Posts by: Heidi Volpe

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: GabrielleĀ Sirkin
Art Director:Ā 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 hostā€™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?
Weā€™re assigning based on writerā€™s stories but also approaching photographers who may have ideas for beautiful photo essays with a unique point of view Ā that can speak nicely to the Airbnbmag reader and community.

Where are you searching for photographers since youā€™re in the global arena?
Thatā€™s a good question! I must say, largely Instagram. So many photographers are using the Instagram Stories feature to inform editors of their whereabouts. Weā€™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 Iā€™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 weā€™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 womanā€™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.Ā 

The Daily Edit – Entreprenuer Magazine: Andy Isaacson

- - The Daily Edit

Entrepreneur Magazine

Creative Director:
Ā Paul Scirecalabrisotto

Photography Director:Ā Judith Puckett-Rinella
Photographer:Ā 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 didnā€™t know what Iā€™d be able get on the ground ā€“ 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 Governorā€™s mansion on another occasion, etc.

Had you been to Puerto Rico before? Did you have a guide on location?
Iā€™d never been to Puerto Rico before, and I leaned heavily on my guide, who was also the subject of the storyā€“ Jesse Levin, an entrepreneur and volunteer disaster relief worker. I shadowed Levin as he bounced around San Juan to different meetings, but heā€™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 islandā€™s rural interior, and we poked around the mountains, which still bore plenty of evidence of the stormā€™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 hurricaneā€™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 islandā€™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 pictureā€“from the side of a mashed up roadā€“ that conveyed the hurricaneā€™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 ā€“ Wired Magazine: Jake Rowland

- - The Daily Edit

Creative Director: David Moretti
Design Director:
Ivy Simones
Photography Director:Ā Anna Alexander
Deputy Design Director:
Frank Augugliaro
Photographer:Ā 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:Ā 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-Trumpā€™s election. I didnā€™t know the details of Nicholas Thompson and Fred Vogelsteinā€™s article but was already well aware of Cambridge Analyticaā€™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 ā€œfake newsā€ 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 ā€œbeat upā€ 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. Iā€™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. Thatā€™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:Ā 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. Thatā€™s its own story!

Was weather and issue? Sand isnā€™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 ā€œcampā€ is also part of the process, I was a transient observer.

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

With so much visual appeal how did you decide what to shoot?
The event is a kaleidoscope Ā of Ā visual candy. Every where, in every direction there were shots to consider. The difficult aspect is not simply making a photograph that is ā€œbizarreā€ because on the surface, Ā 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 – thatā€™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



The Daily Edit – Wired Magazine: Amy Silverman

- - The Daily Edit




Design Director: Ivylise Simones
Photography Director: Anna Goldwater Alexander
Photo Editor: Amy Silverman
Art Director: Ben Bours
Photographer: Nik Mirus

Heidi: Tell us about the sets.
Amy:The sets were made from pieces of plexiglass with colored paper or gels placed on them. We worked with a flat sheet of plexi with various colors of paper under it and then they placed the squares that were upright for each individual shot

What was the evolution of this idea, did it start one way and then evolve?
We started with a few different ideas- and i have to say this is one of the most collaborative issues Iā€™ve ever worked on. We knew we were doing a special ā€œlife issueā€ broken down into various stages of oneā€™s life (but including pre-birth and post-death). So the art department met a lot to talk about various ideas that were photo based and illustration based. We all brought ideas to the meetings with reference photos from different artists and across different styles. Eventually, art directors Ben Bours and Mike Ley put together a beautiful presentation for our editors that went through 3 different possible approaches we had agreed on. We called them Organic, Cellular, and Discovery and Decline. Each treatment had its own fonts and artists and colors associated with it. All focused on progression and stages and metamorphosis. When you are thinking about life and death itā€™s hard to avoid well worn metaphors so we decided to embrace them. Eventually we decided we wanted to use a photographic approach, our ā€œorganicā€ treatment. Our creative director, David Moretti, who left WIRED right as we were shooting, was excited about using flowers as a way to show the stages.



How long did they take to build?
We shot the cover plus the four chapter openers over two days. the cover taking most of one of those days. So to place the flowers and the evolving structure took only a couple hours for each shot because we had sketched it out and had a very clear idea of how each page would look.

How did you decide on what flowers to use?
Flowers were chosen for each stage of life based on their shape and color and the state of their flowering. We wanted it to feel like it was becoming more lush and complex as it went through the stages and then becoming more pared down in the final stage. The first stage 00-12 was elemental/simple shapes and not a lot of colors- no flowers, just hints of buds. 13-26 we really wanted to be about these simple flowers beginning to bloom- as well as the colors being bright and vibrant. 27-54 we wanted to be the most complex- referencing fullness of life and social networks- we brought in the most flowers here making it more lush, overflowing, bursting forth with more saturated colors. 55-death and beyond we wanted to circle back around to less complex shapes and colors and to bring in the idea of decline. We also grafted an orchid onto a tulip as a nod to science and the extended possibilities afforded to us through science and technology.

The cover was an encapsulation of this idea of progress/evolution/layers. We were trying to contain all of the chapter openers into one idea. The orchid felt like a natural choice here- with itā€™s intricate/complex shapes and as a reference to vitality. We wanted it to feel very alive and moving its way through different layers.

