Steve Madden Don’t Take Shit From Nobody

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Most people might think they know who Steve Madden is. After spending an afternoon with him for the Wall Street Journal, I can guarantee you have no idea who Steve Madden is! The Journal was doing a profile on him in conjunction with the release of ‘Maddman’…a documentary that tells his rags to riches story, from selling shoes out of the trunk of his car to becoming the mogul of a billion-dollar designer footwear empire to being sentenced to prison because of his entanglement with Jordan Belfort (the Wolf of Wall Street guy) and how he’s rebuilding his empire and his life following his release. He is a nonstop bundle of crazy, manic energy and I had to corral that energy into a few portraits for the story.

When we showed up at his showroom, we immediately were presented with a Warholian wall of ‘Maddman’ movie posters…

I know right off that would make for a fun portrait. I wanted it to be punchy and for the colors to really pop, so we went with a Profoto 3′ RFI main light with a ring light fill…

…and when Steve showed up, it almost looked like he walked right outta the posters…

As we were setting up the first shot, it occurred to me that the B&W graphic wall next to us had some potential as well…

We set up a similar lighting as the first shot, but with a gridded Beauty Dish in place of the RFI for the main light…

(Robert asking Steve to remove the giant wad of cash from his pocket before we begin)

Yeah…this works, too…

Now we already had two pretty strong portraits, but I wanted to get Steve as just Steve…alone on a seamless…so we dropped a roll of white in front of the shoe racks and went to work…

it looked good…

…but something told me shooting it B&W was the way to go…

Steve told me he never let anyone shoot him without his baseball cap…

…but I put him in a good mood…

Philipp Haemmerle For Die Zeit

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Philipp Haemmerle is perhaps the hottest, most in-demand set designer/art director/style maker for some of the biggest names in fashion and photography. Peter Lindbergh, Mario Sorrenti, Bruce Weber, Tom Munro, Paolo Roversi, Richard Burbridge…they all have Philipp on their sets for the biggest campaigns in fashion. Not bad for a guy who got his start as a performance artist on the streets of New York.

I got a call from Florian Fritzsche a few weeks ago…head out to Industry City where Philipp has his studio and come back with some cool shit…here’s how it went…

His studio is huge, has outrageous light pouring through walls of industrial windows…and under it’s other name, Sunset Studios, doubles as a rental photo space. I really didn’t wanna do a literal portrait of a guy building sets, but the first thing I saw when I entered was a gigantic sculptural piece of driftwood…

…but when Philipp arrived, we had to move quickly, cuz as nice as that light was, it was moving fast…

With a little shift to the left, plus some attitude from Philipp and this shoot was making itself…

Next, we simply did a 180 for a view in the other direction…

Finally, Philipp suggested we try to do something that showed off his great view…a view that went all the way from the Statue of Liberty to Lower Manhattan…

…his artistic intuition paid off…that’s the shot Die Zeit chose for the feature…

Thanks to Florian and photo director Jutta Schein for the opportunity.

The Village Voice, Over & Out…

After 62 wonderful years, the final print edition of The Village Voice got dropped into the familiar red boxes on the streets of New York this morning.

Besides looking back at six decades of Voice history, the issue features a photo essay by Celeste Sloman of some the people who have worked for the paper over the years. She shot everyone at a final party that was held a week ago at the Downtown Community Television Center in TriBeCa. Portraits of Robert Christgau, Sylvia Plachy, Michael Musto, Lucian Truscott IV, Peter Noel, Robert Newman, Amy Taubin, Jerry Saltz, Joe Conason, Joe Levy, Guy Trebay, James Hamiltom, Susan Brownmiller, original publisher Ed Fancher and many, many, many more graced 50 pages of the issue. It payed respect to these people in a way never before seen at the end of a publications lifespan. It was gorgeous.

I’ve only been contributing to the collective history of the paper for the past couple of years. My pal Andrew Horton got me in shortly after he became Design Director. It wasn’t a lot, but it was honestly some of the best work I’ve ever done.

I am going to miss The Voice. Terribly…

Kurt Andersen For The Village Voice

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As the Village Voice ends it’s 62 year run as New York’s best alternative newspaper in a couple of weeks, I was given a last opportunity to contribute one more portrait session to the time capsule. Photo Editor Andrea Maurio asked me to meet author, editor, radio host and Bon Vivant Kurt Andersen in a park in Brooklyn…here’s how it went…

Setting up under the trees…

Kaz under ambient light, overcast…I sure hope that Sun pops out…

Add the 3′ Profoto RFI…

Insert subject, press the button…

Kurt was on a tight schedule, but for a quick second shot we just had to turn the camera 45 degrees South for this view under a row of trees…

Kale Friesen was also helping out that day…he got to be Macbeth Boy…

This was OK…

…but I told Kale to go grab one of the cafe chairs we saw on the other side of the park…

That did it.

