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…

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…which gave us this…

Gay Talese

Here’s how it looked in print…

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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

Bryan Cranston

Bryan Cranston

Next, I broke out my favorite antique posing stool…

Bryan Cranston

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…

Bryan Cranston

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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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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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Activist Investors & Bank Presidents For American Banker

Richard Lashley

Mark A. Turner - CEO WSFS Bank & WSFS Financial Corp

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We just did back-to-back covers for American Banker…here’s how it went…

First, we headed to Morristown NJ to shoot Rich Lashley of PL Capital. Upon arrival, we found that PL Capital runs a pretty close-to-the-bone operation…which meant the entire place was two small offices and an equally small reception area. It was pouring that day, so shooting outside was outta the question, but we had to get creative fast. We cleared out as much of the reception area as possible and set up under a framed newspaper from the day of the Stock Market Crash of 1929…

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…which gave us this series…

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Richard Lashley

Richard Lashley

…for the feature opener…

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Then we dropped a seamless for a bit of color…

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Richard Lashley

Richard Lashley

But then I noticed Rich had a bright green baseball bat leaning against the wall…and besides the green looking great on that purple seamless, the metaphor of him being an ‘activist’ investor wielding a bat was just to good to pass up…

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Richard Lashley

The cover…

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A couple of weeks later we jumped on the Turnpike for a day trip to Wilmington Delaware to shoot Mark Turner, the President and CEO of WSFS Financial Corp. As soon as we got off the elevator we were greeted with a floor to ceiling bank of windows…

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That was kind of a no-brainer. They also had a lot of this kinda stuff all over the walls…

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But first we’d get a simple one-light seamless portrait out of the way…

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Mark A. Turner - CEO WSFS Bank & WSFS Financial Corp

Now to tackle those windows…

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I figured on only needing one light for this, but the hot reflection on the window frames bothered me, so we put a grid on the mini-octa to focus the light more on him and keep it off the window…

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With that reflection taken care of, we could get under way…

Mark A. Turner - CEO WSFS Bank & WSFS Financial Corp

Mark A. Turner - CEO WSFS Bank & WSFS Financial Corp

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Finally, we had to try to make that ‘Word Wall’ exciting…

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We succeeded…

Mark A. Turner - CEO WSFS Bank & WSFS Financial Corp

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