What direction did you give to the photographer?
As soon as we decided to go the photographic route, we got the photographer on board to bring his ideas into it. Nik had shot for WIRED once before and we loved his approach. He had a previous project that we looked at because it combined materials that felt futuristic with something that is somewhat timeless- maps. We went to him with the idea of the organic (flowers) and the use of the layers of plexi or some material that spoke to structure and technology. There were many discussions back and forth with sketches and reference pictures. We knew we wanted certain elements- transparency, layers, playing with optical illusions. We knew we wanted to use real flowers and build most of the effects in studio so that you see real shadows and reflections. We also knew we wanted the evolution to occur on various levels- so the changes are happening with the plexi structure that becomes more complex throughout, the colors loosely going from light to dark/summer to winter, and the placement of the text on the page moving as well. Nik has a set designer that he works with very closely, Camille Boyer, who was in all the meetings and had great ideas about how we could create shapes with the plexi and what kinds of flowers we might use. Especially for the cover- Camille suggested using a box with a layer of plexi in front of it that we could shoot into creating a really nice depth and the super vibrant colors.


The Daily Edit – AFAR: McNair Evans

- - The Daily Edit


Afar Magazine

Director of Photography: Tara Guertin
Photo Editor: Lyn Horst
Design Director: Jason Seldon
Photographer: McNair Evans


Heidi:Ā How long where you down south?
McNair: When AFAR Magazineā€™s Director of Photography, Tara Guertin, received a story pitch about a Thelma & Louise style road trip through North and South Carolina, she emailed me immediately. Tara knew that Iā€™m from North Carolina originally and had hired me for a project there four years earlier. AFAR Magazine takes an off-the-beaten-path approach to travel and photography. To provide in-depth glimpses from remote locations, Tara strives to find local photographers who will share a true sense of place rather than an outsiderā€™s perspective. Not only did this story traverse my teenage haunts, it was pitched by British journalist Emma John, with whom I worked in 2012 on a project titled Playing By The Heart. Tara wanted to know how soon I could schedule the shoot. Working with an assistant to help with driving and equipment, I scheduled five days to retrace the storyā€™s route and make pictures that would share the authorā€™s experiences as well as my own sense-of-place as a native Southerner.

Was this a road trip?
The story Two For The Road consists of first-person experiences and revelations along an 800-mile road trip through the American South. Beginning in Charlotte, North Carolina and driving east to Pawleys Island, South Carolina, Emma and her host Genny crossed the Eastern Coastal Plain, a sandy, prehistoric sea floor currently quilted with large-scale commercial farms and dilapidated agricultural towns. From Pawleys Island they traveled south through tidal washes of the Atlantic Ocean and to the colonial cities of Charleston, South Carolina and Savannah, Georgia. Finally they drove northwest into the Appalachian Mountains for a visit to Gennyā€™s home and to conclude their trip in Charlotte, NC.

While road trips have long been the means and subject of American photography, photographers have mostly focused on expansive geography in the American West, notions of Manifest Destiny, and isolation or dislocation of photographers navigating disparate locations. This trip was different. The route circled through places often overlooked or challenged me to find greater significance through a manicured veneer of historic preservation.

How do you string together your narrative arc for these travel stories?
Emma had not yet written her story and would not be able to return to the United States to accompany the shoot. Instead we connected via Skype so I could learn more about her personal experiences and her vision for the finished piece. I needed to know the locations she had visited, where she had stayed, and the people she had met. Emma shared specific encounters with people and places, and I extrapolated the broader significances of these anecdotes. I was interested in the relationship between Genny and Emma and what they had learned while traveling together. What feelings did particular encounters evoke and how did their perspectives change throughout the trip? In addition to photographing their itinerary, Tara provided key restaurants and activities that might accompany the article. I made two lists. One consisted of specific places and activities and the other outlined broader themes, such as complex social remnants of a plantation society, challenging gender roles, race relations, social privilege, and generational expectation. My narrative goal was to find the latter in the former while maintaining a sense of discovery and movement through the landscape.

How many of these are set up shots and how many are you observing?
While trees, mountains, and buildings may not visually acknowledge the presence of a photographer, most people do. The idea that I might photograph people, regardless of how discrete, without influencing their behavior is something Iā€™ve mostly given up. In most cases I prefer an opposite approach that begins with my introduction and explanation. Once a scene or scenario unfolds, I tend to photograph with little, if any direction. Portraits of individuals and still-life images often require complete direction. Otherwise, the instant a person realizes that they are being observed can provide a pictureā€™s punctum. In this last scenario, I then explain my presence and intention in order to receive their permission to publish the image. This project required a variety of image making processes, from completely set up shots to found objects and fleeting moments.

Did the writer wrangle the subjects?
Emma, the writer, was in another time zone and on a different continent, so ā€˜the subjectsā€™ were subjected only to direct enthusiasm and mutual respect from my assistant and me. I mean, projects like this, when a photo editor provides a loose shot list and then instructs, ā€œjust go and do your thing,ā€ are a complete dream. Sure, all the details regarding where, when, who, and how to shoot become my responsibility, but with that comes the creative freedom to explore metaphor, symbolism, and allegory within every shoot scenario.

Tell us about the sharing a ride component, how did you address that photographically?
To photograph six cities and 800 miles in five days is no joke. Luckily Mark Quinnes, the San Francisco-based photographer who assisted me on this project, was a quick study on driving manual transmission. Mark would drive between locations and when the light was good. Iā€™d look for interesting stops along the route or photograph through a sunroof. Each night, while downloading and backing up the shoot, weā€™d use the internet to search local newspapers and websites for interesting events during the days ahead. Mark would drop these onto a Google map previously loaded with our itenary. Weā€™d always have a destination, even if just finding unexpected photographs along the route was our main objective.

