who are all trying really hard to be their best artist selves.

How often do you test, are the projects focused to specific clients?
I’m always testing and open to new ideas and people. Whenever Iโ€™m looking to shoot something, itโ€™s either to produce new work focused on a specific client, fill a hole in my portfolio or push the boundaries a bit. Clean beauty is great, but it can be boring. For me, creating imagery that is aspirational to potential clients is key versus trying to produce work that is exactly what they already do; fit the clientsโ€™ needs with my signature on it, without straying too much outside of what fits their demographic target or brand.

How has your use of social media expanded your business?ย 
Iโ€™ve stopped with the mass emails. Iโ€™ll still send updates occasionally to a select few, but for the most part Iโ€™ve ceased the database email blasts. Because, I have heard from several entities that not only many of those emails donโ€™t get opened but they are also an intrusion and often distracting. Their emails are for work and getting whatโ€™s often considered photographersโ€™ spam keeps art buyers and producers from doing their jobs. Itโ€™s a tough balance of trying to get your work seen, kept, bookmarked and not put in the junk folder.

I donโ€™t maintain a business page on Facebook but I do have a lot of connections to people relevant to my work on my personal profile. My main inspiration and collaboration comes from Instagram and Linkedin. It just sort of happened with Instagram, I didnโ€™t pursue it as a way to grow my business, and in many ways I still donโ€™t, but Iโ€™m constantly inspired. Itโ€™s also a great way to keep up with the work of those you admire and to find new artists. Similarly, Iโ€™ve made many connections on LinkedIn though I donโ€™t know how helpful it is, I’m working on putting more times into that platform.

For this shoot Damian Monzillo and I initially started chatting on Instagram about working on a project awhile back.ย  Prior to this shoot, he wrote to me about some of my hair advertising work. I mentioned last-minute that I was shooting the next day and asked if he’d like to join us. Becky, the makeup artist, and I were going to do a macro story but the addition of a hair artist opened things up and let the bird of paradise theme shine.

When developing mood boards for your own projects, are the images sourced from your own archive?
Generally noโ€”I do a lot of research, look at artists, photographers and nature for inspiration and then draw upon the team and their vision as well. When Iโ€™m working on a personal project or editorial Iโ€™m mostly trying to convey an idea that I havenโ€™t expressed yet or seen through this specific lens in other peopleโ€™s work. For this particular shoot, I made my usual mood board, showed it to the hair and makeup team and started shopping it around to my go-to modeling agencies to see about who might be interested in our concept. Luckily the package from Q Models contained Katherine Schule, who has great features for beauty and is really a consummate pro.

The Daily Edit – Saveur: Andrew Hetherington

- - The Daily Edit


Group Creative Director: Sean Johnston
Creative Director: Pete Sucheski
Photography Director: Thomas Payne
Associate Art Director: Russ Smith
Photographer: Andrew Hetherington

Heidi: What type of direction did you get from the magazine?
Andrew: Thomas Payne, Photo Director ofย Saveur, sent me an email wondering if I would be interested in shooting the Peeko Oyster farm out on Long Island. To be honest, he had me at oysters, but we had a follow-up phone call where we dove deeper into the nitty gritty of what was involved on a practical level and discussed his vision. He also sent me a mood board referencing food photos of mine that he liked, a shot list and info on the story itself. Peter Stein, the oyster farmer, is relatively new to the business and that was an important angle to incorporate into the visual narrative. The theme was โ€œgrowingโ€ and the story is about what it takes to grow, scale and establish an oyster farm.

How much research do you do for shoots?
I like to get as much information up front as possible. This helps with my own research on the subject and the logistical and production needs to make it a successful shoot from my perspective. It is also really important to talk to the subject in advance on a shoot like this, after all they have more knowledge about the practicalities than anyone else so I arranged a phone call with Peter after an introductory email. Peter also sent me some photographs and video he had which was incredibly helpful.

I would not consider you a โ€œfoodโ€ photographer per se?
Ha,ย well I am a photographer who loves to eat and loves to cook so I think that qualifies me somehow.ย Food is featured on my website in itโ€™s own gallery and in specific projects and commissions for clients likeย Bon Appetit,ย Menโ€™s Healthย and Travel + Leisure.ย I also really enjoyย photographing chefs and have been fortunate to shoot some heroes;ย Anthony Bourdain, David Chang, April Bloomfield, Sean Brock, Jean Georges, Wylie Dufresne.

You canโ€™t visually tell a story like this – oyster farming –ย with a beautiful singular still life. Itโ€™s about the people who grow them, where they grow them, how they grow them, etc. Itโ€™s less about being a โ€œfood photographerโ€ and more about the ability to tell a story. I try to tell that story in my own way; as candidly, authentically, imperfectly and humanly as possible.

