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.

848 Shots…One Final Photo

Barron's Penta Fashion - Paul Smith

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A while back, Mr. Delucca called me up and asked it I wanted to do another fashion piece for Penta, Barron’s Quarterly lifestyle magazine. The feature was on Paul Smith and he wanted to do the shoot at the Paul Smith store in SoHo. After I checked out the store, I came away thinking it would be kind of fun to do all the shots he wanted to do…but in one photo. So I put on my David Hockney hat and devised a way to shoot our model in three positions at the entrance to the showroom for a deconstructed fashion photo. After popping off 848 individual shots (and why I used my Hasselblad/Leaf back is a mystery cuz now I have over 50gb of raw files to archive forever!) this is the result…

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And here is the final image in Penta…

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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!

Waste of Time of the Day

So a few Microsoft engineers cooked up a demo website called How Old Do I Look? where you can upload any photo showing a face and the system will try to guess the age and gender of the person in the shot…

I uploaded my ‘Damn Ugly’ photo…

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Sixty-Six?!! Microsoft assholes…I’m sticking with Apple!!!

Bid On This Misty Copeland Print For A Good Cause Now!!!

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For more than 20 years, I have been involved with an organization called Leave Out ViolencEor LOVE. LOVE’s goal is to help youths prevent, reduce and respond to the violence in their lives. The kids involved in LOVE have all been victims, witnesses, and/or perpetrators of violence. Their lives have been shaped by bullying and fighting, assaults in their communities, gang recruitment, self harm, attempted suicide, domestic violence and dating violence. Many live in predominantly low-income communities across NYC’s five boroughs.

One of LOVE’s biggest fundraising activities is Images of LOVE…an annual auction where that get some pretty amazing photographers to donate prints, with the proceeds helping to fund projects like youth outreach workshops on photography, afterschool programs that encourage leadership and teamwork, and publishing books containing their photography and writing.

For this year’s Images of LOVE event, I contributed my multiple-image photograph of Misty Copeland, which I also had Misty sign…

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Pre-benefit bidding for the Misty Copeland photograph is now open at Paddle8. Honestly, the print is gorgeous…it’s 24” x 36” on bright cotton rag art paper, and the opening bid is only $300…and runs until May 11th, when it transfers to the live auction. All winning bids are 100% tax-deductible and for more information or to purchase tickets to the benefit, please visit the Images of LOVE website.

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…

Judy Collins

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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…

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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!

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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…

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

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

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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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…

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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…

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Murr and his Monkey…

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Joe the Big Gulp Cowboy…

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

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

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Impractical Jokers

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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!

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The Jersey Boy – Frankie Valli

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Imagine you’re just sitting around, not doin’ anything besides playing with your cat, and you get a call asking if you wanna shoot Frankie Valli? Yeah…that happened. Kat Malott at the Wall Street Journal offered this chance to me and it once again reinforced that decision I made to be a photographer. We talked about crossing the river into New Jersey and shooting him in his old neighborhood in Newark, or on the street in New York, but the logistics were getting tough and the weather wasn’t cooperating, so we decided on the wonderful surroundings of Shoot Digital Studios. But no stylists, wardrobe or big production…Frankie was just gonna come down for an hour or so and we’d see what happened…

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For our first shot, Kaz and I picked up this great tabletop from Surface Studio and an antique microphone. The Journal has an affinity for grey backgrounds, and this classically lit portrait would fill that need…

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Frankie Valli

For the next shot, we put the microphone onto a mic stand and fired up the spotlight…

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Finally, I really wanted to do something with this window…

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We were happy with what we had done, but then looking back at the first setup, I saw the chance for another shot, so I pressed Frankie for a few more minutes of his time, pulled out the tabletop and backed up a bit for these…

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Frankie Valli

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So thank you Kat for the opportunity…and thanks Frankie for a day we won’t forget.

Frankie Valli

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

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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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Ricky Gervais & Kermit’s Evil Twin for the London Sunday Times Magazine

Ricky Gervais & Constantine the Muppet

Click on any image for Full-Size

Ricky Gervais. In New York. For the London Sunday Times Magazine. And it was one of the most fun shoots of my entire career.

