Damn Ugly Is Best Of Show

Patti Smith photographed in the Amtrak departure lounge at Penn Station, New York City, 8/27/2015

The 2016 APA Awards Show winners were just announced, and Mr. Damn Ugly snuck out the back door with the ‘Best of Show’ honors with my portrait of Patti Smith at Penn Station! I am truly humbled and honored with this award, especially after seeing what the competition offered up. You can view the Award Gallery here:

2016 APA Awards Show Winners Gallery

Besides giving my ego a totally unnecessary boost, the Best of Show goody bag includes the following…

• Canon EOS 5Ds Camera
• ThinkTank Airport Roller Derby Case
• Adobe – One Year Creative Cloud Subscription
• Capture One Pro 9 Software
• X–Rite ColorMunki Display
• Cradoc fotosoftware – fotoBiz X program which includes fotoQuote Pro 6

• Agency Access – One Year Agency Access w/12,000 Email Credits
• Found – Basic Portfolio membership for 12 months
• Dripbook – A Premium Account for LIFE including Blog and Social Media feature

• DriveSavers Data Recovery, Inc. – $300 gift certificate
• ImageRights – One year of ImageRights Premier service

 • LiveBooks – Pro Website for Five Years

 • PhotoShelter – Five Year Pro Subscription
• Production Paradise – One Year Directory Listing
• Resource Magazine – One Year Print Subscription
• A & I – Cover & opening two–page spread in 2016 APA Awards book
• Lürzer’s Archive – A 2–page spread for Best of Show & First Place Winners
• Showcased on APA Awards Gallery
• Exclusive: APA Glass Trophy
• 2016 APA Awards Best Of Show Award Banner for website & email signature

My heartfelt thanks go out to Staff & Board of APA for putting together this competition, the judges who thought so highly of my work and the sponsors who donated all that stuff!!!

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American Photography AP32 Winners

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The American Photography AP32 Winners Slide Show will be announced tomorrow. I got two photographs accepted…

The portrait of Judy Collins I did for the Wall Street Journal…

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And my shot of Patti Smith in the Amtrak departure area at Penn Station…

Patti Smith photographed in the Amtrak departure lounge at Penn Station, New York City, 8/27/2015

You can see these…and all the rest of the winners…over at the AP32 Winners Gallery here:

AP32 Winners Gallery

Lord Julian Fellowes, Rock Star

Julian Fellowes

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Ronnie Weil from the Wall Street Journal recently called me up and asked if I wanted to add Julian Fellowes to my Rogues Gallery. The English actor, novelist, film director, screenwriter and member of the House of Lords…so that actually makes him Lord Julian Fellowes…was in town for the Broadway opening of the new Andrew Lloyd Webber musical, ‘School Of Rock”. Lord Fellowes wrote the book for the musical. That’s right…the same guy who won an Oscar for ‘Gosford Park’ and got crazy famous for coming up with ‘Downton Abbey’ was now gonna turn the Jack Black goofball comedy into a Larger than Life Andrew Lloyd Webber musical!

So what was I gonna do?!!

He’s English…offer him some Tea!!!

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And it’s a Rock & Roll musical, so I gotta get a guitar. I shot Gabrielle Sterbenz right after she picked up her shiny, white Stratocaster and I knew it would be the perfect prop for a fine English gentleman in a bespoke suit…

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Now I just had to get prepared. Lord Fellowes would have very little time once he got to the studio. He was coming from a morning TV appearance and had an interview immediately afterwards. So Matt and I set up a couple of tastily lit portrait situations…

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Julian Fellowes

As good as Matt looked, Julian just added a bit more panache…

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And to my surprise, he took to the guitar idea immediately…

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Next we moved over to the full-length seamless…

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…but now we added the Tea Cup with Gabby’s Strat…

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And our job was complete!

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Thank you, Lord Fellowes…I can hardly wait to see ‘School Of Rock’…and for the final season of Downton!

Julian Fellowes

The APA Image Maker Lecture Series Is Gonna Be Damn Ugly

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Hey kids…this coming Monday, November 9th…Mr. Damn Ugly will be taking over the Apple Store in SoHo (103 Prince Street at Greene Street) as the next speaker in the APA Image Maker Lecture Series. I’ll be dropping plenty of bon mots about what actually happens on my shoots, complete with lots of behind-the-scenes juice and info on the post-processing that goes into making my final images.

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Check out the APA NY Facebook Events Page where you can sign up if you wanna go…and it’s 100% free! And as an added incentive, they tell me there’s gonna be a post-Image Makers Talk Networking Happy Hour hosted by the folks at APA NY.