Weather is key for a shoot like this, did you have a set of rolling dates on hold?
It was important to the magazine that the photos look โ€œsummeryโ€ as the story was running in their June issue. But we actually shot this, out on the North Fork, at the end of February.

After speaking with Peter, it turned out that the most important weather factor would be the wind and not sunshine or temperature. If conditions were not calm, we would not be able to take to the water on his oyster barge so we put several back to back dates on hold. Peter made the final call 48 hours before the shoot and irony of ironies we also had โ€œsummeryโ€ sun all day. As it was February, we were dealing with a short amount of daylight. Even though we had sun all day the bonus was it was low in the sky which only enhanced the quality of the light as it bounced back off water. We all really thought we were in for an early spring as it was so idyllic. Little did we realize at the time there would be still two more months of hard winter ahead.

Was this shot allย in one day?
Yes, we drove out and back from NYCย in one day. I had mapped out the day with Peter – I went through my shot list with him and we decided on what would make most sense and be most efficient in terms of what do to when. Besides weather, there were a lot of factors to take into consideration. After all we were going to spend part of the shoot on open water photographing on and off La Perla, his boat used to harvest the oysters. We decided that we would do these shots at the end of the day to make the most of the late day light as it was not going to be possible to be on the water for sunrise.

The other thing that was really key was to be able to shoot from another boat. I learned this the hard way from previous experience. It seems obvious but itโ€™s incredibly limiting if you are stuck on the one boat. If you donโ€™t have the second boat you canโ€™t shoot the primary vessel in open water.ย This was one of my first requests for Peter when we spoke initially and he was able to organize and coordinate it. It really was a massive assist both creatively and logistically.

How did the day unfold? Was it just like hanging out and you just happened to be taking photos?
Apart from scheduling what to do and when we really sort of hung out for the day. Peter and his crew were great to work with and were super accommodating. Thomas was there too and the writer Jamie.ย For me, the best thing is to let people do what they do and to document it as I see it. I like it to beย as real and natural as possible but obviously I stop people, direct a little, compose and finesse the scene for my frame. Itโ€™s all based on observation and if it starts to feel too posed I like to shake it out and have them start over.

I love your portrait of the oyster. Tell me about the making of this image.
It was the last shot at the very end of the day. We did it on the boat. Peter supplied the vintage plate, too, which really helped. It wasnโ€™t something that I over thought. It was just one of those shots that happened. It helped doing it last, not just for the evening light but at that stage I was in a groove and the photos were coming easily. It really was a fun day. Of course then we got to eat the delicious oysters before driving back to the city.

The Daily Edit – Runner’s World: Mark Davis

- - The Daily Edit

Runner’s World

Creative Director:ย 
Jesse Southerland
Director of Photography:
Amy Wolff
Mark Davis

Heidi: How did this story come about?
Mark: When I was a sophomore at NYUโ€™s Tisch School of the Arts, I was in a photojournalism class taught by Whitney Johnsonโ€”who at the time was the Director of Photography at The New Yorker. For that class, we had to come up with half semester long documentary projects. I had no idea what story I wanted to pursue or how exactly to go about finding one. I was a competitive runner in high school in the suburbs of Pittsburgh, and one evening while trying to do research for a story for my class I was browsing a running website I used to look at during my high school days. I saw an article about a young Kenyan runner who was on scholarship running at St. Benedictโ€™s Prep in Newark, New Jersey. I was blown away by the times that he was churning out, so I decided to try to do a photo essay on him. With the encouragement of my professor, I went to one of his cross country races in the Fall of 2012 and approached Cheserek and his coach to see if they would be up for having me around. They both said it would be fine and that I could tag along to the races. Quickly after starting the project, I knew that this story wasnโ€™t going to end anytime soon.

Did you pitch this to the magazine?
A good friend and a fellow photographer, Jonah Rosenberg, connected me with the Director of Photography at Runnerโ€™s World, Amy Wolff, who immediately expressed interest in publishing the work.

Why did you choose to shoot this in BW?
If you have ever been to running or sporting events, you know that there are so many colors involved. As I started to shoot this project, it became clear to me that there were frames that just wouldnโ€™t work in color. Neon can be visually overwhelming and really distract the viewer from the subject in the frame. Shooting in black and white gave me the freedom to focus more on form and shapes and not worry about a neon jacket or jersey completely ruining an image.

Who funded this project?
This project was self funded. I had the feeling that Cheserek might become one of the great distance runners of our time and so I felt compelled to make it to as many races as I could over the past six years to see where Cheserekโ€™s career went. I was thinking of other great athleteโ€™s like Muhammed Ali and Steve Prefontaine, and the visual history of their careers. I felt that I was witnessing the rise of another sports icon.

