As I mentioned a few months back, I am honored to have been selected for Archive’s 200 Best Ad Photographers Worldwide. Today, the book is on the shelves in bookstores that still exist, so go check it out.
Some photoshoots we love, and others we merely get by….. this is one that I loved that almost ended me. To say that racing is an important aspect of my life would be the equivalent of saying that I enjoy breathing air. I love the speed, the sounds that the cars make at speed, and just for the intention of using the word “speed” in a sentence 4 times, speed. This is why when a phone call came in with a photoshoot at the 24 heurs du Mans in France (better know as Le Mans), I decided that in no way would I turn it down. With this said, I had already scheduled a week in the Caribbean that would get me home the day before I needed to fly to Paris. On top of this I had a photograph in Texas two days after the race. Most people in their right minds would cancel on one of these, or skip the race all together, sadly I am not like most in this regards. In hoping to make life easier while in Le Mans I brought my assistant Mike with me to cover in parts where I needed a break, […]
I was recently approached by the good people over at Scott Kelby workshops to see if I’d be interested in guest blogging on their site. While I was interested in doing it, the question of, “what the hell do I write about?” seemed to surround me. I thought about lighting, and approaches to optics, but all seemed rather talked out. So I decided to talk about something that not many see on my end, how I approach being on set. From producers to assistants, clients to creatives, I wrote about life on set. So if you have a few minutes, head over to the Scott Kelby blog and have a read
As a freelance artist, I have found that my loyalties to any particular team need to be minimized on set, the only person I work for is the client. This is often easier said than done, but is a must in order to maintain a certain quality level of work over a broad portfolio. In order to stay objective, I intentionally try to stay uniformed about the sports or athletes that I am photographing. It is important that I know only what I need to know in order to be respectful and safe with the athlete on set. From there I have found that most of my subjects have fun talking about what they do to someone that doesn’t try to know too much about their sport. On a recent photoshoot that I did for the University of Maryland, I let one of the football players walk me through what he visualized as “intensity.” It was speed, it was fluid motion and I was captivated. I began thinking about how to show my viewers the mental imagery he created. I had him walk me through the action that he sees on the field, both in common plays and highlight reels. […]
This job has been a door that continually opens to opportunities that I don’t deserve, but will always be grateful for. One such opportunity presented itself when I showed interest in Movember. I was talking with the marketing team at Maurice Lacroix, and they told me that they were thinking of partnering with Movember this year, and if they did, wondered if I had interest in photographing the CEO of Movember, Adam Garone. … Now this is a situation that scares me sometimes. You see, Adam is, by all research I had done, a cool guy that down to his core is a damn good person. I often worry about this because photoshoots often show me the real person that is my subject and sometimes they are product of great PR, and not so much character. However, I can proudly say that Adam is the real deal, a legit guy that everyone should have a beer with… especially the thousands of men who’s lives have benefited by his cause, Movember. Beyond the photoshoot, he and I did video interviews (of which you will see soon) to talk about both Maurice Lacroix watches and what Movember meant to us. On camera […]
In the day since the announcement of the Nikon Df, I have given great thought to where the paths of photography and happiness cross. Being known for my lighting, it is profoundly ironic that some of my most relaxed time behind a camera is enjoying the absence of light, studying what little light exists at midnight. There is so much beauty in the light that a bright moon and low level clouds can offer you. Studios would give anything to have it, but it is one reserved for us to enjoy, not use. The tradition started when I got my first Nikon D3 and has continued periodically throughout the years, usually when I pick up a new camera body. At first I just wanted to see what it would be like to photograph at ISO’s in excess of 6400, but I soon saw the artist merit to the imagery. I don’t to it to try and land jobs or to decorate my walls, I do it to imagine. I think of those before me that have travelled on nights like these. Even before photography itself existed, the moonlight captivated man, whether it meant calm guidance or coming storms, for the moment that […]