R.I.P. Alan Abelson

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Me and Alan at the 2008 Roundtable

Alan Abelson, the veteran financial journalist and longtime writer of the “Up and Down Wall Street” column in Barron’s Magazine, died last Thursday. The former Editor of Barron’s was a regular member of the panel who quizzed the Roundtable members each year about their predictions on the coming years financial markets, and as many of you probably know, I’ve shot that Roundtable issue for the past seven years. Alan was well-known as being a thorn in the side of Wall Street for his fearless style of journalism. Ben Stein, the writer, actor, economist, and humorist who was a longtime friend of Alan’s, wrote in the American Spectator

“…His columns were dour, hilarious, insightful. He never bought into the prevailing “wisdom” of Wall Street. It was all about hucksterism and self-promotion. He realized that from the first day until the last. He could and would deflate any balloon, from the dirigibles of the Fed to the smaller ones of hedge funds. There is no one like him now. The rest of us are just ordinary people. He was Superman.”

Goodbye Superman.

Making Sun Where There Was None

Connie Brown

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Today’s behind-the-scenes (and lighting tutorial) is from my recent shoot for the Wall Street Journal’s Review Section on Connie Brown, who paints one-of-a-kind wall maps on canvas that are, quite simply, works of art. She researches each private commission and creates much more than a map, but instead produces what can be described as personal portraits of a region special to the client.

I spoke to Connie and she told me she lived in a converted schoolhouse, but her studio was an all-new building out back, with lotsa white walls, high ceilings, and quite bright…which it was…but it was also surrounded by a lot of really tall trees…

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…and as bright as it may have been, those trees did a super job of keeping any direct sun from lighting up the studio. And since I wanted to have a bright, airy look to the shots, it fell upon me to invent some Sun…fast! Thankfully I had the perfect thing for making Sun when there is none…a Profoto Magnum Reflectormagnum50

As a light modifier, the Magnum couldn’t be simpler…it’s just a deep dish with a 50 degree throw that is highly polished to a mirror finish. This not only makes for an extremely efficient light…even backed off 50 feet from your subject you still get a huge output…but the quality of light has a nice, open feel to it that looks just like the Sun!

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We placed one Magnum with a Half CTO (for warmth) on a Profoto Acute 2400w/s pack about 20 feet from the main, double-height window…with a second pack & head lighting up a smaller second window…and were amazed at how realistic the results were…

Connie Brown

Connie Brown

Connie Brown

The white ceiling and walls acted as natural fill cards, so we were able to point and shoot from pretty much any angle we wanted, and the hot backlight perfectly mimicked the Sun. And when we switched to a more head-on shot of Connie against her easel, the bright, open, lifestyley look of the first shots now turned wonderfully dramatic…

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With the portraits done, I now had to do some vignettes of her studio, and the outside lighting still proved to work without any changes…

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I can’t say enough how impressed I was with the lighting effect we were able to achieve with essentially one pack and one head. This is the kind of thing filmmakers do all the time by dropping a few 10K HMI’s outside of a window, but this was much, much easier!

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Cooking With Cash For The Barron’s Roundtable

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Here’s a quick follow-up to what we did with that $30 Grand in cash I needed as a prop for the Week Two and Week Three group shots of this years Barron’s Roundtable shoot. Once again, our object was to shoot as many different single images of each Roundtable member playing around the cooking theme so that we could later assemble them into our little stories. Since the theme played on the idea of cooking up a recipe for the perfect economy, cash…lotsa cash…was required as our main ingredient!