The main character of this story, Genny, Emmaā€™s road trip partner, met us on the last day. I rode shotgun while she drove and told stories connecting landscape to memory. We visited the site where she was born, her school, a favorite diner, and a site-seeing spot she believed Mark and I would enjoy. Using photography to simply illustrate a story has never interested me much, so a literal picture of her driving didnā€™t really appeal. Instead, I looked for pictures that might feel like shared moments between her and the absent author. I made pictures that might communicate her belonging, abandonment, and perhaps rediscovery of the place she defines as home.

How were you received in these out of the way places?
Born in Daly City, CA, lovingly dubbed Little Manila by its large Filipino population, Mark had never been to the American South. Likewise, most of the people we photographed had never seen a Filipino. As if cued by a teleprompter, approximately thirty-minutes into each shoot the same question arose in a slow Southern drawl, ā€œExcuse me, but where are you from?ā€ If inquirer was female and over the age of 65, theyā€™d quickly justify the question, ā€œYou are so handsome.ā€

Back in the Bay Area and sharing stories from our shoot, a fellow photographer asked how we could spend so much time with ā€˜those types of people,ā€™ ie. people so different from us. Rarely are people as binary or different as they appear from afar. Photography, like all art, provides a vehicle and voice to cross these divides. The history of slavery and a persistence of plantation ideology certainly clouds the American South, as well as many places across the United States, but collective guilt and shame can unite us in action as much as they separate us in anger. Photography might not be capable of really changing the world, but at least assignments like this one provide an opportunity to describe underlying nuances that define how we see each other.

The Daily Edit – Trupal Pandya: Tribal Portraits

- - The Daily Edit

Trupal Pandya: Tribal Portraits


Heidi: What is your process for gaining trust in these different subcultures?
Trupal: When I am traveling, I make an effort to be accepted and slowly assimilating their ways of life. The first few days that I spend with them I don’t photograph them, but instead wait until they accept and understand why am I there. Sometimes, this would mean I liveĀ with them inĀ their houses, sleep where they sleep,Ā eat what they eat andĀ talk to them, show them my work from other parts of the world so they understand what am I there to do. It’s about making a connection. It’s very important to me that they feel comfortable and let their guards down before I start photographing them. I also carry a Polaroid camera which is my only camera for the first few days so I could share my photos with them. I feel if your intentions are right, people can sense it. I am also a big believerĀ ofĀ the universal language where one doesn’t need words to communicate.

You mention “when your intentions are right” what are yours?
I find it more important now than ever to spread awareness of all that is contained in these precious tribes.Ā I believe that man was meant to live on the earth, joyous and free, in harmony with his surroundings. These are qualities Iā€™ve seen in the Konyak, the Huaorani, and the people of the Omo Valley.Ā  Installed in all these tribes that are slowly being dissolved, is a peace of mind and heart that the people of the industrial societies are forever longing for.Ā Ā It is ironic that the cycles of civilization have us forever coveting the lives of others.Ā  The people of the western world, after centuries-long reliance on technology, are now beginning to look again toward nature. Herbal medicines, organic, sustainable farming and even wild foraging are coming into vogue in the major cities. Meanwhile, for these tribes there are repercussions of invading philosophies, removing from the ā€œprimitiveā€ people their methods and magic, and their sacred ways have now been replaced with antibiotics and accusations of ineffectiveness and unsophistication. When the day comes that the developing nations find that modern is not always better, will the knowledge still be there when they return to seek it?Ā I donā€™t know if it will, so it is with great care that I do my best to fulfill this inherent feeling of duty, this calling, that through my photography I may lend a voice to those who canā€™t always speak loud enough for others to listen. What I hope to be heard is, that no matter what the opinion may be of certain rituals or ideals, as a whole these communities, closely tied to the earth, closely tied to the wellbeing of their tribes as a whole, embody a greater happiness and wealth than could ever be found in the isolating madness of the material-driven world.Ā 

.How do theses tribes benefit from your work?
I donā€™t really think I go there to benefit the tribes specifically, nor am I there to change the way they live or stop them from changing. I donā€™t think I am anyone to decide who changes and who doesnā€™t. What might seem like a loss of culture to you and me might be a better way of living for them. More facilities and a brighter future. I am not sure if my work benefits a particular tribe. What I am there to do is honor their culture and preserve a record of it so that it can benefit our whole human family.Ā 

How much time do you spend with a group before you pull out the camera?
I usually spend 3-4 days with the tribe before I take out my camera. However, I use my polaroid sooner.
What tools do you use to make sure they don’t feel exploited?
I have a very close bond with every tribe I have photographed. I have made it a point to go back to them and give them back their photographs, do small exhibits for them in their villages. A lot of the people I have photographed have seen themselves on a printed form for the first time. It’s extremely rewarding. Hitting a shutter is only 5% of my job. I feel there’s a lot more than that. I don’t necessarilyĀ have any tools. It’s all family for me.
Tell us about the other 95%
A lot of research and planning. Finding the right person who speaks the right languages and understands what I do so they can convey my messages to the people I am photographing and get me access to certain places. Thereā€™s a lot which happens after I photograph them. I am very sensitive about where my photos go afterward, how are they printed and how are they presented. Their journey doesnā€™t end till they reach where they belong.Ā 
If the roles were reversed, would you be open in having someone live with you and document you as well?
Yes, absolutely. My life goal is to have an exhibition in a space which has hundreds of portraits of people from around the world on a white backdrop. I want the distractions of culture and geography to fade into the background. I want to have no name tags, no location, no country name and call the exhibition ā€˜Human.ā€™ Arenā€™t we all the same in the end? Of course, I would let someone come to my house and let them document my life.