Misty Copeland’s New Website Is Damn Ugly…

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Misty Copeland’s new website just went live, and there are a surprising number of Damn Ugly photographs taking up space…

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I’ve been working with Lisa Clayton at Starving Artist Web Design who did all the heavy lifting with the layout of the new site…especially the inventive way she Photoshopped that swirling red skirt onto my shot for the home page…Bravo!!!

Bill Nighy Is Way Cooler Than You

Bill Nighy

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Bill Nighy is cool. Throughout the meandering flow of his career he’s played a vampire, a wizard, an aging, sleazy burnout rock star, a nazi, a time traveler and even Davy Jones with an Octopus face! Whatever he’s in, he’s the coolest guy on the screen. And he wears a suit really well, too. When he arrived at the Golden Theater…where he was starring in Skylight with Cary Mulligan…for our Wall Street Journal shoot, he just oozed cool…that bespoke suit, his perfect diction, his silky smooth attitude…I thought to myself…he’s the King of Cool.

And…off we go…

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The mezzanine of the Golden had lotsa space for Julien and Kaz to assemble our pop-up studio…

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And a quick 45 degree turn to the left offered up a wonderful second shot…

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Here’s how everything turned out…

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Bill Nighy

Bill Nighy

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I wanna be cool like Bill…

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Communication Arts Award Of Excellence

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I am quite honored and humbled to announce that my portrait of Willem Dafoe for the Wall Street Journal was included in this years Communication Arts Photo Annual

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Thanks to photo editor Ronnie Weil for thinking of me such a plum assignment, art director Keith Webb for his elegant layout and writer Alexandra Wolfe for her always eloquent words.

Pullin’ Out The Bull & Bear Costumes For Barron’s

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It’s June, and that means I hafta jump back on the Photoshop Horse and put together another cover story using elements from our January shoot of the Barron’s Roundtable members for the Mid-Year Issue. Adrian Delucca and I thought it might be fun to once again make use of those very expensive Bull and Bear costumes we had made for the 2014 cover, but this time the idea would be to have our mascots walking hand-in-hand down Wall Street. Sounds easy. It isn’t. For a whole mess of reasons, shooting ‘live’ down on Wall Street was never gonna happen. Forget about the expense of shooting this type of thing on location, just try to shoot on Wall Street when there aren’t a million people milling around! No…this was gonna be much more manageable shot in pieces…

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First off, we had to shoot a ton of variations of the Bull and Bear in the studio that I could drop into my Wall Street photo. To save a few bucks on models, Adrian and Assistant Photo Editor Jenna Bascom elected to get all sweaty in the mascot suits…

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…how about a ‘selfie’?!!

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Next, I had to shoot our empty Wall Street scene. Shooting on weekdays were out, since Wall Street folks are already filling up lower Manhattan before the Sun rises, so that meant an early morning weekend shoot. Almost every weekend of March and April was either too damned cold or rainy (or on one Saturday when I arrived at 6:00AM, the street was filled with Jodie Foster, George Clooney, Julia Roberts and about 200 grips setting up a film shoot!), but I finally got off a few frames of a relatively empty street and Stock Exchange building…

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Now I had to get rid of any people and other extraneous crap out of the background and stretch it out a bit (and make it square) to fit Barron’s format…

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…then throw the buildings a bit out of focus for perspective…

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But the early morning grey look wasn’t working, so I sparkled things up a bit…

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And it was finally ready for our Bull and Bear…

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Throw in some final color & contrast adjustments, a few shadows and more Photoshop magic…and voila!!!

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For the cover images, besides the portraits we did for the Chess theme, we quickly shot a few individual portraits of each Roundtable member on a neutral seamless…

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…a quick Photo-Bomb…

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The idea was to insert them into Financial District street scenes…here are a few of the results…

Mario Gabelli:

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Marc Faber:

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Bill Gross:

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Bill Gross - Barron's Roundtable

…and the final cover…

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And we’ll do it all again next January!

