Clive Davis

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Clive Davis. Music industry icon, record company head, legendary producer, prototypical A&R guy, Grammy Award winner, member of the Rock & Roll Hall of Fameā€¦and the man who had his hands on the careers of Janis Joplin, TLC, Rod Stewart, Alicia Keys, Barry Manilow, Christina Aguilera, Carlos Santana, Kelly Clarkson, Jennifer Hudson, Laura Nyro, Santana, Earth, Wind & Fire, Bruce Springsteen, Chicago, Billy Joel, Blood, Sweat & Tears, Loggins & Messina, Usher, Outkast, P!nk, the Notorious B.I.G., Sean Combs, Toni Braxton, Aerosmith, Pink Floyd and Whitney Houstonā€¦should I stop with the list now?!!

Adrian DeLucca sent me down to Sony Music Entertainment…where even at 85 he is still the Chief Creative Officer…so I could get a few portraits for PENTA. Hereā€™s what we came home withā€¦

Knowing that we were probably gonna have no more than 5 minutes with Clive, Robert and I set up a couple of identical sets with different backdrops…

The 5 minutes was about right, but we got what we came for…

…and Adrian liked my pulled-back set portrait so much, they used it for the opener…

Thanks, Clive…


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Iā€™ve just finished a run of three back-to-back portrait gigs, all shot in the same empty, end-of-the-hall location at Barronā€™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 minutesā€¦or less. Here we goā€¦

The space itself ainā€™t nuthinā€™ you would gravitate towards as a location. There was the tableā€¦

ā€¦and a hallwayā€¦

But the low ceilings and tight surroundings didnā€™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 ā€˜Ghetto-Floā€™ 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…

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…


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


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


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.


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…




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.


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


Kaz holding up Brian Rogers…



Oscar Schafer shooting Jeff Gundlach…



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


Mario was standing inside the ‘0’…


Abby was holding up the ‘7’…


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


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…






Turning The Barron’s Roundtable Into ‘The Minority Report’

The 2016 Barron's Roundtable

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In the last episode of ‘Damn Ugly Photography’, we took a look at the first week of the 2016 Barron’s Roundtable Shoot…but now I’m gonna show you how I convinced our nine financial professionals to act as stand-ins for Tom Cruise in his movie, ‘The Minority Report’. You remember…this one…


Adrian Delucca and I had been tossing ideas around for months on how to make this work. I had to generate the floating graphs and other graphics that would be ‘moved around’, and we also had to come up with the perfect background images to position the people against…



…but probably the hardest thing would be how we could quickly get each Roundtable member to understand exactly what the final image would be and how to get them into position. Remember…I have less than ten minutes with each person and I had to shoot two other setups besides this one! I figured the smartest way around this would be to show them a pretty detailed mockup of our cover ideas with one of my assistants standing in, so on our setup day, I had Robert work his magic…


The lighting was super-simple…just a single Profoto 3′ RFI Octa bank way up high on a boom…and a couple of medium strip skim lights with blue gels to mimic the lighting from the background…


And the night before the shoot, I quickly Photoshopped this together…


Showing each person the print before we got started proved to be the exact thing they needed to illustrate what we wanted them to do…


Now we just had to get them to do their best impression of Marcel Marceau without feeling too self conscious…



Point up at the graph…uhhhh….hand…..


Here are a few of the raw images…





And now comes the fun part…editing through the 1000 images I took to find the few I can use that will actually look like everyone was in the same place at the same time. Then, floating all the graphs in place while remembering I had to save lotsa room for cover headlines. Here’s how the Week Two cover came together…

First, the background image…made a bit fuzzier for perspective…

The 2016 Barron's Roundtable

Now, add the people…

The 2016 Barron's Roundtable

Then, the basic graphs…

The 2016 Barron's Roundtable

Now I had to add in some shadows, haloes and color shifts to the graphs so they looked like the were actually floating in space…

The 2016 Barron's Roundtable

Next I pasted in a few techie-looking graphics and charts…

The 2016 Barron's Roundtable

I decided to tone down the blue of the background cuz it as taking away from the overall dark mood I was aiming for…