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And here’s how the final pages looked…

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Behind The Scenes At The Most Expensive Barron’s Roundtable Yet

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We here at Damn Ugly Photography have done many, many, many Barron’s Roundtable shoots over the years, but this time we came close to breaking the bank…literally! Our cover idea was to have the members of the Roundtable rockin’ Chef Props as they cooked up the perfect economic recipe for the coming year, and for our ‘ingredients’ we needed cash…lots and lots of cash

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Since Photoshop has added high-tech security filters that make it almost impossible to scan money and print it out…and prop money looks way too fake…we decided to hit my bank and just get real cash (that’s about $30 Grand in the bag) to use in our recipes…

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The basic cover setup was a raised plexiglass platform that I could shoot from both a low angle for the cover image, and from slightly above for the inside compositions for the Week Two & Week Three images…

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Hasselblad H1/50mm f4.0 with a Leaf Aptus 33 for the cover and the 5DmkII/24-70mm f2.8 for the higher-angle inside shots…

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As in previous years, we have only two hours to shoot everybody…all separately as they arrive at The Harvard Club for the meeting…on two different sets, and we must come away with two covers (for the January and June Mid-Year issues), two inside openers for those covers, two feature openers for the second and third week follow-up issues and individual shots of each person for the June Mid-Year issue. In those two hours we try to cram in as many different poses and props as possible so we have enough to work with when it comes to assembling the final group shots. Here’s some of the fun…

Marni worked her super-fast makeup magic on everyone before they got on set…

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Oscar Schafer…

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Brian Rogers…

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Fred Hickey…

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Abby Joseph Cohen…

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Scott Black…

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Adrian and I liked the idea of placing everyone on the edge of a mountaintop made from a butcher block cutting board and viewing them from below…

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…so once I shot a bunch of angles on the board, we had all the raw materials in place. Now it was up to me to assembly the individual shots into our cover and feature opening photos…

The 2013 Barron's Roundtable

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The 2013 Barron's Roundtable

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This stuff never gets old!

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Stay tuned next week and you’ll see what we did with all that cash once Barron’s runs the Week Two and Week Three images…

Spending A Day In Wine Heaven

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As a wine geek, getting a call from Adrian Delucca asking if I wanted to spend a day photographing Tom Ryder in his World-Class wine cellar, made me extremely happy that I do what I do for a living. Tom has been the President of American Express Publishing, CEO of Readers Digest and was the Chairman of the Magazine Publishers of America, and over the years has amassed a truly amazing wine collection. He was writing a feature for Barron’s that discussed how the bottom has fallen out of the wine collecting (as an investment) market and told his own story of when he auctioned off a small portion of his own cellar. As part of the process, he had the auction house appraise the wines he wanted to sell and was shocked to learn that the 1,000 bottles he was looking to divest would ‘only’ fetch between $70,000 – $100,000…but if he were to sell only three Magnum bottles of his 2005 Romanee-Conti he would get roughly the same $100,000! It was my job to show him with those three bottles of very pricy DRC. Here’s how it went…

Nick and I started by stacking up cases of his very best Grand Cru Burgundies that would be our posing table…

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…and then cleaned up the background a bit…

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Nick enjoying the view from the stacks…

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…but Tom fit the mood a bit more…

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Because of the tight quarters in the cellar, we were kind of limited with what we could do, lighting-wise, but we pulled off a nice, warm and dramatic look with only two lights…an Elinchrom 39″ Mini Octa high and to the right of the camera, and a Ringlight…that’s it!

Our final select, with the three Magnums of DRC valued at $100,000 (and those messy cases behind him cleaned up in post )…

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And here’s how it looked in the magazine…

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Alec Baldwin Is Santa Claus

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In the Dreamworks Holiday Blockbuster, Rise of the Guardians, Alec Baldwin is lending his (Russian-accented) voice to Santa Claus, and in a bit of cross-promotion, David Baratz at USA Weekend called upon me and the crew to shoot him for the cover of their Holiday Tech Gift Guide. So a few weeks ago, we turned a room at the Crosby Street Hotel into our studio and brought a bit of Christmas to Soho…here’s how it went down…

Since it was a Christmas cover, I figured it was OK to dress up the set with a few Xmas lights…

Even though we knew we would only have Alec for maybe half an hour, my stylist, Cynthia Altoriso, pulled together a stunning array of clothes, including a couple of $7,000 Brioni burgundy velvet jackets (that unfortunately didn’t get worn)…

Since the idea of the cover was to have Alec plugged in to the tech gifts, he worked with the few props that played on that metaphor…

…and here are the final images…

Merry early Christmas!!!