Here’s how it looks in print…

And you can read the story online HERE

The Voice has two weeks to go in it’s print life. Go out and pick up a copy while you still can.

THE PICNIC TABLE STUDIO

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I’ve just finished a run of three back-to-back portrait gigs, all shot in the same empty, end-of-the-hall location at Barron’s. We’re calling it the Picnic Table Studio because at some point in the past few months somebody decided what that empty hallway needed was a fancy Picnic Table. For all three shoots we would have very little time. Each person was either going into or coming out of an interview and we would have five minutes…or less. Here we go…

The space itself ain’t nuthin’ you would gravitate towards as a location. There was the table…

…and a hallway…

But the low ceilings and tight surroundings didn’t make it an ideal place for lighting. So for the first two of our three shoots, we decided to just go with the bank of windows for our main light and add accents as needed with my continuous DIY ‘Ghetto-Flo’ lights.

Our first subject was Alan Colberg, the CEO of the Assurant Insurance Company. I liked how Kaz looked at the Picnic table, but it needed a bit of help. First thing, we had to cool down the color temperature…

The windows threw in a lot of light, but it still needed something. So we added one Ghetto-Flo on either side of him for a bit of separating rim light, and we were ready to go…

Since that only took us about two minutes to shoot, we quickly reset for a look down that hallway. Again we relied on the windows for our main light and then popped in one skim light on the right side…

Here’s the final page…

The next day we were back for Round 2. Jamie Dimon, the Chairman, President and CEO of JPMorgan Chase. Now I have shot Jamie a lot over the past twenty years and I knew he wants the photo shoot to be over before it begins, so this had to be super-quick. Adrian said he wanted something very simple and matter-of-fact…just Jamie looking back at the viewer. Something like this…

And again, we decided to work with the available light and just add one skim light off camera on the right side…

Jamie’s simple black jacket gave just the right amount of negative space to the overall bright scene…

For a second shot, we wouldn’t have time to relight, so without changing our lighting I threw on a 200mm lens to come in tight…

…but his black jacket gave me another idea. Why not go black?!! So I had Kaz hold a black scrim behind Jamie and we instantly went from a high-key setup to a much darker, more dramatic look. We were able to get off three frames before he bolted…

The final shoot was less than five minutes long and gave us two separate features…

A few weeks later, we were back again…this time to shoot Henry Ellenbogen, a Portfolio Manager at T. Rowe Price. Like the others, he was there for an interview and we would get him for a few minutes. But this time I wanted to bit more control that the bank of window light would give me. So I brought along one of my Gravity Backdrops and a small Profoto kit for a nice, simple portrait setup…

Do you get the feeling Kaz is getting sick of setting up in the same place?!!

As you can see, the ceiling height really prevents us from an optimal setup…

…but even still, the light was kinda great…

With a little contrast control and desaturation, here’s how things looked when Henry sat down…

And the final image in Barron’s…

Silence = Death

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Last week, Andrea Maurio at the Village Voice asked me to photograph the five surviving members of the Silence = Death Collective for this years ‘Pride’ issue.

For the first time in years, the five guys who created a poster consisting of a pink triangle set against a black background with the words “Silence = Death” below it, would be together at the same time for a 30 year commemorative gathering at the Leslie-Lohman Museum of Gay and Lesbian Art. Because of the event, we weren’t going to have a lot of time to shoot, but I still had to come away with a group shot and individual portraits of each guy. And because of all the people attending the event, shooting a group photo inside the gallery would be impossible. We decided to use the outside of the building…

The Silence = Death Collective: L-R, Avram Finkelstein, Charles Kreloff, Jorge Socarras, Brian Howard & Christopher Lione

After a very quick five minutes on the sidewalk, we moved back inside to a small office we commandeered as our portrait studio for the individual photos…

The Village Voice Pride Issue is out today and you can read the story How Six NYC Activists Changed History With “Silence = Death”

Special thanks to Avram, Charles, Jorge, Brian & Christopher for allowing me the opportunity to photograph them, and to Andrea Maurio and Ashley Smestad Velez for the great assignment.