Mr. & Mrs. Hawkeye Pierce In The Bronx

Alan & Arlene Alda photographed at the New York Botanical Garden

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Alan Alda. Academy Award-nominated actor, director, screenwriter, author, board member of the World Science Festival and a visiting Professor at SUNY Stony Brook School of Journalism. Arlene Alda. Photographer, writer, Fulbright Scholar…and just a Kid from the Bronx. Which is how we ended up at the Bronx Botanical Garden on a 20 degree day in February. Arlene has just written Just Kids From The Bronx, an oral history on what it was like to grow up in the place that bred influencers in just about every field of endeavor today, with thoughts from Bronxites as varied as Neil deGrasse Tyson, Grandmaster Melle Mel, Al Pacino, Carl Reiner, Mary Higgins Clark, Colin Powell, and on and on and on. When Arlene and Alan began seeing each other, a lot of those dates took place in the Bronx, including taking long walks through the Botanical Gardens. And while it would have been great to shoot them walking the paths of the Gardens on a sunny day in May, her book was coming out now, so inside we went…here’s what we found…

While it was nice to walk among the greenery inside the Enid Haupt conservatory, it was still too early for the Orchid show and too soon for the Spring blooms…

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…but this indoor fountain area showed some promise…

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But I had also learned that the Alda’s had donated a bench on the grounds…and despite the freezing temperatures and the fact that it was buried in snow, I had to check it out…

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On the day of the shoot it was a brisk 22 degrees outside…but about 85 inside with Lousianna-like humidity. When Alan and Arlene arrived, while I waited for the sun to come out of the clouds, we did a few shots of them just walking through the galleries…

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And then Kaz and I set up our main shot at the fountain…

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…which seemed to please Alan and Arlene immensely…

Alan & Arlene Alda photographed at the New York Botanical Garden

Alan & Arlene Alda photographed at the New York Botanical Garden

Half-way through our shoot, Gregory Long…the President of the New York Botanical Garden…dropped in to get his copy of Arlene’s book autographed…

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Here’s how things look in The Journal..

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And then…because we were just getting too warm in there…Kaz and I decide that we just had to shoot that bench!

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Thanks Alan…thanks Arlene…and special thanks to the Botanical Gardens for warming us up on one very cold day!

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Misty Copeland

Misty Copeland

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I’m not sure at this point if there’s anyone out there who hasn’t heard of Misty Copeland. Besides making history as the only African American soloist dancing with the American Ballet Theatre, her best-selling autobiography, ‘Life In Motion’, dancing onstage with Prince, appearing in ads for Under Armour, Dr. Pepper, Coach, The Corcoran Group and T-Mobile, and her numerous features in magazines like The New Yorker, Vogue, Elle and New York Magazine, the 32 year-old ballerina is possibly the most visible face in the dance World since Baryshnikov. And my buddy Rob Smith asked me to put her on the cover of Arrive. Here’s the behind-the-scenes from our day at Bathhouse Studios

Since we knew we would have relatively limited time with Misty, Rob and I had worked up our ideas for the shoot early on. The story was about mentors, and we would be photographing Misty with Raven Wilkinson, the first black woman to dance full-time in a major ballet company, including Ballets Russes de Monte Carlo, the Dutch National Ballet, and the New York City Opera Ballet. We had to get enough for our cover, a few opening shots, a portrait of Misty and Raven together and anything else we could fit in! But shooting at the Bathhouse meant we would have lotsa space to set up everything beforehand cuz the studio is so beautifully huge!

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Our setup on the cyc…and that marvelously high ceiling…

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Kaz and I setting up the two-shot of Misty and Raven…

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Robert and Julien sitting in for our cover…

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Julien taking flight…

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My stylist Karen Sherwood laying out the wardrobe…

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Misty arrived just as we were about finished with our setup and went into hair & makeup right away…

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…but shortly afterwards, our little dancers from the ABT School showed up…

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and they quickly put on a little show for Misty…

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Julien grabbed Misty to test the lighting on our first setup…

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…and so started our shooting day…

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Here is the final portrait of Raven and Misty…

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Next, we moved onto the cyc for our opening photo of Misty with the Dance School students…

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Misty approves…

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…and the resulting photograph…

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Now I wanted to do a series of solo shots of Misty in different positions. The idea was that I would assemble these solo images into one unified ‘group’ photograph…

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And the final ‘group’ shot…

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Before I took Misty off the cyc, I pulled out my vintage stools for one more idea…

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Best shot of those two stools I’ve ever taken…

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Oh yeah…I nearly forgot…CBS sent over Anthony Mason and a film crew to document our little shoot for CBS Sunday Morning

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Now where was I…oh right…the final shot would be of Misty and Raven together for our cover. We re-purposed that ballet barre from the shot with the kids, and set up a very simple situation with a big, soft Octalite…Misty in her costume as her mentor looked on…

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Our cover image…

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Here’s how everything looked in ‘Arrive’…

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Suite Judy Blue Eyes

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Judy Collins…!!!