Where Has Damn Ugly Gone?!!

Relax…relax…I know I’ve been incognito!

The ongoing project of moving the Damn Ugly World Headquarters has proven to be a much more daunting task than we ever could have imagined and with that, updating the old blog has certainly suffered. But never fear, we’ll be back with a vengeance come Monday morning!!!

Digging Deep Into The Archives

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I got a frantic message the other day from Silvia Nieto, editor in chief of the Sunday magazine for Spain’s “El Mundo” newspaper. The Magazine was doing a feature on assassinations and they had somehow stumbled across a story I did for Life Magazine in 1989 on infamous guns of the 80’s that included the guns used to shoot President Reagan and John Lennon. She desperately wanted to use my gun ‘portraits’. It’s not that I had forgotten about these photographs, but I certainly hadn’t done anything to put them out there, either. So I headed downstairs to the file cabinets and pulled folder #65…

For a lot of reasons, I found that assignment incredibly depressing, but especially photographing the Lennon gun. I don’t know too many people of my age who weren’t deeply affected by John Lennon’s murder and the idea of holding the gun that killed him was not exactly one of those things anybody would ever think possible. But when I arrived at the New York City Police Department Ballistics Lab…in one of those typically dreary looking NYC Police buildings…I was surprised at how nonchalant the attitude was about me photographing the gun. I was led to a small, dark room with a metal table and a couple of chairs. It had the look and feel of every interrogation room from every cop movie you’ve ever seen. Shortly afterwards an officer came in and simply handed me a plain brown envelope and told me to just let him know when I was done. Then he left. I opened the envelope to see the gun, but there was also a smaller evidence envelope inside. It contained two .38 caliber slugs that were found during the autopsy. Both had passed through Lennon and were found trapped in his jacket. And both had bits of flesh embedded in the jagged tears of the deformed lead. It brought tears to my eyes. I just wanted the job to be over. I set up my lights, shot maybe ten sheets of film, and got the Hell out of there.

The Reagan gun shoot couldn’t have been more different. Getting access took all the weight and political capital a magazine like Life has at their fingertips. The gun was in the hands of the FBI in Washington, stored in a massive limestone fortress. After passing through layers of security, I ended up in a sterile ballistics facility surrounded by lab techs and watched by an agent the entire time. The gun was presented in a sealed ziplock evidence baggie. I couldn’t touch it. It had an evidence tag attached to the trigger guard. It couldn’t be removed. The agent had to position the gun under my lights. I absent-mindedly reached out to move it a fraction of an inch and his beefy hand grabbed my wrist. I didn’t try to move the gun again. I remember thinking how small it was. It was just a shitty .22 caliber. Cheap looking. Toy-like. So bloody small and so fucking deadly.

So thanks to Silvia for stirring up memories buried in the files for a couple of decades…

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…more details when I can talk about it…..

In Case You Were Wondering…CEO’s Are VERY Busy!!!

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I logged another CEO Spotlight for Barron’s a few weeks back when Adrian sent us to shoot Bob Benmosche, the CEO of AIG. As usual, the drill is we get told The Boss is extremely busy and I will only be allowed five minutes to get everything I need in the can. I typically take the ‘five minutes’ as shorthand for we hafta be quick, but this time I knew we had no wiggle room. Benmosche was going to shoehorn us in between an earnings statement conference call and a Town Hall Meeting, so his schedule was carved in stone. There was going to be very little time for small talk, but I know how important it is to come away with a portrait that shows the subject’s personality. Obviously, with such little time to shoot we had to have our setups nailed down when he showed up. Here’s how it went.

The CEO Spotlight is formatted as a full-length portrait on white, so on this day we turned the top floor of the AIG building…with it’s 18-foot ceilings and Million Dollar views…into our studio…

That gave us our feature opener…

We also did a second shot where I used my Ghetto-Flos in the hallway area directly behind where we had the seamless set up…

…which gave us this…

…that morphed into this after a wee bit of Photoshoppery…

And we were done…in five minutes.