The 2016 Barron's Roundtable

And finally I increased the contrast, desaturated the skin tones and added a glow around the fingertips…

The 2016 Barron's Roundtable

Our final cover…


Using the same steps, I worked up another image for the opener…

The 2016 Barron's Roundtable


The Week Three images came together pretty much the same…

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

The 2016 Barron's Roundtable

For the final steps, I messed with the focus on the background cuz it was drawing attention away from the foreground and shifted the overall blue cast more towards cyan/green…

The 2016 Barron's Roundtable

Here’s the Week Three cover…


…and the opener…

The 2016 Barron's Roundtable


Now if all that Photoshop geek talk hasn’t put you to sleep and you’re hankerin’ for more, you can watch the layers progressions on both cover images in these two YouTube videos…and then I promise, no more Roundtable talk for a while…..

Week Two Cover Layers:

Week Three Cover Layers:

The 2016 Barron’s Roundtable Extravaganza – Part One

The 2016 Barron's Roundtable

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As anyone who has visited Damn Ugly Photography on a regular basis knows, the first week of January is when we decamp for the warm embrace of the Harvard Club to shoot the annual Barron’s Roundtable. This year was no different, and apart from there being a few familiar Roundtable members missing and replaced with a couple of new guys, the formula remains the same. We have two hours to shoot each of the nine Roundtable members…separately since they all arrive at staggered times…with the objective being that we need enough varied poses to fabricate four individual covers (three in January and one more for the mid-year report in June) as well as four feature photos to open the story with each week. We start at around 8:00AM and have to be totally done by the time the meeting begins at 10:00. If the thought of shooting nine people for four covers and four openers in two hours isn’t daunting enough, we also have to get each Roundtable member to wrap their head our concepts for the covers immediately…and remember…these aren’t models. They’re financial professionals. Trying to get them to understand the varied poses I need so that I can manufacture a cover where they all look like they’re relating to each other is harder than any of the technical tricks we work on!

So here is how the shoot for the first week’s cover went…

Our Week One cover and opener revolved around this image of a World Map…


Using some old images of the Roundtable members from a previous shoot, I put together this comp…


…so when people arrived, I could quickly show them a visual representation of what we were going to do…


As usual, we have to set up multiple lighting sets for our different poses in a very small room…this time we had three individual sets…


…everything is in the same place…hair & makeup, three sets and a very small area where people can hang out until we get them on set…


For the cover, we wanted everyone to react to the people around them…people who weren’t there when we did the shoot…so Robert got to carry on imaginary conversations to get each persons attention aimed in the right direction…


We did luck out once when Bill Priest and Brian Rogers overlapped, so we shot them together…


…but for the most part, they had to wave their hands around like a weatherman in front of a green screen…


So my raw materials from this part looked like this…




Now I just had to pick the appropriate images where everyone looked like they were all together at the same time. Here’s how the cover got pieced together…

First, the base background image…

The 2016 Barron's Roundtable

Next, the base image is flipped to make the floor, and I also de-focussed it so it looked more like a real reflection…

The 2016 Barron's Roundtable

Now I could mess with the color & contrast for the combined background…

The 2016 Barron's Roundtable

…and add a few people…

The 2016 Barron's Roundtable

…and the rest follow…

The 2016 Barron's Roundtable

…and finally, I added shadows and more color & contrast tweaks…

The 2016 Barron's Roundtable

…which gave us our cover for Week One…


Now I could move on to the inside feature image. I stated with the same base image layer, but I destaurated the blue cast a bit and lightened the upper area so that we could overlay type onto it easier…

The 2016 Barron's Roundtable

The inside poses needed to be a bit more serious, due to the recent instability of the markets…




The 2016 Barron's Roundtable

The ‘assembled’ group…

The 2016 Barron's Roundtable

…the final image with shadows & color alterations…

The 2016 Barron's Roundtable

…and our opening feature image…


So that was Week One. Tune in again next week to see how Adrian Delucca, Pam Budz and I put together Week Two & Week Three!


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…











And here is the final image in Penta…


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…


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…




…how about a ‘selfie’?!!