The Daily Edit – Popular Science: Stephen Mallon

- - The Daily Edit

Popular Science

Photo Director: Thomas Payne
Writer:ย Rob Verger
Photographer: Stephen Mallon

Please read Crushed to Gloryย here

Heidi: Where did your affinity for shooting big industrial spaces come from?
Stephen: My interest in the ย human footprint in the landscape started when I was a teenager. ย I was shooting construction sites and runways as early is my junior year in highschool. ย Note to self, donโ€™t sit on the end of the runway just because it’s the best angle.
I began working with the human footprint after a trip to Niger, Africa in 2000 ย when my editors commented on which images were more marketable for licensing. I started concentrating on shooting landscapes that had more of an identifiable impact on the scene. ย I began shooting power lines, antennas, parking lots, construction sites, tree farms, whatever I came across during my travels. Around 2007 I was approached by a book agent that I met during a portfolio review that was interested in making a book of the work. ย I felt there wasnโ€™t a cohesive enough body of work yet so we came up with the idea to focus on the recycling industry in the United States. ย Ten years later I am still exploring recycling projects and the book is going to be published by Glitterati Editions!

What type of direction did you get from the magazine?
I worked closely with Thomas Payne and Rob Verger on the story. Thomas and I met at a portfolio review hosted by ASMPNY and fortunately the next issue ย he was working on was this issue on growth and decay which was a great fit for me. We started looking at my existing work and how to expand on it. In the end we didnโ€™t use any of the previous recycling images I had shot which IMHO is a good sign!ย  Rob (who wrote the story) was also extremely helpful both in the prep and when I was shooting because he was able to keep everyone engaged while I obsessed.

What was the biggest challenge you had shooting in that environment?
Most of the challenges were in the pre-production, getting ย the locations lined up. It took a few weeks of phone and emails to get the access granted.ย  Once we were in the main pressure for me was time. I always want to cover as much ground as possible.

What drew you to one of your first projects Brace for Impact: The Salvage ofย Flight 1549?
It was a historic moment because it was (and still is, almost ten years later) the only emergency crash in the water where there were zero casualties. Also while we were celebrating my wife’s birthday a guy at the bar asked “I wonder how they are going to get the plane out of the water.”ย  I realized I knew who might be involved.”ย  Weeks has the largest rotating crane on the eastern seaboard and it made sense that they could be involved. I called them and they were like, yea, we got the job, want to come down?

Was it toxic in the dumps?
As far as I know I still have ten fingers and ย ten toes.

In your recycling work, was the subway car project self assigned?
YES! ย I had begun working on my book American Reclamation ย and spotted the barge loaded with the subway cars in New Jersey. ย I approached Weeks Marine about including them in the project and they were happy ย to have me (as was the MTA) to have me involved capturing the work. I had no idea at the time how the images were going to resonate with such a broad audience.


The Daily Edit – The Drake: Darcy Bacha

- - The Daily Edit


The Drake

Designer: Mark Lesh
Photographer: Darcy Bacha

Heidi: How many years have you been doing this 6 week fishing/photo trip?
Darcy: Eric and I have been going up North for about 6 falls in a row now. I try to make it up during the spring as well, but that trip is usually harder to swing because of working as a snowboarding photographer. I did however get to spend some serious time on the Skeena this spring because of Eric’s Alignment movie project we worked on.

How did you meet Eric?
I randomly met Eric Jackson at a burger spot in Pemberton British Columbia, He’s one of the most influential back country snowboarders in the world.ย  We were both on snowboarding trips at the time, but naturally didn’t talk about snowboarding for a second. Within an hour of meeting we had already planned our first of many steel heading fly fishing trips to Northern BC.ย  the second time I met him was in Portland at the beginning of that said trip.

Have you sold many of the images from this trip?
As far as selling images, I always have my camera with me, I spend so much time fishing though it only comes out at very special moments.ย  Those moments usually end up in a magazine.

How long have you been shooting for The Drake?
I’ve been submitting images to them for probably 7 or 8 years now.ย  But I haven’t really done any assignment work until this spring for Alignment.ย Fly-fishing has always been my focus and the photography has really just been in the back ground. It wasn’t until this year I started realizing it could be incorporated into my annual income along with Snowboarding photography.

Have you always fished or did this start when you moved to the Pacific North West?
I’ve been fishing since I can remember. Some of my first memories are of splashing around in a creek with a net trying to catch minnows and crayfish. When I moved to the pacific northwest I discovered fly fishing.

How many photos did you trade for the fish?
HA! I feel like I’ve probably more likely traded fish for the photographs.ย  Although I like to think that every time I pick up my camera the fish probably weren’t gonna bite my fly then anyways.