The Daily Edit – Dan Tobin Smith: Alphabetical

- - The Daily Edit





Alphabetical:Ā  Dan Tobin SmithĀ 

Heidi: Is there a secret message/anagram in the letter forms youā€™ve photographed thus far?
Dan: No, but its funny being able to spell more words each time you make a new letter, especially rude ones!

Where did your love of type come from?
I think there is something very satisfying about making the form of type but in reality. The form exists already so in a sense you are just filling in, and that can be done in so many ways.

Typographically what inspired you to create the 16 letters thus far?
They are all Helvetica, although they have been distorted somewhat in their photographic interpretation. I wanted to use a simple font that acted as a conduit for the different treatments. Sometimes there is a reason behind the letter and the content and sometimes thereā€™s no reason apart from visually I thought they would work together.



All are stunning though I particularly enjoyed the textural and tactile quality of X. How did that specific idea develop?
We (the set designer Nicola Yeoman and I) liked the idea of marking a spot and we thought marking by cutting open would work with wood really well. Once it was done, it presented lots of visual opportunities by changing light and perspective.

Was there a thrill to the destruction into something beautiful for the X?
It was definitely fun watching it take shape from an outline in masking tape!

For your mesmerizing film T, how big of a space did you need for that?Ā  and what was the genesis of this piece?
The space was a railway arch in Shoreditch, East London. The letter T is symmetrical back to front, ie you can flip it horizontally and it looks the same. Because of this I wanted to use the light very specifically so that two different light treatments could be achieved in one moment . This meant it could be filmed from two sides at the same time.


What exactly is exploding in that lovely form?
Iā€™m pretty sure it was talcum powder! which is very fine, but wont kill you if you breathe a bit in.

Do you have a favorite font?
I think what I love most about typography is the variation, so pinning down one in particular would be impossible.

The Daily Edit – ESPN: Ramona Rosales

- - The Daily Edit


Director of Photography: Karen Frank
Senior Photo Editor:
Kristine LaMana
Creative Director: Chin Wang
Art Director: Eric Paul
Associate Art Director: Linda Root Pouder
Ramona Rosales

Heidi: How did the project develop?
Ramona: Originally I though it was just a shoot with Chloe Kim, the other 2 assignment came later. It was mentioned in the early stages that this was for an Winter Olympics issue and that a female athlete was to be featured, which I believe was a first for the Olympics. I just shot my first Body Issue project with ESPN and was thrilled they considered me for this project since my editors thought it would be a great match.
Tell us about the set design and approach.
I liked the idea was getting her in mid air, so I studied tons of footage of her during competitions and took note of the conditions of the half pipes and environment. There wasnā€™t very much press or photos out in the world about her (yet), but from what I could find, I wanted to bring her personality and age into the mix and was able to pitch the idea of hoisting her in a harness with this specific body position in mid twist. I was able to present a mock up that ESPN approved and made sure the athlete was comfortable flying with ropes and able to get into the pose. It was risky since she had never done it before but her great attitude and adventurous spirt was into the idea. I collaborated with my set designer to build the top corner section of a halfpipe and chose to create at sunset sky gradation with light on a larger cyc. I didnā€™t want to go overall girlie with the colors and feel more environmental but also very current in color pallet to tie in her aesthetic.
What were some of the challenges?
Once we got her in the harness, I could see there was going to be challenges since itā€™s not the most comfortable thing to do and holding a pose can be difficult. I knew we would have little time for this shot, we did it in two 10 minute tries. We got it on the first run luckily, because by the second round you she couldnā€™t hide the discomfort as easily. We did another 4 set ups, including the halfpipe, cover portraits with variations, trampoline jumps and quick fun loose shots at the end. It was a full day but so rewarding in collaborating with such a fun & amazing athlete with a strong team backing her along with my team & ESPN helping me achieve a great series which forever will be a favorite.
How Important did you think it was for a woman to photograph this?
I donā€™t think it was necessarily important that a woman photography this project. There was a genuine connection I had with all three of the subjects on our shoots, which I think was the intentionĀ  of my editors choosing me for this project along with my style and ability to pull it off. Collaboration and camaraderie with subjects are a high priority in my approach and is a big component that comes through in my work.Ā The collective goal was to present our Olympic Athletes in a strong heroic way without striping away their personalities and only aiming for an authentic point of view, which I believe we successfully delivered.

The Daily Edit – DRIFT Magazine: Dedicated to Everything Coffee

- - The Daily Edit

Cover by Adam Goldberg

Photograph by Fabian Martinez

Photograph by Daniela Velasco

Photographs by Adam Goldberg

Photograph by Adam Goldberg

Photograph by Daniela Velasco

Drift Magazine

Creative Director:Ā Daniela Velasco
Editor:Ā Adam Goldberg

Heidi:Ā How does Drift decide which city to feature?
Daniela: It’s a combination of a few factors. We have a running list of cities we feel have either an established or developing coffee culture. We then look at the list and make an assessment as to which city has the best “coffee story” to tell right now. Feedback from our readers is particularly valuable to us: when there’s overlap in the cities readers suggest, we tend to emphasize those cities. It also helps if we have a personal interest in visiting and learning more about the particular city since we spend so much time there putting together each issue. We also try to vary regions so each Volume of Drift feels very different from the previous one.

Once a city is determined, is all the photography assigned?
Generally, we first plan and assign the written content, using it as a guide to direct the photography. But there are exceptions, for example in Volume 5: Melbourne we ran a piece about the interior design of Australian coffee shops. This piece began with photographs we shot in-house, reaching out to writers afterwards. We love receiving pitches from both photographers and writers, each can lead to interesting, well-developed content.