Nick Murphy AKA Chet Faker

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I recently got to spend a day with Australian singer/songwriter Nick Murphy, better known by his stage name, Chet Faker. The Sydney Morning Herald was doing a cover story for their Sunday magazine that talked about his new album and how he was going to use his real name after five years as Faker. Tegan Sadlier, the photo editor at the Herald, and I tossed around a bunch of ideas before deciding on “Will The Real Nick Murphy Please Stand Up?” as our cover headline. More on that later, but here’s how the shoot went…

I have long had Ruby Bird Studios in Greenpoint on my radar, but haven’t had the right subject to take advantage of the wonderful grunge they have to offer…Nick was that subject! The old warehouse on the Brooklyn waterfront was made for a day of rock star portraits…

While studio 520 can hardly be described as a daylight space, it does have a cool casement window…

…that with minimal lighting (one big umbrella directly over Nick’s head) made for a nice, moody start…

Just to the left of the window was a beat up old sliding metal door that I liked for some tight portraits…

To the right of the window was an even more interesting door, but this one was recessed in a brick wall that would make for a frame around Nick…

…and that furry green coat…perfect!!!

Finally, for our cover concept…I convinced Tegan I could do a multiple image photo of Nick in different positions, wearing different outfits, to illustrate the ‘Will The Real Nick Murphy Please Stand Up?’ idea…

This wall was our base…

Next, we had to place our ‘Nicks’ in different spots in the frame…

And when that was done, all that was left was for me to spend a day at the computer making a group shot…with the ‘real’ Nick standing up!

…and here’s our final cover…

Damn Ugly Photography Is A Little Less Ugly

After far too many years, we finally decided to put a new coat of paint on the website. Today we flipped the switch on an all-new, HTML-5 based platform…

So drop whatever you’re doing and head on over to The New & Improved Brad Trent Dot Com and check it out! I think you’ll find things much easier to navigate with the grid-pattern thumbnail galleries, it’s far more iPad & mobile phone friendly, and the HTML-5 is a lot more stable and works one Hell of a lot better than the old Flash site!

But try as I might, some ‘Damn Ugly’ stuff still managed to creep back in…

Bo Dietl Wants Your Vote For Mayor Of New York City!!!

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Bo Dietl wants to be Mayor of New York City, and Ashley Smestad Vélez from the Village Voice sent me up to his office for a look around. Here’s what we found…

Here’s how it looks in today’s Village Voice

Joseph Altuzarra For the Wall Street Journal

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I haven’t done a real how-to blog post in a while, but the shoot we did last week of Hot fashion designer of the moment, Joseph Altuzarra, for the Wall Street Journal ‘Weekend Confidential’ feature sort of lent itself to that sort of thing. Both portraits we did look ridiculously simple, but it’s the little details that go into shoots like this where I get asked the most amount of questions. Questions about my lighting choices, color balance and post processing. I kinda take all this stuff for granted, but I’ll pull back the curtain and try to break them down for you…

The inspiration for our first portrait sort of hit me right away when I checked out Joseph’s showroom and saw these two mannequins…

I was immediately struck by both the starkness of their design and the beautiful way the soft light from a wall of windows in the studio wrapped around the faces against the white walls. But as beautiful as Joseph’s designs were, I sort of want to simplify things even more…and that meant getting rid of the clothes…

We positioned the mannequins in the largest open space in the showroom…

…and to mimic that soft wall of light from the windows, I decided to light the set with two 65″ white umbrellas plugged into 2000 w/s Elinchrom packs, set up 90 degrees to the camera (and almost 20 feet from the subject) for a split-light effect…

This was our first test shot (with Robert standing in for Joseph) just using the two umbrellas…

Honestly, for a first test it was very nice. It fit the ‘Weekend Confidential’ requirements of being graphic and powerful, while also immediately telling the story. This was exactly how I wanted to portray Joseph. But technically it just a little too soft, flat and monochromatic for my liking. Those two umbrellas essentially made one big, even light source, but although Joseph and the mannequins would be exposed properly, the brightness of white mannequins was too much. I needed to bring up the light on the subject without affecting the mannequin’s light. So I added a 20″ Profoto Beauty Dish on a Profoto Acute 1200 pack, with a 30 degree grid, for just a little more light at the center of the scene…