Adam Hearn is the photo editor of the London Sunday Times Culture Magazine and some of the other folks I work for at the Times recommended he give me a call next time he had a shoot on this side of the Atlantic. I am so happy he did, cuz not only am I a BIG fan of Ricky, but I had just lost out on a shoot with him for another client only a week before Adam called. The story was tied to his new film, “Muppets Most Wanted”, and would feature the other star of the movie, Constantine the Frog, the world’s “Number One” criminal and a doppelgänger of Kermit the Frog. Adam kept it fairly open-ended as to what we could do…he just needed fun interaction between Ricky and Constantine for the cover and left the rest up to me. With that in mind, I went on a mad tear of propping…

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…dragged my crew down to Industria on a Saturday morning and let Mr. Gervais and Mr. Frog do all the heavy lifting. Here’s how it went…

Ricky and I talk to Matt Vogel…the Muppeteer behind Constantine…about a few ideas…

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…and even before we start, the fun begins…

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Here are some behind-the-scenes shots of how you photograph a Man and his Muppet…

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One of the best things about the whole day was having Ricky’s input as we went along. He came up with so many great ideas of what would look good, that I just had to keep my finger on the shutter and wait for things to happen!

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Ricky Gervais & Constantine the Muppet

Ricky Gervais & Constantine the Muppet

Ricky Gervais & Constantine the Muppet

Ricky Gervais & Constantine the Muppet

Then Ricky suggested they each pose with sunglasses…

Ricky Gervais & Constantine the Muppet

…and our cover was in the bag!

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After a quick background & wardrobe change, the two A-Listers were suddenly at each others throats…

Ricky Gervais & Constantine the Muppet

…but a left-cross from the Frog ended that argument…

Ricky Gervais & Constantine the Muppet

…and gave us the opener to the story!

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I also wanted to to shoot Ricky, sans Frog, but had picked up a few Froggy bits and pieces to stick with the theme, including a t-shirt with strategically-placed eyeballs…

Ricky Gervais

…and a very special pair of Kermit Adidas that Ricky put to good use…

Ricky Gervais & Constantine the Muppet

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Finally, I wanted to cool things down a bit, so I had Ricky get into his trademark black…and accessorized him with some very blingy fuzzy Frog Slippers…

Ricky Gervais & Constantine the Muppet

Ricky Gervais

Then we both kicked back and enjoyed a Green Drink…

Ricky Gervais & Constantine the Muppet

And yes…that is a Karl Pilkington t-shirt. I told you I was a big fan!

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.

Ladies & Gentlemen…Mr. Tony Bennett

Tony Bennett

Click on any image for Full-Size

Tony Bennett

Yes…Tony Bennett…!!!

I have a very short, unspoken list of people that I would never presume I would have the opportunity to meet, let alone get to photograph. That list has included Jacques Cousteau, Steven Spielberg, Christopher Reeve, and a few Presidents. But a couple of weeks ago, Kat Malott at the Wall Street Journal gave me the call. Tony Bennett. Tony sketches or paints every day, and Kat…the Photo Editor for the ‘Mansions’ section…wanted me to shoot Tony the Artist, at home with his paintings. The idea was to show him in his studio and keep things as ‘real’ as possible. Given that it was a painting studio, I kinda hoped the available light would make things easy in that respect. I wasn’t disappointed. Here is how things looked…

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The big wall of windows next to the easel face North onto Central Park and the east-facing windows would act as a nice fill, but I would still have to pull out my DIY Ghetto-Flo’s to to act as a main light, while still keeping the natural look of the scene. I didn’t need too much front light…two of the Ghetto’s should do it…

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The two strip lights added just enough soft light to mimic the existing light without looking like we faked it…

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And away we go…

Tony Bennett

Tony Bennett

It was natural enough that even with a camera angle change, we didn’t have to move the lights…

Tony Bennett

Tony Bennett

And even more extreme angle change for a still life of his easel and a bronze of Harry Belafonte let us use that North window light as our main source…

Tony Bennett

With the ‘Artist’ portraits in the bag, I pressed for a few extra minutes to do a quick portrait using the wall opposite the windows…

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As you can see, the setup couldn’t be simpler…just a mini-octa bank and a soft ringlight. We put down the Canon, and pulled out the Hasselblad and the Macbeth chart…

Tony Bennett

Tony Bennett

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Thanks Tony…that’s one more thing checked off my Bucket List.

Tony Bennett

Behind The Scenes For American Lawyer

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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.

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

American Lawyer - Associates

Next, we moved on to the inside look…

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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…

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The resulting image opened the story…

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…and all was right with the World…

American Lawyer - Associates

Easy As 1, 2, 3…

LEWIS & KAREN ALTFEST -  ALTFEST PERSONAL WEALTH MANAGEMENT

Click on Any Image for Full-Size
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When people ask me what it’s like to do what I do, more often than not they think the life of a photographer is some kind of a Holy Grail job and how great it must be to rub elbows and frolic among the people I get to (briefly) hang with. I try my best to convince them that it ain’t all Roses & Butterflies, but most have a hard time believing me. Which brings us to todays little waste of time. This isn’t gonna be glamourous. There will be no talk of Rock Stars or Celebrities or Fabulous locations. The following is a pretty honest representation of what an average shoot for your typical business magazine is like. It’s all about photographing real people in real situations in very little time and still coming away with interesting images. To the best of our knowledge, no one was harmed in the making of this post…

Scott Valenzano sent us to Park Avenue to shoot a cover for Financial Planning with the Altfest’s…Lewis & Karen, who run Altfest Personal Wealth Management…as our subjects du jour. And as is often the case, we had to alter the reality of the location just a touch to get things to look good. Here’s a little rundown…

The Altfest offices aren’t that large, but within minutes of my arrival I knew where we were gonna shoot the cover shot…

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I figured that if we backlit the frosted glass wall and used just the right wide angle lens, that grid pattern would make for a nice, graphic background. But that big wall of glass took a lotta light before it blew out nicely!