What do you look for in someone’s work in order to be considered?
We try to hire as many photographers local to the city we are covering as possible. The local perspective is particularly interesting to us. Many contributors are ones who have previously reached out to us. Others are ones we’ve stumbled across on Instagram, who we feel could show a particularly interesting angle. We take photographers’ work seriously: their portfolios should show good use of light, a subtle editing process, an understanding of unique perspectives, creativity, and a strength in the type of coffee and travel lifestyle photos we are looking for.

Do you art direct the shoots and go on location?
We used to take almost all photos in the magazine therefore we would always be on location but as we’ve been growing we’ve been able to hire more local photographers that plan their own shoots following the creative direction we provide in the brief for each city.

What’s been your most memorable cup of coffee thus far?
Probably the “Angel Stain” at Bear Pond Espresso in Tokyo–espresso as thick as maple syrup and dark as ebony. Or perhaps the Natural-process coffees coming out of Yemen, roasted by Oakland’s “Port of Mokha” – but you’ll have to wait for our next issue to read more about that!

The Daily Edit – Kitchen Toke : Frank Lawlor

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Kitchen Toke

Creative Director:Ā Joline Rivera
Photographer: Frank Lawlor

Heidi: Have you worked with Kitchen Toke before?

Frank: I was fortunate enough to work on the inaugural issue of Kitchen Toke. While we had all worked on food editorial projects before, this was the first magazine in the world dedicated to culinary cannabis. While similar in many ways to previous projects, Kitchen Toke presented creative, brand and legal considerations as the cannabis-friendly landscape is continually changing here in the US.

How did they find you, or did you pitch this idea?
I had worked with Joline Rivera, magazine creative director, on previous food projects for US Foods. She asked me if I wanted to help out with photography and video on their first story about Holden Jagger in LA.

What was the biggest challenge for this shoot?
I didnā€™t quite understand what it was all about at first ā€“ I thought he was going to cook with cannabis oils like the other chefs featured in the magazine. Holden is an experienced chef but he doesnā€™t cook with cannabis, he pairs cannabis strains to smoke along with a meal, much like a wine sommelier. This presented some challenges and opportunities, particularly in the way he prepped meals and rolled joints for guests. Kitchen Toke is a beautiful publication, by no means a typical stoner mag. The Kitchen Toke brand is carefully considered and tastefully executed. The challenge for the entire team was to capture Holdenā€™s entire process while avoiding the urge to take the stereotypical ā€œWHOA DUDE, LOOK AT THE SIZE OF THAT SPLIFFā€ shot. Jolineā€™s vision and leadership was clear throughout the shoot, the goal was understood by the entire team: Keep it classy.

Were you an art director first, and then became a photographer?
My creative career is an ongoing disjointed mess of wonderful opportunities. I worked as an illustrator, designer, art director, creative director, photographer ā€“ not necessarily in that order. My client list includes large tech companies, small tech startups, fashion brands and charitable organizations. Whatever the client, the work is always better when I understand the story behind the image. I think getting to know the subject matter and the people behind the story is the most rewarding part of the job. Having a camera in your hand gives you an opportunity to learn about peopleā€™s motivation for starting a business, their passion for excellence, their fear of failure, everything that makes them interesting. Educated conversation makes the subject feel at ease and multiplies their expressions beyond the uncomfortable smile.Ā  Ā 

Tell us about the shoot.
We shot Holden as he shopped for ingredients at the Santa Monica farmers market, as he farmed his marijuana crops, and as he prepped meals in a kitchen. These three very different situations posed challenges, especially on his farm at noon in the southern California sun. I shot with different cameras (Sony A7RII, Canon 1Dx mkII), and used polarizers, scrims, and a variety of lenses. A simple macro lens is a photographers best friend when shooting food, but a fast 35mm adds to the story by showing the environment. While Holden was shopping, cooking or farming, I had to be ready to capture things as they happened. The optimal method is constantly changing, and you have to be prepared. Real life is what makes editorial projects so exciting ā€“ the story is most important. Ā  Ā 


The Coolest New Magazines about Food

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For every print publication that dims the lights, another one flicks on the switch. Check out the coolest new magazines that focus on food and the budding cannabis industry and it’s relationship to food. Granted these are not published monthly but needless to say print is alive and well. We are looking forward to bringing you photo stories from some of the issues listed below.





Eaten is a lovely magazine focused on everything food history. Published quarterly each new volume is filled with a cornucopia of old recipes, enlightening gastronomic essays, and the fascinating and forgotten tales of the people who have grown, cooked, and enjoyed all things edible over the centuries.




Kitchen Toke

Creative Director: Joline Rivera

Kitchen Toke is the first nationally distributed food magazine focused on exploring and understanding cannabis for recreational and medicinal use. The magazine covers cooking and entertaining seasonally with cannabis along with the chefs and individuals advancing marijuana in food and health.Ā 





Creative Director:Ā  Anja Charbonneau formerly of Kinfolk

BroccoliĀ is an international magazine created by and for women who love cannabis.
OfferedĀ free of charge,Ā BroccoliĀ explores and shapes modern stoner culture by looking at cannabis through a global art,Ā culture and fashion lens.



Drift is about coffee, the people who drink it, and the cities they inhabit. Their collection of writers and photographers, alongside coffee shop owners, baristas,Ā streetcar vendors, and patrons, capture a glimpse of what itā€™s like to drink coffee in a city at the time the magazine is printed. Each issue highlights a different city.