Did you scout that opening shot and have that visualized?
That shot just came naturally. Me and my buddy’s go large mouth bass fishing in a local lake.ย  This just happened to be one of those mornings where I put down my fly rod and picked up the camera because the moment was so special.

Was this shoot part of your annual trip with Eric?
Well, it was more of a fly fishing tournament then a photography shoot, me and my dirtbag friends put on this 3 day bass tournament every year.ย  The conditions at this specific lake make for some pretty incredible foggy mornings.

The Daily Edit – National Geographic: Vaughn Wallace and Randy Olson

- - The Daily Edit

Cover illustration by Jorge Gamboa/Courtesy National Geographic

Photograph by Randy Olson / National Geographic.

After sheets of clear plastic trash have been washed in the Buriganga River, in Dhaka, Bangladesh, a woman spreads them out to dry, turning them regularlyโ€”while also tending to her son. The plastic will eventually be sold to a recycler. Less than a fifth of all plastic gets recycled globally. In the U.S. itโ€™s less than 10 percent.

Photograph by Justin Hofman / National Geographic
To ride currents, seahorses clutch drifting seagrass or other natural debris. In the polluted waters off the Indonesian island of Sumbawa, this seahorse latched onto a plastic cotton swabโ€”โ€œa photo I wish didnโ€™t exist,โ€ says photographer Justin Hofman.


Photograph by Randy Olson / National Geographic
Under a bridge on a branch of the Buriganga River in Bangladesh, a family removes labels from plastic bottles, sorting green from clear ones to sell to a scrap dealer. Waste pickers here average around $100 a month.


Photograph by Randy Olson / National Geographic
Trucks full of plastic bottles pull into a recycling facility in Valenzuela, Philippines. The bottles were plucked from the streets of metropolitan Manila by waste pickers, who sell them to scrap dealers, who bring them here. The plastic bottles and caps will be shredded, sold up the recycling chain, and exported.


Photograph by Randy Olson / National Geographic
Colored chips of plasticโ€”collected, washed and sorted by handโ€”dry on the banks of the Buriganga. About 120,000 people work in the informal recycling industry in and around Dhaka, where 18 million inhabitants generate some 11,000 tons of waste a day.


Photograph by Randy Olson / National Geographic


National Geographic: Planet or Plastic

Creative Director:ย Emmet Smith
Photography Director:ย Sarah Leen
Senior Photo Editor: Vaughn Wallace
Photographers: Randy Olson, Justin Hofmanย for images listed above

Heidi: How many countries and photographers were involved?
Vaughn: Our feature spans 52 pages and highlights photography from fourteen different photographers. The majority of the feature was photographed by long-time contributor Randy Olson, who shot nearly 50,000 photos across seven countries.

What was the time frame for this assignment as it involved so much travel for the photo team?ย ย 
Vaughn: Weโ€™ve been discussing the idea of a large feature focused on plastic around the world for years, but it really started coming together in spring 2017. Randy and I began a period of immense research in early summer, looking for locations where we could show the grand scale of plastic pollution. Shooting took place throughout the fall and winter, with Randy carrying a grueling travel itinerary between multiple countries until late January. In early February, Randy returned to NG headquarters in Washington DC, where we spent several days together editing his entire take, presenting his coverage to the magazine staff and beginning work on the print and digital layouts.

How has your daily use of plastic changed after this project?
Vaughn:During my research on the story, one expert recommended practicing what I came to understand as โ€˜plastic mindfulnessโ€™ โ€“ being hyper-aware of how the material has permeated every aspect of our individual lives. One morning, I began to count the number of plastic objects I interacted with, from the moment I woke up to when I walked out the front door. I touched 73 plastic objects in about an hour: everything from the buttons on my shirt to the orange juice container in my refrigerator, the shower curtain and the toilet seat to the snaps on my backpack and my phone charger.

Once you become aware of the scale of plastic waste around the world, itโ€™s hard not to think about the impact of your own consumer choices. It isnโ€™t a matter of cutting plastic out of your life completely as much as reducing extraneous plastic day-to-day. When ordering a soda at a restaurant, ask the server to not bring a straw. When buying just a few items at the supermarket, refuse the plastic bag. So much of our consumer plastic waste is born out of small, mindless convenience.

Working on this project also made me more aware of larger lingering questions. If plastic bottle caps will sit for hundreds of years in a landfill, why are we throwing them away after a single use? If certain colored dyes make a plastic less recyclable, why should we dye plastic at all? In what world do we need to wrap a single banana in plastic film? As depressing as the scale of the problem can sometimes be, thereโ€™s tons of potential for future change.

National Geographic’sย Planet or Plastic?ย campaign is a multi-year initiative aimed at raising awareness of the global plastic crisis and reducing the amount of single-use plastic that is polluting our world’s oceans.