The Doctor Will See You Now – Sanjay Gupta For Prevention Magazine

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It took a while, but my friend Marybeth Dulany finally called me with a gig over at Prevention Magazine. I used to work for Marybeth a lot back in the days of ‘Rosie’ magazine, but once that folded she moved on to ‘Health’ where my particular style wasn’t a good fit. She ended up at Prevention last year and now she had something kinda cool…a profile of Dr. Sanjay Gupta for the July issue. The Damn Ugly crew made the trip down to Industria and here’s a bit of our day with the Doctor…

We started with a white setup for some cover stuff. Cate Sheehy was styling…

…and Marni Burton handled makeup…

We even did a bit of off-set/artificial portrait stuff that made it into the story…

I also set up a canvas backdrop that had a nice, terra cotta look to it…

I got to use my new 5-foot PLM umbrella for the first time…what a great light! I was really impressed at the quality of light and how large the coverage was. It was set up about 15 feet away from the subject and kicked out an open, but still contrasty light that gave me a wonderful shadow.

Finally, since it was such a nice day, Marybeth asked if we could do a few outdoor shots, so we fired up a 600-B and hit the street…

Marybeth was very happy…

And here are the final pages…

Soccer by the Pool with Olympian Megan Rapinoe

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Stacey Pleasant offered me a fun gig a few weeks ago. She produces a series of advertorials for McDonald’s that runs in Sports Illustrated and they wanted me to shoot Megan Rapinoe, a mid-fielder on the United States women’s national soccer team that’s going to London for the Olympics. Megan was gonna be in town doing some P/R and had very little time available for a shoot, so Stacey arranged to do everything at her hotel, the Dream Downtown. The advertorials are single-page interviews with the athletes and formatted in such a way that there has to be a lot of clean space around the person in order to run the type over the background. For our purposes, the options for locations at the hotel were limited, but we were offered the swimming pool area. Both Stacey and I figured using the pool as a clean backdrop would work perfectly for the type…but we didn’t know about one of the main design features of the Dream’s pool…

Portholes!!! Hundreds of little (and a few BIG) portholes at the bottom of the pool! Well…we were locked into the location, so I was just gonna hafta deal with that later…right now we had to start shooting!

While Marni worked on Megan…

Ben stood in so we could pick an angle on that pool, but without the sun things were looking kinda flat…

Megan’s a pro…she immediately understood the Damn Ugly Photography aesthetic…

And as if by magic…a few frames into the shoot the Sun came out…and all was right with the World. We decided to still keep the full-CTO filtered bare head we set up for a Sun-like skim camera left, ‘cuz it added a nice warmth to the highlight created by the real Sun…

But as good as that looked, I still had to deal with all those portholes…a few hours and a lotta mouse-clicks later, and the shot was now ready for type…

The final page…

With the pool shot in the can, I pressed for a couple of minutes more to do a second shot. Immediately to the left of the pool was a wall clad in Stainless-Steel that could be kinda nice. The natural light was a little flat, so we threw on the ringlight which gave us a hot highlight that ran vertically through the middle of the shot…

That looked like Hell, but once we got the available/strobe balance down, we had a little fun…

The final image…and that ringlight added a nice, smoky highlight rising off of her…

The issue hit the stands this week. Good luck in London, Megan!

The 2012 Barron’s Roundtable Mid-Year Report

First off…I’m gonna thank Timothy Archibald for getting me off my ass and back on the blog! He wondered aloud on his own blog the other day about how facebook might be causing a lotta guys like me to slack off on our blog duties, so thanks T.A.

Now, back to business!