Creative Director: Daniela Velasco







The Daily Edit – 000 Magazine: Justin Page

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000 Magazine

Editors: Pete Stout, Alex Palevsky
Creative Director: Justin Page


Heidi: How did this project come about for you?
Justin: I got a message one day from my childhood best friend whom I hadnā€™t seen or spoken to in decades. He and his long time associates in the auto magazine game were going to start their own magazine and were looking for an art director. They actually already had someone, but felt like they wanted to look around for just one more option before committing. While they were picking their brains on who that last option might be, Pete (the editor, owner and my long-lost childhood BFF) recalled that a mutual friend of ours, whom I had recently caught up with at a our high school reunion, had told him that she had seen me, and that I was also in the magazine game. In fact, I was an art director at Playboy (at the time). Pete looked me up and hesitantly clicked on my portfolio. Thatā€™s when I heard from my long-lost buddy. We spoke about the project, did a lot of catching up, (this went on for months). They had me do a few spec designs based on what they were looking for so they could measure my work up against the person they were already almost working with. We did a couple back and fourths on the fundamentals of the book, mocked up some story designs and they decided to bring me on. ShortlyĀ thereafter, Pete and I were working together in his office in Marin developing page templates, type styles and a production plan to launch 000.

How much is assigned and how much is sourced?
It’s a combo. Our goal is to show people images theyā€™ve never seen, so we want to assign as much original art as possible. but weā€™re also very deep into historical documentation and vintage images that weā€™re able to source from various collectors and archives. The feel of the book is very much a blend of original and historical. We have a section that is comprised of photographed factory documents, translated from German to English in captions. I love the archival materials, the discoloring of the documents and tones in the old b&w prints look beautiful when you get the combinations right on the page

Since you are a quarterly, are you shooting all your covers? and have they all been shot in one location?
The covers have all been shot on separate locations from Germany to Palm Springs.

Where are you sourcing the vintage images from?
The vintage images come from various collectors and archives. The Porsche factory archive has been incredibly helpful, as they have a number of private collectors, in allowing us to source their personal pieces.

Tell us about the logo design?
The logo design is based on the letterforms of an early iteration of the Porsche insignia: rounded, modern, geometrical. Since the name itself (000) is based on Porscheā€™s developmental numerology, my guys felt that the Porsche early font style was the right basis for the design. They had done a few font studies, but werenā€™t quite sure where to take it from there. It seemed to me that they already had the pieces but just needed them dialed in. So I picked it up, went through a few exploratory options trying different flourishes, geometry, color devices and those sorts of things (because thatā€™s what you do) but we ended up going with the single color, underlined trio of rectangular zeros.

How many Porsches have you driven and in one word describe the experience?
I’ve driven 5 or 6 since we started this journey – some on track, some on the back roads of Austin,Texas. My most exciting ride though was as a passenger at the thermal raceway in Palm desert. We work with one of Porsches factory race drivers and he took me out for some hot laps. I think we did about 6 laps at break neck speeds. Every time I looked over, my man was a cool as a cucumber. So whatā€™s the single word that means ā€œit turns out my personal car isnā€™t that fun after allā€?

Are you doing any illustration for the magazine?
I’m not personally doing any illustration for 000. We do work with an illustrator on ourĀ buildĀ section. In each issue, my editors work up a sort of dream car configuration and have it visualized by an automotive designer. Weā€™ve talked about how to utilize original illustration more, but given the nature of our book, I donā€™t see too many opportunities. What our readers are really here to see are beautiful photos of cars and genuine artifacts that they havenā€™t seen anywhere else.

The Daily Edit – Billboard: Joe Pugliese

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Creative Director:Ā Shanti Marlar
Photography & Video Director:Ā Jennifer Laski
Co Director of Photography:Ā Jennifer Sargent
Photo Editor: Samantha Xu
Photographer: Joe Pugliese

Heidi: I know the band has a particular aesthetic, did they have any requirements?
Joe: Since this was my third shoot with them, I have sort of gotten to know some of their preferences, but having said that I think they probably prefer to be surprised and maybe like to hear that the photographer has good ideas. Itā€™s hard to know what to expect, which makes it fun and challenging in equal measure.

The band has been heavily photographed, did that fact play into your approach for the shoot? Did you want to do something different that hadnā€™t been done before, is that even possible?
For sure, they have not only been photographed by all of the top music and portrait photographers over the last decades, but the sheer volume of shoots they have done have made it hard to think that youā€™re going to wow them with anything that you do. It helped me to not try to mine the archives for inspiration and/or for things to avoid, and just approach it honestly as I would any other shoot. In the end I just wanted to make interesting photos and I wasnā€™t too hung up on whether it had been done before. Iā€™m not a high concept photographer, and since I started my career in photojournalism, itā€™s important to me to just build a world they can be in and shoot organically once they are in it rather than have exact compositions and arrangements in mind beforehand.

What made this shoot unique as youā€™ve got a stellar gallery of subjects.
The most unique thing about shooting U2 is how much I respect their creative output and the fact that Bono especially is incredibly involved in the process (in a very good way). Heā€™s a tough critic and it can be hard to hear when he doesnā€™t like something, but it always leads to better images because he cares enough to communicate what he thinks is and isnā€™t working. The challenge of this of course is that if the magazine is not involved in this conversation, a cover edit can be made that does not align exactly with the band favorites. It puts me in a difficult situation because while I definitely take their preferences into account, the magazine has other needs and we canā€™t kill an entire setup if itā€™s not the bandā€™s favorite. The previous shoot I did with U2 was for their own publicity and they had final say in the images, so I think it was a bit of an adjustment to shoot again for editorial where the magazine really had final say in cover choice from what we shot (and what I turned in).