I know you’ve done extensive work with National Geographic, whats was directive from the magazine for this feature and what did you hope to share with the world as a photographer?
My directives from NG have always been open endedโ€ฆ stories like the Pygmies are losing their forestsโ€ฆOR the Ogallala Aquifer is being depleted. My friends and family accuse me of being Mr. Gloom and Doom for all the facts I have filed away when I tackle a story with difficult issues. A big factor in survival as a National Geographic photographer has always been the ability to research and resolve your own narrative. Itโ€™s the only magazine I know that gives photographers that level of freedom.

So, of course, the catchlines weโ€™ve all been seeing this last year like: โ€œThere will be more plastic than fish in the ocean by 2050โ€ OR only 9 percent of plastic waste is recycledโ€”these were part of my thinking. But the focus of the first @natgeo Instagram posts is my main narrative:ย There are millions of slum workers around the world involved in an informal plastic waste industry that is โ€œalways hiring.โ€ This third-world โ€œgold rushโ€ to process plastic waste is an economy with no end in sight. One big reason this will continue is the shale oil boom – companies that are in the early years of gearing up โ€œcracker plantsโ€ that โ€œcrack”ย ย frack-gas-molecules into mostly single-use-plastic for food packaging. Plans are in the works for more cracker plants that will push peak plastic production all the way out to the year 2100.ย Despite growing concern and much discussion in the media this past year, these corporations plan for more and more single-use-plastic in our lives.

With burgeoning populations and ramped up plastic production, the only way to reduce plastic waste is to consume less. The zero-waste movement is more established in Europe, but there is a USA vanguard. I photographed a zero-waste-blogger who managed to accumulate only one jar of landfill trash over the last two years She adheres to the movementโ€™s mantra: Refuse, Reduce, Re-use, Recycle, Rot (Compost). In her world recycling is a last ditch alternative to Refuse, Reduce and Re-use.

Are you editing as you shoot each location? The images have a haunting beauty to them, were they difficult for you to to review due the large human imprint we have on the planet.
Yes, I edit as I go along because ultimately I am story boarding a small movie (the movie never is shot but the still pictures need to relate to each other and move the narrative along). So as I shoot and edit day by day Iโ€™m looking for bullet points that are missing from the narrative.ย When I returned from the field, my editor, Vaughn Wallace reviewed the entire take to weigh in on the strength of the images, and we worked together to select photos that build continuity to the story.

Did you have any challenges photographing your subjects in the more rural areas?
I was mostly in the slums and dumpsites of megacities but everyone couldnโ€™t be friendlier. The only bad street vibe I got was in Freeport TX where I photographed aerials of a cracker plant built in a precarious site at sea level. My heart went out to aย plastic worker in Manila who wasgreeting mourners at a funeral on the street. His wife (also a plastic picker) was in a shrink wrapped plastic coffin that sat on a street in the middle of the city’s informal plastic waste industry. And photographing artisanal trash picking at dump sites is very dangerous. Many workers have died as they try to pick scraps of plastic while standing on top of a load as it shifted by a huge track hoe. Walls of trash can collapse and bury people, and I needed to be right next to pickers when they are working.

You’ve been documenting stories for National Geographicย for sometime and have founded the The Photo Society, what made this assignment stand out for you?
I am amazed by the magnitude of plastic. It was difficult thing to show size and scale and amounts of trash. I wanted to photograph people in relation to the plastic In hopes that it would not add to compassion fatigue about global problems.

How was your daily use of plastic changed after this project?
We live in a world of too many people with too many needs so many of my stories revolve around how resource extraction screws the little guy or the environment. So the idea of getting rid of plastic waste is fraught with problems. What helped me understand how to do this in my life is the zero waste movement in Europe. This charge is being led primarily by young women who are tired of the abuses of consumerism. They educate anyone who is interested in a very kind way, that, for example, adopting a zero waste lifestyle can save you money, time and reduce the plastic waste in the world. So I bought a tin for toothpaste because tooth paste tubes (like potato chip bags) have so many layers of materials they can never be recycled.ย We recycle and compost for the last 20 years, but we always wondered if it mattered. I realized I needed to do more. My wife bought beeswax resin cotton cloths that we are using instead of plastic wrap for food storage.ย I bought a stainless container to take to restaurants for carry out. I bought a really cool red double walled titanium coffee container to take to coffee shops. These items in anyoneโ€™s personal life means they arenโ€™t buying one-use-plastic that becomes trash in a matter of minutes. The one hard part of recycling is knowing only 9 percent is ever turned into plastic objectsโ€ฆand now there is more pressure and fewer options since China stopped taking a lot of our plastic waste.