As you see in the lighting diagram, by positioning the Beauty Dish in front of the umbrellas and feathering it so that it hits my subject but stays off the mannequins, it brings up the light on the subject just enough to separate him from the rest of the set. But I also wanted to shift the overall color palate because ‘normal’ just wasn’t cutting it! Since I always shoot tethered to Capture One Pro with the Hasselblad/Leaf back, I have a lot of options when it comes to selecting ICC input profiles. Leaf has always had the best designed input profiles that allow me to do what I did next. I switched from the basic ‘LF3 Portrait 5’ profile (very neutral, very normal) to my favorite profile…’LF3 Portrait Warm 5′. Warm 5 heightens the contrast and saturates colors, and because of that, our next test looked like this…

The new input profile allowed me to lower my white balance from 5100K down to 4150K which gave me a cool, blue overall look, but the skin tones remained pleasant without me having to add a warming gel to the Beauty Dish. Next, using the Capture One ‘Color Editor’ control panel, I was able to further adjust the blue and cyan channels to make them even more saturated, and also was able to improve on the skin tone in the red and yellow channels. Now it’s certainly possible to do this kind of thing in post using Photoshop, but with the Leaf input profiles and adjustment panels, I’m not only able to see the effect as I’m shooting, but it cuts down on my post processing a ton! You can also see how the addition of the Beauty Dish brings up the light on my subject so that he stands out better.

With my prelight & Capture One setup nailed, I think we’re ready to get Joseph on set…

Before we finished, I switched from the 80mm to the 150mm lens that compressed the perspective further and lowered the output on the umbrellas by about half a stop that slightly darkened the mannequins and allowed Joseph to stand out even more…

Next, we had set up a thunder grey backdrop for some seamless portraits…

It doesn’t get any simpler than this…one big, soft light source (a 47″ Rime Lite Grand Box) placed on a boom stand about 2.5 feet above his head. No fill, no tricks. Here’s how it looked on Robert…

Again, that first test shot looks pretty good, but we can still improve on it with a few easy adjustments. All we had to do was lower the white balance from 4650K down to 4150K, tweak the Levels and Curves a bit, add a little shadow detail and pull in a bit of vignetting on the corners and we were ready to go…

Finally, here is the story as it appeared in last weekend’s Wall Street Journal ‘Review’ Section

The 2017 Barron’s Roundtable

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When January rolls around, one constant for the past decade has been the crew from Damn Ugly Photography has gotten to load a couple of thousand pounds of gear into a small room at the Harvard Club to shoot the members of the annual Barron’s Round Table. The basic formula is always the same. We start shooting at 8:00AM as the folks arrive. We have to shoot them separately since we need to be able to move each person around into whatever situations we’ve cooked up…and we have to be completely finished by 10:00AM since that’s when their all-day meeting begins. In that time we have to come up with images that will run on three consecutive covers in January, plus the cover for the mid-year report in June, as well as inside feature photos for all issues. Easy, right?!!

Adrian DeLucca and I wanted this year’s theme centered on the year itself…2017…and we came up with the idea to place the Roundtable members into the year 2017. To do that, I had to come up with the perfect 2017. I always liked the numbers on the Damn Ugly World Headquarters building…

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So that seemed like a good place to start. I found similar numbers and went about shooting them…

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But the silver seemed too passive…red spray paint was definitely called for…

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Numbers…done. Now onto the moving parts. Our setup this year was actually much simpler than previously years. We only had two separate sets, one for the January issues and a second for the midyear.

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I had a couple of 2017 ‘cheats’ taped to the gobos on our main set to help me keep track of where to place people…

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Everything got dialed in pretty quickly (that ripped seamless in the background is a teaser for the midyear cover, so I can’t say any more about that for a while) and we were ready to get started.

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Makeup artist Margina Dennis, Kaz playing digital tech and Adrian looking happy…

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Kaz holding up Brian Rogers…

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Oscar Schafer shooting Jeff Gundlach…

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To get people into the correct positions, we used a few very simple props. Brian had to lean into the ‘1’…

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Mario was standing inside the ‘0’…

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Abby was holding up the ‘7’…

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And Oscar would be laying back into the ‘7’ for the Week 3 cover…

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After a few days at the computer, here’s how things turned out…

Week One Cover and Inside Opener…

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

Week Two Cover and Inside Opener…

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

Week Three Cover and Inside Opener…

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

And finally, here are the printed pages…

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I Got To Wear Gay Talese’s Hat…

Gay Talese

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Gay Talese. In the Hall of Fame of Great American writers, few are more iconic or more respected than Gay Talese. From his early work as a newspaper reporter to his time during the hey day of Esquire magazine and his long career writing some of the best nonfiction you’ll ever read, this man has seen and done it all…and with more style than you’ll ever have! Laura Baer recently had me shoot him for a feature in New Jersey Monthly…a shoot that ended with me wearing the great man’s hat!