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…


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…


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


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


And it was finally ready for our Bull and Bear…


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



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…



…a quick Photo-Bomb…


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

Mario Gabelli:




Marc Faber:



Bill Gross:


Bill Gross - Barron's Roundtable

…and the final cover…


And we’ll do it all again next January!

Playing High-Stakes Chess With The Smartest Guys In The Room


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When January rolls around, one thing you can always count on is that I’ll be packing up 1000 pounds of gear and heading to The Harvard Club to shoot the Barron’s Roundtable. This year, Adrian Delucca and I worked up a few ideas based on the game of Chess. Here were Adrian’s chicken scratches that led to our cover shootā€¦


This year we would be publishing three covers in January, and the usual mid-year cover in June, so we had to set up three different lighting setups in the very tight quarters of the Presidents Room at the Harvard Clubā€¦

The main setup for the Week One cover and openerā€¦


ā€¦the Chess Table set for the Week Two & Three coversā€¦


ā€¦and third area for the mid-year portraitsā€¦



As usual, we would start shooting the ten Roundtable members separately as they began arriving at 8:00AM, and we had to be finished everything when the meeting beganā€¦at 10:00AM! That meant we had to shoot each person in enough different situations for three covers and three openers as well as individual portraits of each for the midyear issueā€¦all in two hours. And we also had to convey exactly what we needed each person to do since they wouldn’t be posing with anyone but themselves and everything would be put together in post! They’re given no advance warning of what we’ve cooked up for them until they arrive.

That kinda thing is hard enough to pull off when you’re dealing with professional models, but when you’ve only got 5 or 6 minutes with a financial expert, getting him to instantly channel his inner actor is a wee bit harderā€¦









With our Roundtable members safely in the bag, now I got to spend the next three days locked in front of my computer. I had already spent a day shooting a Chess Board & Pieces for our base cover imageā€¦


Now came adding the human chess piecesā€¦




And after a considerable amount of Photoshop work, the final cover image looked like thisā€¦



Next up was the opening imageā€¦





And the final imageā€¦



Finally, I had to put together two different chess playing situationsā€¦from two different anglesā€¦for the Week Two and Week Three issues. This was our high-angle test shot (you can see the low angle tripod at the bottom of the frame)ā€¦


What would be so easy if we could just shoot it as one photo becomes a very complicated puzzle when you hafta shoot everyone separately while trying to keep track of who you’ve already shot and in what positionā€¦





These are the two final imagesā€¦




Now on to the low angleā€¦










Manā€¦am I ever tiredā€¦ā€¦.

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 photosā€¦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 placeā€¦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 notā€¦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 portraitsā€¦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 usā€¦

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 Clubā€¦




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.


But I’m getting ahead of myselfā€¦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 Pamplonaā€¦running with the Bullsā€¦





ā€¦then in post, I would hafta do a bit of magic with a cobblestone street and a toy bull I shot earlierā€¦




ā€¦which eventually turned into thisā€¦

The 2013 Barron's Roundtable


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 statueā€¦


ā€¦then I took some outside shots of the Federal Reserve Buildingā€¦


ā€¦and combined the two images with those cobblestones againā€¦



Now we had to get some reaction shots of the Roundtable membersā€¦



Oscar Schafer and Mario Gabelli are probably hoping they won’t have to ride the sawhorseā€¦







ā€¦and finally, many, many Photoshop hours laterā€¦

The 2013 Barron's Roundtable


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







And here are the final imagesā€¦

The 2013 Barron's Roundtable



The 2013 Barron's Roundtable



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 soā€¦we had some real puzzles made by!


I put my still-life photographer cap on and shot the assembled puzzlesā€¦

The 2013 Barron's Roundtable

The 2013 Barron's Roundtable

The 2013 Barron's Roundtable




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


On the Top of the World for Barron’s


A few weeks back, Adrian sent me uptown to the GM Building for a feature on Jeff Kolitch, the manager of Baron Capital’s Real Estate Fund. Since the focus of the article was Real Estate, they kinda wanted to see Real Estate, so on the scout, even thought they had a lot of fish tanks that might make for some fun portraits…


…I still had to make sure to come up with something that might actually relate to why Jeff was being interviewed…


Adrian really liked the window and its view, so Ben and I figured we could turn it into a ‘frame’ that would hold our photo…



And the final images…

Jeff Kolitch

Jeff Kolitch


But we weren’t done yet. When Jeff walked me around the offices on the location scout, I really liked the space-age, floating glass staircase that joined the 48th & 49th floors…


…and after a bit of lighting…


Jeff Kolitch

…we ended up with this…

Jeff Kolitch

Sharp eyes will notice that in the final image I cloned the wall on the right side of the photo onto the left side to make things more symmetrical, a technique I used once before on another staircase shot for Businessweek.