When Ronnie Weil called and offered me this one, all I could say was, “Wow!”. For five decades…my entire life…she’s been making music…beautiful music. Now Judy is recording a new CD that is tentatively titled “Duets with Guys”, an album that will feature her signing with Jeff Bridges, Jimmy Buffett, Don McLean and Kris Kristofferson, and Alexandra Wolfe was writing a profile on her for the Wall Street Journal. Here is how our day went…

Kaz sitting in for our first shot…

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Ms. Collins in the makeup chair…

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And our shooting day begins…

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We also had a Journal video crew following us around…

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Here are a couple of final images…

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For the next setup, I wanted to do something dark & dramatic, and more etherial. And while it doesn’t look like much with Kaz in place…

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…once Judy stepped on set, things got dialed in pretty fast…

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Judy Collins

…and our final image…

Judy Collins

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As a little bonus, follow the link below for Ali Wolfe’s interview with Judy…

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…as well as some more behind-the-scenes from our shoot:

Judy Collins Interview & Behind-the-Scenes footage

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And Now For Something Completely Different: John Cleese

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Even considering that I’ve had the good fortune to photograph some pretty impressive people over the years, when Ronnie Weil called from the Wall Street Journal and offered up John Cleese, it really knocked the wind outta me. People toss around the word ‘iconic’ a lot, but John Cleese is a true ICON. What he and the rest of the Pythons did to comedy in the early 70’s forever changed how people laughed. He is a manic genius who…to quote a famous Monty Python sketch…is a true master of sarcasm…dramatic irony, metaphor, pathos, puns, parody, litotes and satire!

And I was getting 15 minutes with him…

Mr. Fawlty was in New York as part of a tour to promote his new book, “So Anyway”, and we met him in a midtown hotel where we set up two situations in a room slightly smaller than an average walk-in closet…

For our first shot, I wanted to do a tight portrait…just his face…to capture a range of expressions…

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We started with just a gridded Profoto beauty dish on the grey seamless…

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…then added a 4′ x 6′ Chimera over my shoulder for fill and a small strip light on the background for separation…

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But something didn’t look right…the 80mm lens perspective was a bit uninteresting…so we swapped it for the 150mm…

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Much better…now just add one Python…

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…and let the rat-faced fun begin!

John Cleese - November 4th, 2014 New York City

I began calling out various characters of his and sketches he was known for and he immediately knew where to take it…

John Cleese - November 4th, 2014 New York City

John Cleese - November 4th, 2014 New York City

John Cleese - November 4th, 2014 New York City

John Cleese - November 4th, 2014 New York City

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And because we had a wealth of great expressions, I made the suggestion that we do a montage of them. Here is how it ran in the Journal…

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Then we turned 45 degrees to the left and played around with some 3/4 shots…

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It was like shooting fish in a barrel…

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John Cleese - November 4th, 2014 New York City

John Cleese - November 4th, 2014 New York City

John Cleese - November 4th, 2014 New York City

John Cleese - November 4th, 2014 New York City

Then he started doin’ this…

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John Cleese - November 4th, 2014 New York City

John Cleese - November 4th, 2014 New York City

…and like that, our 15 minutes were up. But I had a fantastic time with an honest-to-God ICONand checked off one more Bucket List item!

John Cleese - November 4th, 2014 New York City

John Cleese - November 4th, 2014 New York City

Joking Around With Seth Meyers

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I’ve had a pretty good run of celebrity shoots lately…Frankie Valli, Ricky Gervais, Tony Bennett, Spike Lee, Willem Dafoe…and I’m trying my best to catch up on the behind-the-scenes on most of them. This shoot with Seth Meyers was actually shot back in February, but it just published a few weeks ago in the latest issue of Amtrak’s ‘Arrive’ magazine. Rob Smith…Arrive’s Art director and one of my oldest friends…had a few thoughts on what he wanted to do with the shoot, and I had a couple of ideas as well, so we drove out to Queens where all the prop warehouses have moved to see if anything got us going…

Since Seth was the Head Writer at SNL, we both stopped when we came across these old desks and typewriters…

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Next, we brainstormed a few shots based on the idea that Seth was not only moving from Saturday Night Live to the Late Night program, but when the story was scheduled to run Seth was supposed to be taking the show on the road. Moving his stuff in a little red wagon just made sense…

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With the van full of dusty old props, we headed down to Bathhouse Studios…truly one of the nicest places you can shoot at in all Manhattan…and got to work…

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Unlike the low-key shoot with Willem Dafoe last week, this time the studio was filled with multiple stylists, make-up and hair people, and more NBC publicists than I’ve ever seen gathered in one place!

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And I know it might not look like much in these BTS photos…but dropping Seth into that precisely focussed spot of light against the cyc background created just the right amount of drama…it was all about Seth going out on his own…

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Here are some of the final selects…

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Seth Meyers

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Now where did we put that red wagon…

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By the way…for all you lighting geeks out there…I am seriously loving the Rime Lite deep octas…as long as you know a bit about lighting, they’ll give you everything you expect out of a Broncolor Para, but for less than one-tenth the price!