Peloton Magazine: Paolo Ciaberta

- - The Daily Edit

Peloton Magazine

Creative Director/Photo Editor: Tim Schamber
Photographer:ย Paolo Ciaberta

Heidi: How did the project come about and is this the first time you’ve worked with Peloton?
Paolo: My first collaboration with Peloton was in 2014, I proposed a reportage about the cycling path from Venice to Turin along the Po river. The Morocco trip my friends and I were looking for a ride in an exotic place but not too far from Italy where I’m based so it was a perfect opportunity.

How long did the trip take?
Due to work commitments we decided on 7 days for the entire trip. One day of transportations and six days to ride. Average 80-90km/day, not too much because we don’t want to only pedal but also discover people and places.

Do you often ride, write and shoot?
While I wrote the article, I’m not a proper writer but in this instance I tried to communicate my experiences and sensations, in addition to some technical details. For longer and more articulated articles I prefer to work with professional writers.

How difficult was the photo edit and approx how many images did you take?
More or less 600 images for the entire trip. There are two different aspects that I consider while editing.ย  First is selection of the images and second the post-production; I don’t like too much elaboration on my pictures.ย  I make little adjustment of levels, lights, shadows and contrast. I think that photo reportage should be real as possible, too much editing makes images artificial or constructed.ย  The trick is to find the right balance and choose the photos that best describe your work

Was it difficult to protect your gear from the travel/weather?
After years of experience I’ve achieved a good level of protetcion for my equipment, Olympus Italia provided me an excellent mirrorless camera (Pen F) that is easy to transport due to its small size but also resistant to bad weather. Basically the biggest problems during bike packing trips could be dust, rain, condensation and vibrations. Rain in Morocco is rare but dust and condensation could happen, a good plastic bag with smaller little salt bags solve the problem and you can go everywhere. Furthermore I use little stripes of foam rubber to avoid the vibrations when the camera is in the bags.


The Daily Edit – Rollacoaster: Justin Campbell

- - The Daily Edit

Rollacoaster Magazine

Fashion Stylist:ย Morgan Pinney
Photographer: Justin Campbell

Heidi: What type of direction did you get from the magazine?

Justin: I loveย working with Rollacoasterย because they give you a lot of creative freedom. The concept we came up with was this idea of “Summer in Suburbia.”

Describe the shoot, it looks like you two were simply hanging out.ย 
Cameron and I have shot a lot together, (below is an image from a previous shoot) so in a sense it felt like that when we were working, that we were just hanging out.ย  We wanted the story to feel like it could be Cameron’sย parallel life as a 23-year old inย the suburbs (If he wasn’t one of the highest followed influencers and world famous).ย The stylist Morgan and I wanted the clothing to feel like they could be pieces from Cameron’s own wardrobe. The house we rented feltย like it could be Cameron’s home.



Did you direct him at all?
Every image is orchestrated. What is amazing about Cameron is the spontaneity and playfulness he brings to set. I find that the final picture always exists somewhere between what was in your head before the shot and what the subject brings to the table. I’ve always approached my work as a living dialogue between my ideas and the person I’m shooting.

Did you think twice about what to wear?
I wear a uniform everyday. I own 40 of the same black t-shirt and 6 pairs of the same black jeans. I only switch up my shoes and jackets. When I’m working I don’t want to have to think about what I’m putting on in the morning.

Was this your first shoot with Rollacoaster?
This was my first shoot with Rollacoaster. We have a lot more coming out soon!

Where is the magazine based?
The magazine is based in London. My favorite city!

How many covers have you done with Cameron?
This is the third cover Cameron and I have shot together. He is a great friend and collaborator.

Do you skate?
I don’t.


The Daily Edit – Airbnb Magazine: Gabrielle Sirkin

- - The Daily Edit


Airbnb Magazine

Creative Director: Michael Wilson
Director of Photography:
Natasha Lunn
Contributing Photo Editor: Katie Dunn
Senior Photo Editor: Gabrielleย Sirkin
Art Director:ย Mallory Roynon
Designer: Lisa Lok

Heidi: Tell us about the magazine, how often does it come out and where can we find it?

Gabrielle: Community is at the heart of Airbnb and the magazine is a place where readers can feel at home in the world. We cover authentic travel around the globe, with the aim of uncovering hidden gems through our Airbnb hostโ€™s insights and inspiring people to travel the way locals live. We try to embody those visceral moments through visual storytelling. The Spring 2018 issue is our third issue with three more this year. Airbnbmag is print and digital, distributed to the Airbnb community globally and can be found on newsstands in North America.

What are you looking for in someone’s work?
Natasha Lunn, our Director of Photography, Katie Dunn, our Contributing Photo Editor and myself (Senior Photo Editor) make up the photo team. We are looking for someone with a unique point of view who can photograph experiences with a sense of spontaneity and authenticity. We want the viewer to feel engaged and inspired. We also bring a diversity to the photography by using photojournalists, documentary, fine art, street and landscape photographers. And whenever possible, we try to use local photographers in the regions we are shooting.