Cooking With Cash For The Barron’s Roundtable


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





And here’s how the final pages looked…



Behind The Scenes At The Most Expensive Barronā€™s Roundtable Yet

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


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


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


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



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

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


Oscar Schafer…




Brian Rogers…


Fred Hickey…


Abby Joseph Cohen…


Scott Black…


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


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

The 2013 Barron's Roundtable

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The 2013 Barron's Roundtable


This stuff never gets old!


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

Spending A Day In Wine Heaven


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

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


…and then cleaned up the background a bit…


Nick enjoying the view from the stacks…


…but Tom fit the mood a bit more…

Thomas O. Ryder

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

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


And here’s how it looked in the magazine…


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

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

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

That gave us our feature opener…

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

…which gave us this…

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

And we were done…in five minutes.

The 2012 Barron’s Roundtable Mid-Year Report

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

Now, back to business!

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

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

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

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

…and for the cover we went without props altogether…

See y’all next January…

American Photography 28

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

Behind the Scenes of the 2012 Barron’s Roundtable Cover Shoot

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I first photographed the annual Barron’s Roundtable cover story back in January of 2007, which makes this the sixth year I’ve had the privilege, and each year the team of Art Director Pamela Budz, Photo Editor Adrian Delucca and myself have stepped up our game to reinvent creative ways to show the gang of financial prognosticators. This year the three of us came up with the idea that centered around the entire group posing in front of a blackboard. I did a quick mockup using shots of the Roundtable members I had taken previously…

So we packed up our usual thousand pounds of lighting gear along with a blackboard and various other set pieces and headed uptown to The Harvard Club to make it work…

Our main prop…a 4’x6′ blackboard…

Now for those of you who haven’t read about some of the previous Roundtable shoot days, I’ll break down the schedule for you. We have roughly two hours to shoot everybody before the meeting begins at 10:00AM. In that two hours we have to come away with two cover shots (one for main January issue and one for the mid-year follow-up in June), three additional situations that will be used for openers in three January issues, an opener for the June issue and individual portraits of all ten Roundtable members that will get dropped into the copy of the June issue.

Ten People. Two Hours.

Oh yeah…we shoot everybody separately as they arrive at the Harvard Club and assemble those shots into the group photos for the cover and inside openers.


Here’s what it looked like…

Adrian reminding me we have very little time…

And this is just from the Blackboard set. You can see the second white seamless setup behind me in one of the above photos, but I can’t show you any of that until it publishes in June.

Once we had finished with the people, we now had to shoot the blackboard, out of the rigging we used to suspend it for the portraits and back on its stand…

…and various elements on the blackboard that I could insert into the final compositions. Since Pam can freehand fonts way better than any of us, she got to draw the cover headline on the board…

Adrian was elected to do the ‘Charts & Graphs’…

And with all of the elements photographed, now it was up to me to push everything together in Photoshop and manufacture that group shot for the cover. The individual photos looked like this…

…so first I had to silhouette the images and paste them into a new Photoshop document…

…and then fill in the group with everybody else…

…do a rough mockup with the blackboard inserted behind the group…

…and after Pam and Adrian had approved the final composition, do a whole lotta fine-tuning…like erasing the rough edges around the silhouette, feathering the hair to blend naturally against the blackboard, add shadows in front and behind everybody and finally cook in my own special sauce of color and contrast adjustments…

With the cover outta the way, next up was the week one opener. I started by seriously stretching out that blackboard so that it would run over a two-page spread, then I added both the people and their names that I had them write on the board…

Using the same fine-tuning I did on the cover, this was the final image…

And here’s how it appeared in print…

And using the same basic technique, just on a smaller scale, here is the image that ran as the opener in this weeks issue…

Just like I said…simple!