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Seth Meyers

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And since a lot of people figured that Seth taking on Late Night was a bit of a leap…

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…I thought having him stepping into the unknown kind of worked the metaphor nicely…

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Seth Meyers

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Next, we moved on to our cover setup…

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…which gave us both our cover and a pulled-back shot for the table of contents page…

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Seth Meyers

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Seth Meyers

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So thanks to the huge team it took to pull this off and make things come off so smoothly, but especially thanks to Seth for giving up his time and being such a good sport!

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Rick Masters + Jesus + Sgt. Elias = Willem Dafoe

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As a young photographer, I had this very dreamy, romanticized idea of what it must be like to shoot celebrities. One of my early photography idols was Bert Stern, and I just figured every shoot with a celebrity might end up like his famous session with Marilyn Monroe where they locked themselves in a suite at the Bel-Air Hotel for three days with a case of ’53 Dom Perignon, a couple of cameras and a few props, and emerged totally spent but with a collection of amazing photographs. But I moved to New York a couple of decades later…just about the time when shoots like that were becoming increasingly controlled by managers, publicists, agents and the studio P/R machine. Ideas had to be pre-approved and even then it didn’t mean you would get to do them. And three days? More like five minutes after your writer got to ask his five questions, thank you very much! But if you’re smart you learn how to work the angles, you keep a few tricks up your sleeve when you don’t have the cooperation you had hoped for, and occasionally, you get lucky…

Ronnie Weil called me at 5:00PM on a Thursday and asked if I would be available the next morning to shoot Willem Dafoe for the Wall Street Journal’s ‘Weekend Confidential’ section. His new film, “A Most Wanted Man”, was coming out in a week and they were given a last-minute opportunity interview him. Now I don’t know about you, but there are very few actors that I can remember from the first moment I saw them on screen, and Willem Dafoe is one of them. His performance as the slick criminal Rick Masters in “To Live and Die in L.A.” burned into my brain. I immediately knew this was a seriously great actor. So yes…of course…just tell me where and when and I’ll be there with a big grin on my face…

The Journal likes the portraits for the ‘Weekend Confidential’ section to be all about the personality, and not prop or location-driven, and so we typically keep things very simple…seamless backdrops or locations that don’t distract from the subject. And it’s not a fashion show, either. What you bring with you is what we shoot. Willem arrived…early, I might add…alone and ready to go. He was wearing black jeans, a black t-shirt and a wonderfully disarming smile. After a few minutes of me heaping gobs of fanboy praise on him and a little light grooming, we were ready to go…

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(Groomer Amy Komorowski)

Willem Dafoe was made to be photographed. He has one of the most expressive faces in the business…whether he’s playing a silent film Vampire (Max Schreck in “Shadow of the Vampire”), a Viet Nam-era Marine (Sergeant Elias in “Platoon”), a cartoon character arch-villain (the Green Goblin in “Spider-Man”) or Jesus Christ himself (“The Last Temptation of Christ”)…and I wanted my portraits of him had to capture the depth he conveys through the characters he portrays. I had a few ideas I wanted to try…and we were told Willem would give us about an hour…so here is how it went…

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I started this first setup as a 3/4 body shot, but allowed myself to move in and out as his poses and mood changed…

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William Dafoe

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Then we sat down and came in for a tight series of darker, more intimate portraits…

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Now, I was already thrilled with what we had done and that Willem had given us so much time, but I kind of liked the white brick wall in the studio, so I asked him for a few more minutes to put up a fresnel spotlight and play around with the shadows…

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William Dafoe

William Dafoe

In the end, the Journal chose one of my favorites for the article…

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…and once again, I find myself surprised at how lucky I am to be able to do what I do…

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Going Ninja With The Impractical Jokers For The Cover Of Resource Magazine

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I had the privilege to be asked by Alexandra Niki and Aurelie Jezequel…the team behind Resource Magazine…to photograph their very first ‘Celebrity’ cover, featuring Brian “Q” Quinn, James “Murr” Murray, Joseph “Joe” Gatto and Salvatore “Sal” Vulcano, better known as The Tenderloins, but who are also the stars of truTV’s The Impractical Jokers. The Jokers…in case you didn’t know…is a practical-joke reality show where the four guys coerce one another into doing public pranks while being filmed by hidden cameras. For the cover theme, Alex and Aurelie wanted to use Sun-tzu’s, “The Art Of War” for our inspiration, with the Jokers dressed as Ninja Warriors, and I was happy to pull it all together…

Aside from using a ridiculously expensive Broncolor Para 220 as a main light, the cover setup was pretty simple…

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Alex and Aurelie wanted a very high contrast, red & black look for the shot, and I had an idea for the cover that was centered around the original Charlie’s Angels logo…

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Not quite…

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Closer…

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Bingo!