Did you play music on set?
Haha. Good question. Itā€™s definitely not easy choosing music on any set, but music legends make it even tougher. When I showed up on set in the morning the props department had already put on a U2 Pandora station that was fun for a few minutes but obviously the last thing we would ever play during the shoot! Luckily one of my NYC assistants makes amazing Spotify playlists and we played a mix of classic R&B and funk that seemed to work well.

How long did you have with the band; what was your interaction like?
We had about 90 minutes to do 2 cover tries, two spreads, and singles of each of the four members twice (two looks for singles). See above for interaction

How did you prepare for this?
I started conversation with Jenny Sargent, the photo director at Billboard, and discussed some approaches to the shoot. Jenny suggested that we work with the set designer Shawn Patrick at Acme Studios in NYC and he and I came up with some great ideas together. I would start on an idea for a look and he would riff on different ways to achieve it and we went back and forth from there. He was really key in putting together some of my loose ideas and making them into the final set we ended up with. Even on the day of the shoot we tweaked the set and he made suggestions to make it have more depth, etc. He suggested a single neon light in the background and together we decided that two vertical lights of different colors could provide us with a lot of options especially for the singles. Itā€™s fun to be open to collaboration on something like this, I feel that if I was too rigid about my initial ideas, I could have missed out on some of my favorite images of the day.


The Daily Edit – Portland Monthly: Holly Andres

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Portland Monthly

Art Director:Ā Mike Novak
Fashion Editor:Ā Eden DawnĀ 
Writer:Ā Margaret Seiler
Holly Andres

Heidi: How difficult was it to reach Tonya?
Margaret: There are a lot of fake sites and fan sites for Tonya Harding that claim to be official, but I found one that seemed like it might actually be connected to her, and had been emailing a contact I found there every few months for more than a year. I wanted to talk to her about growing up inĀ PortlandĀ and her life today, not rehash ā€œthe incident.ā€ I had read and seen plenty of interviews with her and knew her responses on that tended to sound kind of canned and repetitive. With the movie coming out at the end of 2017, we were finally cleared to set up an interview in October. Since we were all in such close proximity we made arrangements to watch her skate at her regular rink just over the river, with an interview and photo shoot to follow at a nearby country club.

Why did you chooseĀ  Holly?
We hired local talent Holly Andres, who has made a career out of telling complex emotional stories through her photography. We photographed Tonya Harding in the club membersā€™ private wine room.

How did the styling direction unfold?
Her manager suggested our style editor, Eden Dawn, just take Tonya shopping at the mall for something to wear. But Eden and I wanted her to look like a movie star. I could remember seeing images of her on TV when I was a skating-obsessed kid (well before ā€œthe incidentā€), and it had often seemed like people had gone out of their way to get unflattering shots or to cast her as a certain type of character. There are people who view her as a villain, a hero, an antihero, a rebel, a criminal, washed-upā€”inĀ Portland, where sheā€™s from, a lot of people had had encounters with her and had their own varying views. We wanted to transcend all that and just show her looking really beautiful, befitting the red carpets she now finds herself on with the award attention forĀ I, Tonya. Earlier that day our art director, Mike Novak, had gone to Edenā€™s house to jump-start her car, and just after I left the rink I got a message that it was dead again. ā€œCan Tonya jump you?ā€ I texted Eden. ā€œSheā€™s kind of a gear head.ā€ I made a U-turn to rejoin Eden, and was just digging the jumper cables out of my car when Harding and her friend emerged from the rink. I was embarrassed to not know where my Volvoā€™s battery was or where the cables connected, so we definitely needed their help. Tonya had her friend pull up next to Eden, and then she leaned under her hood to put the clamps in place.

Tell us about Tonya on set as this is a coming out of sorts for her.
Hair and make-up shared some of Tonyaā€™s experiences as a kid living in not-quite-Portland. Sheri could even talk hunting with her. (There also may have been aĀ fewĀ cocktailsĀ involved.) Tonya said she felt like a movie star, just like Marilyn Monroe. We told her to look up pictures of Veronica Lake when she got home. Tonya really wanted to keep it, but it was most definitely not in our budget. She had to settle for keeping the heels she wore with it, which Eden had picked up at Target. In the end, even though it was an all-day event, the actual shooting had to happen very quickly due to time taken up by the interview, hair and makeup, and dead car batteries. We probably had about an hour of actual shooting time before we had to break down the set and be out of the country club.

Tonya told us we were the first media people sheā€™d consented to talk to in a long time, and the end of the day was all tears and hugs and thanks for treating her with such kindness and respect. Since the movie came out, sheā€™s done loads of other interviews inspiring plenty of similar stories, so maybe we were her gentle entrĆ©e back into the spotlight.

The Daily Edit – Golfer’s Journal: Tom Shaw

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The Golfer’s Journal

Art Director: Jim Newitt
Photo Editor: Grant Ellis
Photographer: Tom Shaw

Heidi: What was different about this course that was a challenge for you to photograph?
Tom: The biggest challenge with this course was the Wind and the light. The course, and this particular hole, is quite exposed so you get your share of wind and rain. I love this kind of wild weather though – it feels good to spend a day walking in it.

Did you purposely choose to shoot more end of day?
Yes I did. I tend to plan these shoot around and evening and a morning – this gives me two chances at getting the best light. I was lucky as an old school friend lived within yards of the course so IĀ stayedĀ with him and had a very short walk to the course.