Gettin’ Smart at the Museum of Math

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Not to get you guys thinking that I’m in a creative rut or anything, but hot on the heels of last weeks post about my Digitalman, here’s the series of photos I did of Glen Whitney…a Harvard-educated mathematician and former hedge fund manager…for a story on philanthropy in Barron’s Penta.

An unapologetic numbers geek, Whitney is pulling together about $30 million and building the Museum of Mathematics in a prime 20,000 square foot raw space on East 26th Street right on Madison Park in Manhattan. Since the construction hasn’t even begun on the museum, Adrian and I thought it might be kinda cool to inject some math into the portraits, and maybe using a projection technique would be one way to to pull it off. But the magazine budget wasn’t quite as lofty as the previous ad shoot, which meant spending the kind of money required to produce the job with the super-spendy toys I used on the Digitalman was not gonna be in the cards…so we went about as low-tech as possible, left the strobes at home and decided to work with the available light and use nothing but a digital projector. And it all ended up being not only a lotta fun, but we got some very cool portraits of Glen in the process.

I did a location scout, ‘cuz I really needed to get an idea of exactly what we had to work with…a dark, dirty cavern with lots of rough concrete walls and pipes was what I found…

After spending a few days making various Photoshop ‘slides’ using hundreds of real math equations, we rented the biggest digital projector the budget could afford, and Bo and I headed off to MoMath…

Any early test…

…and a couple of the final selects. We used the ambient light from the construction worklights to fill in the background areas, but the shot was essentially lit entirely by the digital projector…

Next, we moved to an area that was a bit cleaner and less cluttered for a cover image…

…and I broke out my home-made Kino-Flo florescent lights and we did this…

The Museum of Math is scheduled to be completed next year…check out the details on their website and make sure to take the kids when it opens!

A Tiny Sofa and a Big Table for Barron’s…

My eclectic tour of the Nation’s boardrooms recently took me to the offices of Riverpark Capital, where I was to photograph Morty Schaja, Mitch Rubin and Conrad van Tienhoven for a Barron’s profile. Lest any of you think that the life of a photographer is all Supermodels and hangin’ with Diddy, I beg you to read on…

Riverpark’s midtown office would never be described using words such as ‘opulent’, ‘palatial’ or ‘ostentatious’. But they are hardly alone in this…most places I find myself having to shoot in are equally utilitarian…but it can rattle my bones when I keep seeing the same furniture, cubicles, lighting and paint used again and again and again. Still, after a quick tour of the space, I decided to begin in the reception area…

…sort of a mini-history of the financial markets as seen through the eyes of Time Magazine. I kinda thought it would be a good place to start, so we dropped Mitch and Morty onto the little couch and went to work…

But we also had to photograph a situation with Conrad, the third partner in the firm, and there was zero chance of him fitting on that couch. That part of the story brings us to this conference room…

The first thing you gotta do when faced with the dreaded White Board/Conference Table scenario is ignore how frightfully normal the situation is and try to envision it instead as a set piece that will only work because of the personality you can bring to it. That first means usually cleaning it up and add some tasty lighting…

Next, stir in the talent…

…but the whole serious/symmetrical thing wasn’t doin’ it for me, so I told the guys to just go about doing what they normally do…let loose and ignore me…and they did…

…and that kind of unguarded moment was exactly what Adrian wanted for the story…

Your 5 Minutes with the CEO of Bayer begins…NOW!!!

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Here’s another from my ongoing series of CEO Spotlights from Barron’s…this time featuring Dr. Marijn Dekkers, the new CEO of Bayer AG. He was up at the Barron’s offices to be interviewed and I was told that because of his tight schedule, I would have precious little time with him for the portrait session. So we set up in the tiny video studio the magazine has tucked away down a back hallway and waited. Precisely on time, Dr. Dekkers and his publicist arrived and yes, they were already looking at their watches. Still, the five minutes was more than enough time to get off a couple of looks…without getting a headache!