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…and the final cover image…

Impractical Jokers

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Next, for the opener to the story, we wanted to do a ‘reveal’ where they tore off their Black Ninja Suits to show their Black Hipster Suits underneath…

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And after a bit of Photoshoppery…

Impractical Jokers

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Now came some ‘Hidden Camera’ goofs, with each of the guys hamming it up with a few not-so-hidden camera props…

“Q” the Ping Pong Pro…

Impractical Jokers - Joseph "Joe" Gatto

Murr and his Monkey…

Impractical Jokers - Joseph "Joe" Gatto

Joe the Big Gulp Cowboy…

Impractical Jokers - Joseph "Joe" Gatto

And Sal with a drippy ice cream cone and ‘Battle’, the GoPro-enabled Chihuahua…

Impractical Jokers - Joseph "Joe" Gatto

We finished things off with a few more hidden camera pranks, with the guys in their signature suits…

Impractical Jokers

Impractical Jokers

Impractical Jokers

Impractical Jokers

And finally, here’s a little behind-the-scenes video shot by Resource’s Adam Sherwin that wraps up the day nicely…

Oh yeah…Alex wanted to play Ninja, too!

Impractical Jokers

The BIG One: Behind The Scenes At The 2014 Barron’s Roundtable

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Click on any image for Full-Size

In an attempt to freshen things up around here, today I’m giving the blog a fresh coat of paint in the form of a new Theme. The old dark grey was getting a bit depressing, so I chose a brighter version complete with much larger photos…and larger text for those of you who might rely on reading glasses. I also slightly modified the title. After much deliberation, gone is any reference to the Song of the Day, since my increased work schedule has made dropping a regular stream of free tunes on you guys just about impossible. I’ll still post on music that catches my ear when I have the time, but I think going forward I’m gonna focus on why I’m here in the first place…Damn Ugly Photography. With that in mind, I have a lot of catching up to do, starting with today’s mega-post, long-winded as it is…

The posting frequency has been reduced to such a level that we completely blew off discussing this year’s Barron’s Roundtable from earlier this year, but fear not…today I’m gonna spew out the full behind-the-scenes for the three issues that ran back in January, as well as how we put together the mid-year cover story that hit the stands this past Monday. It’s hard to believe, but it’s been eight years since Adrian Delucca first called me to shoot the Roundtable Feature for Barron’s, and each year we have tried to one-up ourselves with new ways to shoot the ten Roundtable members for both the January and June issues, including multiple cover images, inside opening shots and individual portraits…and get it all done in the two hours before their meeting begins. And this year, for the first time, we would have to come away with four cover images instead of the usual two. We had our work cut out for us…

With the increased image count, we had to set up three separate shoot areas in the very tight confines of the President’s Room at the Harvard Club…

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Adrian and I cooked up a re-working of the old financial Bulls & Bears theme, and our Big Ticket prop items this year were a couple of mascot costumes we had made for the event. Photo assistants Rob MacInnis and Takeshi Koike got to spend the day sweating inside the furry suits.

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But I’m getting ahead of myself…we’ll talk about those costumes later…

The first January cover would involve shooting each Roundtable member on white in various poses to make them look like they were in Pamplona…running with the Bulls…

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…then in post, I would hafta do a bit of magic with a cobblestone street and a toy bull I shot earlier…

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…which eventually turned into this…

The 2013 Barron's Roundtable

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Now as complicated as that might seem, the inside opener for Week One was actually waaaay harder to pull off. I now had to convince these ten financial gurus to imagine running away from, jumping outta the way of, cheering for and riding…an imaginary bull. For this, I first went down to Wall Street and shot the famous Bull statue…

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…then I took some outside shots of the Federal Reserve Building…

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…and combined the two images with those cobblestones again…

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Now we had to get some reaction shots of the Roundtable members…

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Oscar Schafer and Mario Gabelli are probably hoping they won’t have to ride the sawhorse…

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…and finally, many, many Photoshop hours later…

The 2013 Barron's Roundtable

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With Week One outta the way, we now had to get workin’ on those furry suits for the Week Two & Three covers.

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And here are the final images…

The 2013 Barron's Roundtable

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The 2013 Barron's Roundtable

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Are you gettin’ tired yet?!!