What type of direction did you get from the magazine?
TheyĀ explained about the detail of theĀ course and pretty much gave me freeĀ reign to shoot it in all its elements – from wide DPS views to the fine detail such as the cut grass.Ā BecauseĀ Summer in Scotland the late evening light lasts so long (almost untilĀ 10pm), I had plenty of time to really walk the hole and see all the details.

When you are approaching such a legendary course which is heavily photographed, is your process any different?
IĀ donā€™t really do much research – I’m not the biggest golf fan, but I am a fan of the landscape inĀ which it sits, so IĀ wonā€™t look at other pictures, as I need to see how and where the light is, and I want to see it with fresh eyes.

I enjoyed your sporting landscape gallery, would you say these image fall into that category or does there need to be some type of architectural element to anchor the image.
TheseĀ Images do fall into the sporting landscape category, but I feel that they do need people in the image to give it scale and context. Some of the images do have that and I think that it isĀ important. But this image is shot with a specific brief to be about the hole, not theĀ people. In some of my other work with surfing and cycling – theĀ people play a very small butĀ important part in the image as it is all about scale and context.

This kind of work – the sporting landscapes – is pretty new to me as I have spent a lot of my career shootingĀ athletes and sporting events, but this is going back to shooting what I love, landscapes. I grew up in Scotland and my love of photography started by being out in the hills and mountains, and seeing the light dance across the hills. I’m looking to combine these two passions ofĀ sport and landscape so it seemed a natural progression to shoot this way.

The Daily Edit – AFAR: Dina Litovsky

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Director of Photography:Ā Tara Guertin
Art Director:Ā Jason Seldon
Assistant Photo Editor:Ā Rachel McCord
Photographer: Dina Litovsky

Heidi: How do you approach travel stories?
Dina: I always like to do a fair amount of research beforehand. That involves reading up about its culture, people and landmarks. A useful place to start is past travel articles, which are also great for initial photo research. Looking at previous images of a city both gives me an idea of what to expect as well as what to avoid. Itā€™s fun to be seduced by certain things when at a new location – everything seems exciting – but then itā€™s very easy to unwittingly repeat existing images of an over-photographed place/landmark.Ā 

Once on location, I like to have a first day where I walk around the city only with an iPhone, getting a feel for the city and making quick images of locations where Iā€™d like to come back to.

In certain cultures locals are leery of being photographer, how do you deal with this?
Learning the rules of that culture and respecting them. Even if there is no big language barrier, I like having a local guide who can help me navigate the intricacies of unspoken street rules.

How many days was your shoot.
6 days.

Do you give yourself an extra day to fill in any gaps or round out the full narrative?
I try to do that as much as possible with each assignment. I always start editing my work after the first couple of days, during which I allow myself to shoot on instinct. After that, I approach the shoot with more intent, filling in the gaps daily and fleshing out the story.Ā 



The Daily Edit – Powder Magazine: Tal Roberts

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Powder Magazine

Photography Director: David Reddick
Art Director: Tyler Hartlage
Tal Roberts

Heidi: Who were you photographing for this story?
Tal: I joined three siblings, McKenna, Axel, and Dylan Peterson who happen to all be amazing skiers for a road trip through Southern Idaho with a plan to ski some of the smaller ski hills where you can still get a lift ticket for under $50. I got the chance to do the assignment because I had lived in Sun Valley, Idaho for a long time and had been a regular contributor to Powder.

What type of direction did you get from the magazine?
Drive around to these smaller ski hills, get a feel for the area, ski with the locals, and show that you can still find great places to ski for under $50 in the age of the $100 plus lift tickets.

Tell us about the opening spread image, how did that come about?
That shot is from an early morning at Pebble Creek Ski Area. On the shot before this I had the skier make a turn really close to me, and because it was really cold the snow was spraying up really high and got all over the front of my lens. Since the sun was still really low I decided to leave the snow on the lens and try a backlit shot next which creates that aperture shape print on the image.

What is going on in the shot with the snow explosion, was that luck?
The snow exploding like that isnā€™t really luck. Itā€™s a result of communication with the skier to know where and how they are going to make their turn and having a good idea of what the snow condition is like and how it will react. Where we did get lucky was with the light. On our first chairlift ride up the mountain lightning struck an electrical tower really close to the chairlift while we were on it and shut down power to the whole mountain for a few minutes. When the chair began to move again we had ski down and stay in the lodge for the next hour until the thunder and lightning passed. The wind blew the storm clouds away and when we got back on slope this was the first image we shot.

How many takes for the shot with the nice line and the basin down below?
Just one, but I shot it in high-speed continuous mode so I had a few to pick fro

How many days a year do you ski and do you deliberately ski/train to garner these types of shoots?
Counting days that I was shooting and days just riding for fun I think I was on snow around 40-45 days last season. Thatā€™s a bit lower than it used to be since I used to live in Sun Valley, Idaho 2 minutes from the chairlift and now I live in Portland, Oregon. I wouldnā€™t say I train directly for shoots like this, but I do work to stay fit as it helps out a ton when hiking and riding with a heavy camera pack on. I wouldnā€™t really look at this as training either, but I have done years and years of snowboarding and without that experience I wouldnā€™t really be able to keep up and navigate more difficult terrain that we often shoot on. For example, this week I have been in British Columbia on a heli-skiing shoot in pretty wild, remote terrain with some of the deepest snow I have ever ridden, which would be a major struggle without a bit of experience in the backcountry.