Upon arriving at his townhouse, we immediately noticed the silk-covered settee framed by silk curtains in the front window…

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It didn’t really require much lighting…but I added a 6′ Chimera for an overall soft fill behind the camera, and positioned a gridded 3′ ProFoto RFI directly above the seat for our main light…

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We waited out the harsh sunlight coming through the windows, and when the outside light was just soft enough, things really got interesting…

Gay Talese

The color shift from direct sunlight to open shade…and the blue cast it caused on the drapes…gave us a wonderful, cool mood that played off the warm tones of the settee, curtains and his suit.

Next, we set up a little studio in his back yard for some tighter portraits…

Gay Talese

…which gave us this…

Gay Talese

Here’s how it looked in print…

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Tony Bennett

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Three years ago I got to hang out with Tony Bennett for an afternoon. Then a few weeks ago, lightening struck twice when Ronnie Weil asked me to shoot him again for Alexandra Wolfe’s Weekend Confidential column in the Wall Street Journal. Just as the first time, we would be meeting Tony at his art studio on Central Park South…

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…but Ronnie had asked men to not concentrate on the studio this time, but instead to go for a classic portrait. Keep it simple. Focus on his personality. So with that as my brief, off we went.

As you can see in the above photo of his studio, there is a lot of natural light to work with. The entire north side of the room is a wall of windows facing the Park, so I decided to use my brand new Canon 5Ds with my equally new Sigma Art lenses with all that light against a black pop-up backdrop. Here is my first test with Kaz…

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But when Tony sat in place, the entire mood changed…

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And as much as we liked the color, I also processed the entire series in black and white as well…and it was kinda awesome…

Tony Bennett

And the Journal agreed. Here’s the final page…

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But I wasn’t done yet. I had set up a couple of lights against a wall for a second portrait…

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Tony Bennett

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Thanks to Ronnie for the opportunity…and thanks to Tony for allowing me to hang out with him one more time!

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Yeah, Yeah…I’ve Been Busy!!!

September 7th

That was the last time I dropped a post on the old Blog. More than two months. That’s gotta be a record, even for me. You know, life gets in the way and things get back-burnered, but I’ve been busy. Well…if we’re being totally honest, as some of you know I have also been preoccupied …some might say abnormally preoccupied…with the National Nightmare that was the Election of 2016. And in those few moments where I could have been filling the pages of Damn Ugly Photography with my behind-the-scenes tales, I was probably watching my Twitter feed…and screaming at my monitor. But that’s over now and all we have show for it is this petulant, obnoxious, short-fingered vulgarian who’s primed to take over the country…

Donald Trump

But starting tomorrow, I’m gonna try my best to focus more on my own shit and less on the shit situation the country faces over the next four years. I’ve got a lotta stuff in the pipeline so keep your eyeballs on this space.

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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Bradley Tusk Hates Bill De Blasio

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Bradley Tusk is a lot of things. He was the Deputy Governor of Illinois, the Communications Director for Senator Chuck Schumer, he’s the driving force behind Uber’s dominance in New York, he’s working to keep online sports betting sites like FanDuel up & running and he was Mike Bloomberg’s campaign manager. But right now, his primary focus is to make sure that current New York Mayor Bill De Blasio never gets a second term. He is aggressively searching for anyone who can defeat De Blasio in the next Democratic primary. And Mr. Horton needed me to capture that bulldog attitude for a feature on Tusk in the Village Voice. Here’s how it went…

Tusk Strategies had just moved into new offices and there wasn’t a whole lot of window dressing to work with…

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…but this looked promising and showed the lean, mean layout of the place…

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…but Kaz and I dropped a seamless for some portraits as well…

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The lighting for the office space shot was super simple…a couple of bare skim lights aimed directly at Tusk with nothing more but whatever ambient light there was floating around. We did white balance the shot extremely cool to keep the mood a little chilly…

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Bradley Tusk

The seamless allowed us a distraction-free setup where I could really focus on Bradley’s expressions…