Finally, for the Midyear Roundtable cover, Adrian and I wanted to assemble a group shot in the form of a jigsaw puzzle. Our initial idea was to do the puzzle effect in Photoshop, because I had heard there was actually a filter for that, but after a bunch of tests we decided it just looked too fakey and so…we had some real puzzles made by PortraitPuzzles.com!

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I put my still-life photographer cap on and shot the assembled puzzles…

The 2013 Barron's Roundtable

The 2013 Barron's Roundtable

The 2013 Barron's Roundtable

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And with that, one more year of the Barron’s Roundtable is done!!!

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A Few Card Tricks With Penn Jillette For The Wall Street Journal

Penn Jillette

Click on any image for Full-Size

Recently, I’ve been lucky enough to shoot some very nice features for the Wall Street Journal, including today’s entry…Penn Jillette…the larger, more vocal half of Penn & Teller. He was in town promoting the move he produced and Teller directed called, “Tim’s Vermeer”, a documentary about inventor Tim Jenison’s quest to duplicate the painting techniques of Johannes Vermeer.

The Weekend Confidential section of the Journal typically uses a portrait shot on seamless for the lead art, but I really wanted to do something a bit darker and mysterious as well. I originally thought of doing a Vermeer-like set, but limited time (and budget) kind of made that impractical. However, I did have a classical muslin backdrop that would create the mood I saw in my head. I had it painted about 20 years earlier and pull it out every few years when the need arises. With a few decks of cards, a beat up table and a World-class magician, the photograph almost made itself…

Penn Jillette

There is something truly liberating about shooting portraits on a seamless drop when your subject is as expressive as Penn. I basically threw up a big, soft light (a 47″ Rime Lite Grand Box) and we just had a conversation that I recorded with my camera. My only props were an old chair and one perfectly chosen playing card…

Penn Jillette

Penn Jillette

Penn Jillette

Penn Jillette

And here’s how it turned out…

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Just a couple of Jokers…at your service!

Penn Jillette

EDIT:

Cuz some of you guys won’t leave me alone about how I lit the shot on the muslin drop, here’s a lighting diagram that should spell things out quite easily…

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As you can see…it’s pretty simple. The ring light had the diffusion reflector on it…

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…and was about two stops under the main light, my modified Desisti 10″ Fresnel spotlight…

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The Desisti (powered by a Profoto Acute 2400 pack) was placed to the right of the camera and was flagged off by two long, black cards that threw the shadows onto both Penn and the back wall. I like the Fresnel spot for a couple of reasons. First, it’s very easy to place the shadows exactly where you want them because of the focused beam of light. And secondly, the light quality is much nicer than a bare head…it just has an open, sunny look to it. To get the overall color looking the way I wanted, I added about 3/4 CT filtration on the Fresnel and then adjusted the white balance back so the skin tones weren’t too warm, which put a slight blue cast onto the background and in the shadow areas.

Behind The Scenes For American Lawyer

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Click on Any Image for Full-Size
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Maggie Soladay, Photo Editor at American Lawyer, recently had us shoot the cover feature for their annual Associates Survey. The cover image had to convey the rather subtle idea that female associates gave their firms lower marks than the male associates did in many areas on the survey. Here’s a little taste of how it went…

For the cover, I wanted to use a color that immediately grabbed the reader’s attention and Art Director Morris Stubbs was on board, especially after seeing what I did with Bill O’Reilly a few months ago…so we pulled out the orange seamless and went to work.

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As you can see in the lighting diagram, I kept things fairly simple, but I wanted to light our models (Jo Quiles and Johnny Tyrone) with two separate main lights…20″ Profoto Beauty dishes with 25 degree grids…in such a way to add to the drama. The male associate had to be in a hero light…something that would make him more prominent in the photo, while the female associate was lit slightly from below to give off a more menacing vibe. Not exactly ‘monster lighting’, but just enough to not come off as a wash of soft light. Other than the dish reflectors, I added a ringlight with the soft reflector to give a sheen to their suits.

American Lawyer - Associates

Then we backed up the orange set with a similar look on blue…

American Lawyer - Associates

Next, we moved on to the inside look…

American Lawyer - Associates

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To illustrate the idea of a law associate moving out of the shadows and stepping into the spotlight, I literally pulled out my modified Desisti spotlight for the task…

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I positioned the Desisti directly behind and above my camera and cut the light with two cards on either side that gave me a exact slash of light I wanted. A little pop from the ringlight filled in the shadows just enough without throwing a ringlight-effect shadow…

American Lawyer - Associates

The resulting image opened the story…

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…and all was right with the World…

American Lawyer - Associates

A Few Minutes With Bill O’Reilly

Bill O'Reilly

When I got the call from Dave Baratz at USAWeekend to shoot Bill O’Reilly, I immediately could tell from his voice that this was probably when was of those quick in-and-out gigs, and I was right. Bill had extremely limited time available and wouldn’t go to a studio, so the only place we could shoot him was on the set of The O’Reilly Factor at Fox News. Oh yeah…we were told we would only have about ten minutes with him…immediately before he taped his show!