Is the entire magazine shot?
I would say about ninety percent of the magazine is original photography. For us, the magazine is so much about the community and people that we often go deep into these cultures seeking out the undiscovered.

Are you assigning these stories or are photographers coming with pitches?
Weโ€™re assigning based on writerโ€™s stories but also approaching photographers who may have ideas for beautiful photo essays with a unique point of view ย that can speak nicely to the Airbnbmag reader and community.

Where are you searching for photographers since youโ€™re in the global arena?
Thatโ€™s a good question! I must say, largely Instagram. So many photographers are using the Instagram Stories feature to inform editors of their whereabouts. Weโ€™ll also look at global, regional and online publications, which are always great resources for discovering local talent.

Do you work with satellite photo editors?
The photo team is made up of Natasha Lunn, Director of Photography, Katie Dunn Contributing Photo Editor and myself, Senior Photo Editor. Natasha and Katie work from the New York Hearst office and I work remotely from LA (where I live). When Natasha was brought on to launch the magazine, she asked me if Iโ€™d want to join and of course I jumped at the opportunity. Natasha and I used to work together at More Magazine a few years back (which has since folded) and work very well together. It makes the bi-coastal relationship really fluid and strategic especially when dealing with different time zones and global production. Katie has great travel related photo editing experience, so weโ€™ve been able to direct and produce the magazine by collectively pulling all our resources together!

Do you use Instgram to source talent?
I discovered photographer Julia Sellmann on Instagram. We absolutely loved her work and asked her if she was working on any personal projects that would be nice for the Spring 2018 issue. She proposed a continuation of her project on the Mongal Dosha, a somewhat complicated and controversial system of beliefs in India. We sent Julia to Jaipur, Tarapith and West Bengal for ten days to document the Mongal Dosha (a condition where if the planet Mars is in a certain position in a womanโ€™s birth chart, it could have negative impacts on the success or failure of a marriage) and the Indian astrologers who are consulted prior to the marriage. She did an incredible job of capturing a relatively abstract concept of beliefs and myths in a visceral way. The body of work is lyrical and transcendent.ย 

The Daily Edit – Entreprenuer Magazine: Andy Isaacson

- - The Daily Edit

Entrepreneur Magazine

Creative Director:
ย Paul Scirecalabrisotto

Photography Director:ย Judith Puckett-Rinella
Photographer:ย Andy Isaacson

Heidi: How many days were on location?
Andy: I was in Puerto Rico for 4 days.

What was the most challenging obstacle during the shoot?
The fact that much of the compelling action in the story (the actual hurricane relief and recovery work that the subject of the story was involved in) had already taken place several weeks before I arrived! So I really didnโ€™t know what Iโ€™d be able get on the ground โ€“ basically, I was winging it. As it happened, I spent most of the time joining the subject of the story for casual meetings with people in unremarkable locations, so I just had to grab pictures along the way: from the rooftop of an office building in Old San Juan after one meeting, inside an office within the Governorโ€™s mansion on another occasion, etc.

Had you been to Puerto Rico before? Did you have a guide on location?
Iโ€™d never been to Puerto Rico before, and I leaned heavily on my guide, who was also the subject of the storyโ€“ Jesse Levin, an entrepreneur and volunteer disaster relief worker. I shadowed Levin as he bounced around San Juan to different meetings, but heโ€™d also arranged for me, as the author of the story, to meet characters that might be helpful sources. On my last afternoon he drove me through the islandโ€™s rural interior, and we poked around the mountains, which still bore plenty of evidence of the stormโ€™s wrath.

What was the direction from the magazine?
None, really. As the reporter and writer on the story, I was also driving the photography on the fly. However, there were two essential shots that I wanted to come home with: a portrait of Levin, and an image that conveyed the hurricaneโ€™s devastation (which was not so easy to find in the capital, four months after the storm, where I did all of my reporting). On our drive through the islandโ€™s mountains, on that final afternoon, I finally was able to get my portrait of Levin, in the late afternoon (in between rain showers), and also, fortuitously, that pictureโ€“from the side of a mashed up roadโ€“ that conveyed the hurricaneโ€™s damages.

You are often a photographer/reporter for projects, what other tasks do you find yourself doing?
Carrying house plants into the Puerto Rican Governors Mansion was different. My subject has been granted permission to redesign a government innovation office in an effort to make it more reflective of SF startup culture.