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Bradley Tusk

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Here is how it looked in the Voice…and I can’t thank Ashley Smestad Vélez enough for her amazing layout…great design helps OK photography every time…

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Say My Name

Bryan Cranston

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I’m gonna keep this behind-the-scenes look fairly short and sweet…kinda like my time with Bryan Cranston…because I think the portraits will sort of do all the heavy lifting. Ronnie Weil needed Mr. Cranston shot for Alexandra Wolfe’s ‘Weekend Confidential” feature in the Review section of the Wall Street Journal and I was happy enough to oblige. Here’s how we set up our pop-up studio at the London Hotel for what turned out to be a pretty great morning…

Unlike a lot of the hotel shoots I find myself in, the London gave us a pretty nice (and large) space to work with…nice enough that I was able to break out some of my really BIG guns…the 79″ Rime Lites…

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Here’s how things looked with Robert standing in…

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That set would allow me to do everything from full length to tight portraits, but I wanted to also have a more controlled lighting setup for another portrait, so we pulled out the beauty dish…

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Here’s Kaz posing as fast as he can…

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Alright…we’re ready to go. Mr. Cranston, you’re on!

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Bryan Cranston

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Bryan Cranston

Next, I broke out my favorite antique posing stool…

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Bryan Cranston

After a very quick 5 minutes…with his publicist doing the countdown mambo behind me…we moved over to the second set…

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…and played around with the shadow and light on his face, getting progressively darker and moodier as we went along…

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Bryan Cranston

And here is the final story as it appeared in the Wall Street Journal…

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And for you Breaking Bad fans, here’s a little Badfinger to play us out…

BADFINGER: BABY BLUE

Life is good when you love what you do…..

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Broad Sword Battles…In Harlem

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A couple of weeks ago Mr. Horton sent Kaz and I up to the New York Historical Fencing Association in East Harlem to shoot some women who like to get their ‘Game Of Thrones’ on by bashing each other in duels using broad swords!

What fun!!!

Here we go…

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Andrew did me proud with a wonderful layout in this week’s Village Voice

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Thanks to Andrew and the Voice for another great opportunity and special thanks to the Women Warriors at the NYHFA…Rebecca Glass, Laura McBride, Tanya Smith and Deena Sadek…who made it look so damned mean!!!

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The Federation Of Black Cowboys

Arthur “JR” Fulmore - The Federation of Black Cowboys

This was one of those situations that shows you never know where the flow of your career is gonna take you. Andrew Horton…the Creative Director at The Village Voice…asked if I wanted to shoot some Black Cowboys…in Queens. The Federation of Black Cowboys is a group of urban cowpokes whose goal is to promote knowledge of the “Black West”. Their Ponderosa for the past two decades is a ramshackle stable just off Conduit Boulevard in Howard Beach, but recently their membership has dwindled to around 20 die-hards and now they face losing the license agreement for the stables. Andrew and I wanted my portraits to capture a gritty, iconic essence of what it is to be a Cowboy…and we also agreed that our touchstone style should be an homage to Richard Avedon’s In The American West. So off to Queens we went…

Unlike Avedon, I wasn’t going to drag out the 8×10 and set up a North-Light studio in the shadow of a barn…

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Instead, we decided to make a huge wall of soft light by putting up the biggest lights I own…

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The only problem is, when you fly a 79″ parabolic light in 25mph wind as we had that day, the shit hits the fan awfully fast. Even with over 100lbs of sandbags on each 50lb Matthews Stand, it was like trying to hold down a racing sailboat in a Regatta! But I didn’t care…Kaz had to deal with it…

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But our basic setup was pretty similar to Avedon’s…a simple white seamless set up on the North side of one of the stables…

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And here’s how things turned out…

Arthur “J.R.” Fulmore…

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Arthur “JR” Fulmore - The Federation of Black Cowboys

“Mama” Kesha Morse…

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Sheryl “Kesha” Morse - The Federation of Black Cowboys

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“Mountain Man” Ellis Harris…

Ellis “Mountain Man” Harris - The Federation of Black Cowboy

Ellis “Mountain Man” Harris - The Federation of Black Cowboy

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Even though we had always conceived the shoot as a high-contrast Black & White series, we still wanted to see how things looked in color…

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…but in the end, the B&W was just too strong, and here’s how it looks in this week’s Village Voice

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Thanks to Andrew for giving me the opportunity to hang with some real cool cats…and special thanks to J.R., Kesha and Mountain Man for opening up the stables to a Dude from the City…

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