I figured I had better go check the place out…

It was small…really small! My wide-angle lenses were gonna get a workout! The only place I could drop a seamless for the cover would be in a back corner behind the cameras…

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For a second shot, the only other possibility seemed around his desk…

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But when I saw the Stage Manager sitting in a nook to the side I had an idea…

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Because of the time constraints and the fact that I was going to shoot him against that backlit set, I made the decision to light Bill with a couple of 1′ x 1′ BiColor Litepanels. The BiColor variator made it super easy to dial in the correct color temperature and the output variator allowed me to match the intensity of the backlit blue wall in seconds. I’ve really come to appreciate the WYSIWYG aspect of shooting the the Litepanel system.

Bill O’Reilly…on set in 3…2…1…

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Bill O'Reilly

That took care of the opener…

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Now, on to the cover.

I took a subjects-eye-view of the cover setup…

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…which sort of shows how tightly backed into that corner we really were…

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Since the story was about volunteerism, Dave and I thought it would be nice to play off the old Uncle Sam, ‘I Want You!’ poster…

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And Bill got into the whole Uncle-Sam-pointing thing which made my work that much easier…

Bill O'Reilly

And here’s the cover that came out yesterday

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Bill and I hope YOU enjoyed todays behind-the-scenes look!

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Three Canadians Walk Into A Bar…

Catherine Mary Stewart & Michael Kaye

Even though I’ve lived in New York since 1982, if someone asks me where I’m from I immediately say, “Edmonton!”, so when Terri Belley…the Art Director at Avenue Magazine…asked me to shoot a feature on another ex-Edmontonian, actress Catherine Mary Stewart, I jumped at the chance. I mean, this was the hot chick from “Night of the Comet”, “The Last Starfighter” and who can forget…“Weekend at Bernie’s”!!! And designer Michael Kaye…another native son of Edmonton now calling New York home…was gonna be providing the fashions.

But then reality kicked in. Avenue ain’t Vanity Fair, and as such, the production budget was very tight, so we decided to shoot everything at Michael’s design studio. The only problem, he just moved in and when I went by to take a look at what we might have to work with, the place was still under construction. Even so, there were a few things that caught my eye…

These mirrors…
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A Knoll Egg Chair…
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A wall of dress forms…
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And something all Canucks have on their walls…a really cool mounted head!
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Michael assured me the studio would be completed in time for the shoot, and a few weeks later Kaz and I hauled a thousand pounds of gear uptown and went to work, starting with those mirrors…

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Well, that sucked…gotta get that color balance right…

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Much better. Let’s do it…

Catherine Mary Stewart & Michael Kaye

Catherine Mary Stewart & Michael Kaye

Catherine Mary Stewart & Michael Kaye

And here’s how it looked in the magazine…

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Now…the dress forms…

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Way too much ring light and too little drama…gotta bring in the Mini-Octa…

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Perfect!

Catherine Mary Stewart

So good, it ended up on the cover…

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Michael had a black pony area rug on the floor that I thought would look good from above…

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The high angle was great, but the day bed wasn’t working, so we went with the Egg Chair instead…

Catherine Mary Stewart

And as the only horizontal I shot all day, it fit right in as the opener for the story…

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Since I had been to the studio on the scout, Michael had added some shelves that showed off his collection of fashion illustrations on either side of the Antelope head. Catherine was going to wear one of his signature Tartan dresses that he designed especially for her, and I originally thought it might look good with a stark ringlight effect…

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But it came off like a Terry Richardson rip-of and was too different from everything else we were doing, so I brought back the drama with a spotlight on her…

Catherine Mary Stewart

Catherine Mary Stewart

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We had already shot a lot, but Michael had one more gown he wanted to include and although we had pretty much shot every angle of his studio, after wracking our brains for one more idea we thought it might be fun to offset the stunning beaded dress against a haphazard pile of chairs…

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Works for me!

Catherine Mary Stewart & Michael Kaye

Catherine Mary Stewart & Michael Kaye

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After a very long day in a very small studio, we were three very tired Canadians! And the June issue of Avenue magazine is on the stands now!

Catherine Mary Stewart & Michael Kaye

Catherine Mary Stewart