My twice-yearly Barron’s cover story on the meeting of their Round Table participants popped up a couple of weeks back, so just as I did for the Black Board cover back in January, here’s a little behind-the-scenes on how we put together the cover for Part 2…

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Since we only have about two hours to shoot all ten Roundtable members individually for both covers and all the inside photos for the two issues, we have to have our two sets nailed down pretty tight. And because we decided on the very complicated Black Board set for the January cover, the Mid Year cover set had to be somewhat simpler. Barron’s Photo Editor Adrian DeLucca and I came up with the idea to use arrow props that would be held to illustrate the Up and Down market trends and pose everyone on white around a few cubes…

Once we got all ten members shot, now I just had to assemble them into believable groups for both the cover and the inside opening spread…

…the final spread had most of those red arrows changed to blue…

…and for the cover we went without props altogether…

See y’all next January…

Smithsonian Magazine Goes to the Museum of Math

Hot off the press, my portrait of Glen Whitney, the Director of the Museum of Mathematics, is in this month’s edition of Smithsonian Magazine. I went down to DC a while ago and saw Molly Roberts…the Photo Editor at Smithsonian…and she said it would be perfect for a new feature section they were starting that profiled “Big Ideas”.

You can check out the story HERE!

There Is No Photoshop Easy Button…

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Over the past few weeks you didn’t have to look too far to find an online review claiming how spectacular the new Photoshop CS6 upgrade is and how it’s gonna make everything you photograph so much better…but all I could think was no matter how easy the software engineers at Adobe make image editing by adding fancy new filters, content-aware tools or sexed-up widgets, none of that amounts to beans if you don’t have the smarts to envision the final result in that pile of mush that occupies the space between your ears. And it reminded me how I recently had to put some of my Photoshop smarts to good use and ‘fix’ a less than ideal situation when I was shooting the Annual Report for Philadelphia-based Glenmede…using Photoshop CS3, no less…

I had gone down to Philly a few weeks before the shoot to scout the location…Lenfest Hall at The Curtis Institute of Music…and on the day of the scout it was bright and sunny and would give us the perfect light & airy backdrop for the Management Committee photograph…

Problem was, on the day of the shoot, those 30-foot high windows gave us a view of Philly at it’s darkest and rainiest…

That’s when it became pretty clear I had to figure a way to let Photoshop brighten things up and get me to where I needed to be.

Here is the unretouched original, straight out of the camera…

The first thing I did was slide a new floor under everyone that was shot separately using a 16-second exposure…

For the next step, I figured the hardest thing I would hafta do would be to blow out all the detail in the windows to give the impression of it being a sunny day…but then things even got more interesting…the layout changed! My client wanted to know if it would be possible to give them more space on both sides of the group. Now this wasn’t something I had planned for, but if James Cameron can make the Titanic come to life I guess there had to be a way to generate a whole mess of information that didn’t exist…right?!!

I had some empty frames I shot after everyone had gone that I could use to clone the wood trim under the windows, but the real test would be adding perspective-correct banks of windows on both sides of the frame…that had me working well after midnight. Then I had to fake the entire right side of the piano, remove the rolling wheels under the piano, erase the clock and lighting panels from the back wall, and then turn on the sunbeams, add a little overexposure flare and brighten up those windows…

For the final step, I adjusted the color balance, heightened the Curves and Levels, and amped up the contrast with a High Pass Filter layer…

To see a larger version of the animated GIF at the top of the post that shows all the steps, click HERE

American Photography 28

The Winner’s Gallery for American Photography 28 went live yesterday, and my portrait of Macy’s CEO Terry Lundgren was among the images chosen. My shot can be seen HERE.

WTF is Wrong with Hasselblad?!!

Hot on the heels of last week’s announcement that Leica plans to market a camera directly at Hedge Fund Managers…the All-White, $32,000 M9-P…the guys at Hasselblad must have figured that the market for ridiculously overpriced (and stupid) cameras is probably gaining traction again, cuz in my email box this morning was an announcement heralding a new “dedicated online site for the H4D Ferrari Limited Edition”, where prospective idiots buyers can, “…put themselves behind the wheel and to have a virtual test drive of a model that will only ever be owned by 499 photographers worldwide…”

What. The. Fuck.

OK…..I’m figuring that since this tarted-up whore of an HD4-40 was announced back in 2010, the branding geniuses who hatched this debacle are probably still up to their necks in the majority of the 499 HD4’s they ruined by slapping some glossy red paint and a Prancing Horse Logo onto the thing, but now they’re thinking, if Leica can sell a $9000.00 camera for $32 Grand, then we sure as Hell can charge $10 Grand for a Pimp-My-Ride-Style paint job on a $20,000 camera! So they put up a couple of new pages on their website, send out some emails to ‘re-introduce’ us all to this truly special bit of fluff, and hope for the best…’cuz if they don’t sell all 499 of these white red elephants (499 x $30K = $15 million) then it’s their ass!!!