The Daily Edit โ€“ Wired Magazine: Jake Rowland

- - The Daily Edit

Creative Director: David Moretti
Design Director:
Ivy Simones
Photography Director:ย Anna Alexander
Deputy Design Director:
Frank Augugliaro
Photographer:ย Jake Rowland

Heidi: The blurred lines between fact/ fiction, fake news are the essence of your work. Tell us how this cover came about.
Jake:ย The Mark Zuckerberg cover for WIRED came about when the deputy design director of WIRED Frank Augugliaro contacted my colleague David La Spina at Esto, who I’m working with on a new digital imaging studio in New York called Light Manufacturing, and he recommended me for the job. The team at WIRED– David Moretti, Frank, Anna Alexander- wanted a portrait of Zuckerberg looking beat up to reflect the beating he was taking in the media post-Trumpโ€™s election. I didnโ€™t know the details of Nicholas Thompson and Fred Vogelsteinโ€™s article but was already well aware of Cambridge Analyticaโ€™s interference in the election via Facebook through my activism in New York. So it was very exciting to create the piece. I really could not have hoped for a better editorial project since the topic of โ€œfake newsโ€ and fact vs. fiction online dovetails perfectly with my digital composite work in portrait photography.

The team at WIRED was amazing to work with and the cover took about a month to complete. The final image is a composite made up of four different photographs: two stock photos and two photographs I shot myself. I hired two models and did the โ€œbeat upโ€ make-up myself. I used my photos for the sweat, blood, bandage, etc. and the stock was the main image of Zuckerberg with some manipulation to shape his expression.

Tell us how this style developed for you.
When I started to work with photography I experimented with double exposures, darkroom manipulation, collage and finally began working with Photoshop. It was a natural progression in my personal work over many years. Iโ€™ve also been a professional retoucher for over a decade in New York and have worked on a wide variety of mainstream commercial and advertising imagery.

Describe the space between photography and technology for you as an artist.
Quick answer: there is no space between technology and photography. Photography is a technology through which we express a vision of our humanity. That said, the combination of photography and digital media is an extremely powerful tool that can shape that vision in subtle and profound ways.

Do all of your portraits involve a casting and a shoot?
No. I mainly work with family and friends in my personal work.

Fact and fiction are blurred with this type of work, how much of what you create is commentary on our media landscape?
I became interested on making a statement about the line between fact and fiction in photography with my family photos starting around 2004. I felt that creating seamless, extremely life-like fictional photographic portraits and making large scale, detailed prints the viewer could walk up to and be convinced what they are seeing is real would be a flash-point for creating a dialog on the subject of fact/fiction in photography, digital media and other technologies as well. Lately, bio-technology is an area that I think about a lot with regards to this work. Thatโ€™s an area that is obviously going to be rapidly developing in very unpredictable ways in the very near future.

In your eyes, are there any truthful images in the media?
The jury is out on that one.

The Daily Edit – The Red Bulletin: Jim Krantz

- - The Daily Edit

The Red Bulletin

Fritz Schuster: Head of Photography
Creative Director: Erik Turek
Art Director:ย Kasimir Reiman
Photo Editor: Rudi Uebelhoer
Photographer: Jim Krantz

Heidi: What was the biggest challenge for this type of shoot?
Jim: Finding my lost cards in the desert dust after 2 days of shoot in degree+ temperatures. Thatโ€™s its own story!

Was weather and issue? Sand isnโ€™t friendly for cameras.
My equipment was trashed, its ok, they are only tools. I love rental equipment

In a few words describe the Wasteland weekend festival and why is was so inspiring to shoot.
The high level of creativity in each persons individuality was spectacular, these alter egos created became the person for the duration of this post apocalyptic festival. This is a very enigmatic situation to experience, the cars and personalities are haunting and intimidating yet the warmth and camaraderie between all involved is all for one, one for all. I just loved being a part of it.

Did you also camp at the festival?
I did not, the process of making a โ€œcampโ€ is also part of the process, I was a transient observer.

What kind of direction did you get from the magazine?
โ€œJimmy, shoot a story that you love and do what you doโ€

With so much visual appeal how did you decide what to shoot?
The event is a kaleidoscope ย of ย visual candy. Every where, in every direction there were shots to consider. The difficult aspect is not simply making a photograph that is โ€œbizarreโ€ because on the surface, ย every image that flashes by is as such. Photographing in these overwhelming situations must go deeper, on a more narrative or personal level of the subject. Its simple to shoot a documentation of a person, but what are they feeling and thinking, is this a moment of repose or reflection? Then the images become individualized. A question I ask myself when I work is would the photograph be as good if they were not dressed in what they are wearing? For me it is very important to ease into the situation, strip away the wild surface of the event and see what is happening as if they were not in the regalia – thatโ€™s when the photos happen. This is a very important concept I consider whenever I shoot and that allows me to strip away the obvious and see what is really beneath the surface