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You can see that we used four heads just to cover the frosted glass, and another big umbrella to fill in the background on the far right side. With all that light bouncing around, all we need up front was the Mini-Octa bank positioned high and to the right and we were good to go…

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LEWIS & KAREN ALTFEST -  ALTFEST PERSONAL WEALTH MANAGEMENT

With the cover in the bag, we very quickly moved to shot number two…on the other side of that glass wall…

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The classic sofa was a perfect posing bench for the couple and it would be relatively simple to relight the scene using the lighting from the first shot. The four background lights were now placed on the other side of the glass and the Mini-Octa would again be our main light, but we added a ringlight for fill…

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LEWIS & KAREN ALTFEST -  ALTFEST PERSONAL WEALTH MANAGEMENT

Finally, we decided to move in a totally different direction and pulled out the Canon to do an almost-available light portrait in Lewis’s office…

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With large windows on two sides streaming in all that light you might think we wouldn’t have to add anything, but the bright backlight was just too much to overcome without looking like a blown-out fashion shoot. My DIY Ghetto-Flo Lights would be just the right thing for the task…

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With one light each aimed at Lewis and Karen and another two positioned off to the far left to act as a kicker that mimicked the window light, we were able to bring the ambient light down just enough to get the subjects to pop and also white-balance the ambient light down to a nice, cool blue cast…

LEWIS & KAREN ALTFEST -  ALTFEST PERSONAL WEALTH MANAGEMENT

Three shots in about an hour…like I said…easy as 1, 2, 3…!

Screaming At Adobe May Actually Have Helped…!!!

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As any of the regular viewers of the Damn Ugly Channel can attest (and by regular, I mean those who have stuck with me through this past Summers marked lack of action in here!), I have been a rather vocal opponent to Adobe’s Creative Cloud subscription scheme. I made my feelings about their plans to charge $20/month to use Photoshop (and Lightroom, Behance, and have access to a 20GB Cloud Storage account) very well known, as I saw it for what it was…a blatant money grab! The smart kids in class realized very early on that moving to a subscription-based pricing scheme wasn’t about innovation and the seamless transfer of upgrades to its end-users, as Adobe claimed…no, the writing was on the wall that in order to keep their business going, Adobe had to do something to lock in a steady cash flow since it was obvious they weren’t gonna stay profitable forever relying on periodic upgrade fees alone. There are only so many new gizmos and filters they could add to any piece of software before the end user wouldn’t care and bail on paying for upgrades. Now comes word that all that screaming from the mountaintop by those of us in the Photo Community may have have a positive outcome as Adobe just announced a “New” Photoshop Photography Program…only $10/month…forever…if you’re already a Photoshop user (minimum CS3) and you sign up buy the end of the year.

Now by lowering the subscription price to $120/year, it kinda brings the cost down to what have been historically what users paid if they were fastidious about sticking to the Adobe upgrade path. But as good a move in the right direction as this might be, I’m not exactly ‘rejoicing’ at the news, as the PetaPixel Photo Blog suggests all photographers should be doing just yet. At ten bucks a month even I can’t come up with too many arguments for not joining…except one…why isn’t Adobe addressing the biggest issue with their plan for an ongoing subscription model…the lack of any viable exit strategy for loyal users once they get off the subscription track?!! I mean, I’m not planning my retirement party just yet, but there will come a day when I won’t wanna fork over even $10/month for occasional access to a program I will use sparingly at best! All Adobe would have to do to win over the entire Photo Community would be to say that after you’ve paid into “The Cloud” for a period of time…say three, four or even five years…the end user can end their subscription and their software will be locked in at that level of upgrade. This would ensure the user could still have full working access to their work and Adobe will have made a healthy profit over the subscription time frame. And best of all for Adobe, should that user decide at a later date that it is once again necessary to get back on “The Cloud”, then they would have to pay whatever the going rate was at that time to re-subscribe and build time credits towards the next allowed jumping off point.

See…very simple…why can’t everyone just listen to Damn Ugly Photography?!! But let me know…what do you think of Adobe’s price drop?