Now, to be fair, the H4D Ferrari Limited Edition does come in an exclusive hand-made, carbon-fibery looking, glass topped case…surely to mimic same feeling you get when gazing upon the 562 Horses beneath the glass engine cover on your Ferrari 458 Italia…and Dr. Larry Hansen, the Chairman and CEO of Hasselblad, even slips in a hand-signed personal ‘Welcome Letter’, and that undoubtedly will make you feel extra-special important…

But I have to wonder…will the H4D Ferrari Limited Edition share any of the other traits and foibles Ferrari owners have a love/hate relationship with?!! Like the constant and expensive need of regular tune-ups, and will parts for the Limited Edition be equally overpriced, befitting a camera of such vaulted status??? Or, like the Ferrari which will only run on the finest hi-test fuel money can buy, will this Limited Edition H4D only take photos of ‘special’ subjects?!! You wanna shoot Supermodels and Arab Sheiks, okie-dokie, but try to use the thing for a day of High School Senior photos and it’ll seize up like you put sugar in its tank!!!

But maybe I’m wrong…maybe just knowing you own something only 498 other morons cloud-dwellers will possess will push your photography to previously unknown heights of excellence! I dunno…but one thing is for sure…I really would like that fancy velvet marble bag to keep my camera in…

This Now Costs $578,500.00

A bunch of Eggleston prints were sold at Christie’s the other day for just North of $5.9 Million

And I’m sitting here violently shaking my head…!!!

SXSW Special: The Bird Call Cover Shoot & Song of the Day

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BIRD CALL
Waltz in the Snow


DOWNLOAD: Waltz in the Snow

SXSW starts this week, and Bird Call is heading down to Austin to play a whole mess of dates, so I figured that since the festival has morphed from being just a week-long Indie music show into a multi-media-mega-extravaganza, today’s post would mimic that sentiment by including music, photos and yet another these stop-action jpeg movies I find myself playing with when I got nothin’ else to do.

A few months back, we were out at the Brooklyn World Headquarters of Bird Call Music and mindful of the low-budget, Indie-Music, keep-it-simple aspect to the shoot, we turned a very tiny white room into a photo studio for Chiara Angelicola’s new record, using nothing but four do-it-yourself lights and a bit of ingenuity.

Here’s a little behind-the-scenes of what we did and some of the resulting final images…

We started with nothing but some sheer drapes covering a sunlit window and a piano dropped in front of it…

…in a very small room (thank God for wide-angle lenses!). We added a couple of my DIY ‘Ghetto-Flo’ florescent strip lights as backlight skims, but decided to use no front light at all, just overexposed the living daylights outta the thing to let the background blow out and see where that took us…

Not bad at all, even if GiGi looks kinda bored…

Chiara getting beautified…

…and standing in…

Some last minute touch-ups…Lovin’ the Horns!

And away we go…

The final resulting images…..

Next, we pulled out the piano and added a couple of front lights…

…and Chiara jumped around in a cool stripy dress with a pork-pie hat!

Which I was able to turn into this cool multiple…

In the end, GiGi was impressed…

Paula Lerner

Paula Lerner died Monday. While I knew that she had been fighting cancer for a long time, the news still cut to my core. Paula was truly one of most genuinely special people you could hope to meet. I first got to know her during the early beginnings of the Editorial Photographers trade association. As its first Vice President, I got to see first-hand what a tenacious fighter she could be. Since she was based out of Boston, for the most part, ours was an email and phone friendship, but every year she would be there for the post-Photo Expo dinner that Michael Grecco and I host, and I can still feel the warm, strong hug she would wrap around me on her arrival…and the even bigger embrace when she said her goodbyes.

To her husband Thomas, and her daughters, Maia and Eliana…I am so sorry for your loss.

Goodbye Sweet Paula. We loved you dearly…