A short time ago I was contacted again by Neomi Rapoport (art director of Jewish in Seattle), this time to ask me about shooting a fashion feature for a holiday issue of the magazine. “Do they really mean to be asking me?” was my first thought, as I’d never claim to be a fashion photographer and do not, in fact, even feel that I’m particularly fashionable myself. I was nevertheless totally happy to do it, of course, because it’s fun to branch out and do different things, and I’d never pass up the opportunity to work with Emily (editor) and Neomi. And wouldn’t you know it? When you have a great location, art director, model (Devon at SMG), stylist (Emma Ranniger), and HMUA (Kathy Evans), it turns out you wind up looking pretty good. Especially when you have lovely clothes as well, provided by some of Seattle’s finest designers. Here are just a few images from the day’s shoot, beginning with my personal favorite:
I shot the image below very recently, and I kind of love it. The model, a really charming kid named Derek, was an absolute pleasure and sat very patiently while my super talented makeup artist Erika Seward did her work with him. He actually was pretty delighted with how rough he looked when she was finished, as I’m sure I would have been.
We shot at Derek’s home with a borrowed bunny and stun gun. The bunny’s name is Mr. Thumps, and yes, of course the electricity leaping between the contacts on the stun gun was made in Photoshop. I know better than to hand an 11-year-old a stun gun with the battery in it, thank you very much.
The photo is awfully funny to me on its own, but I think it’s made even more entertaining by the story that came out of Portland shortly after I shot it. Seems a 22-pound house cat attacked a family, forcing them to dial 911 from their locked bedroom. No kidding. To be fair, though, it does sound to me like the family had it coming. The baby started it all by pulling the cat’s tail, which earned him a blood-drawing swipe to the forehead. Then the mom’s boyfriend kicked the cat away, and that apparently is where things really went off the rails.
Me, I just enjoy it when I shoot something that turns out to be timely.
For those interested, the photo was lit with a 4-foot by 6-foot softbox from camera left to mimic daylight through a window. A silver bounce to camera right filled in shadows a bit, and I used a smaller box from 3/4 rear, camera left, for a rim light. Camera was set at ISO 100, f/5.6 at 1/60 sec.
You’re right. I don’t blog often enough, and I’m sorry about that. The infrequency of posts isn’t indicative of infrequent happenings, however, and I’ll use this first blog entry in a while to demonstrate that fact with a sneak peek at a personal project I’ve recently undertaken. It’s a conceptual series about superheroes that I’ve been shooting these past several months, and am continuing to shoot. The central question of the series is: What is everyday life like with a superpower, and what would superheroes do in a city without crime?
All of the photos so far are composites of many more than just a couple photos, so each is fairly labor intensive and most have involved several individual shoots. Here are a couple of the images I’ve done so far—I hope you get a kick out of them. As always, feel free to click on them to view them larger.
This was a composite of seven shots in total. Can you tell what they are? Oh, you don’t want to play that game? Okay, the first is the cityscape—it’s downtown Seattle as viewed from Smith Tower, a 38-story building from 1914 that until 1931 was the tallest building west of the Mississippi, and until 1962 was the tallest building on the west coast. (I actually hosted pub trivia for years so forgive me if you’re not interested in the factoids, but I think that’s kind of cool…right?) The second shot in this photo is also part of the cityscape—the tallest building, the one at both edges of the frame. I added it for the sake of composition. The third shot is the flag blowing in the wind, which I thought just added a nice touch. The fourth and fifth shots are the superhero and her cape. The sixth shot is the building on the left, the one she’s cleaning. It’s a building a block from my studio, which I shot from a ladder at ground level. I just kept the frame and replaced the windows with my own reflections. The last shot is the sky, which I actually shot about a year and a half ago while on a road trip. The “Capitol City Times” sign on the building was added in Photoshop to tie this shot in with the other shots in the series like the one below.
How does an indestructible person get a haircut?
I found this wonderful barbershop while scouting downtown. It’s called The Stewart Street Barbershop, and the owner, Steve, couldn’t have been more generous when I asked if I could shoot in his shop. Nearly everything in the shop was as I shot it, although I did add every element (except the pole) on the wall behind the models. And while I did have my superhero model hold an actual magazine, I mocked up a back cover and shot my own image for my new front cover. The sparks, of course, were all made in Photoshop, as was the shop decal on the window. And speaking of the window, the scene outside was shot about a mile and a half away on a different day. In reality, a bus stop is outside the barbershop, and it didn’t work for the photo. Replacing the scene outside the window meant replacing reflections in the window—the barber’s back, the sparks, the barber’s pole. All in all, this shot was a fair amount of work, but as I’ve said before, I really enjoy the details. And I really like this shot.
As I say, these are just a couple—there are more already and there will be more in the future. I’m really looking forward to going more in depth on the making of each photo, and to bringing the whole series to the blog and the site when it’s ready. In the meantime, I’ll be offering peeks here and there, so please check back when you think of it. Thanks!
I don’t really enjoy horror movies, but…I have been a fan of the improv comedy group Blood Squad for years—since early 2007, I think. They’re straight-up amazing, and I don’t say this of many things, but I couldn’t enjoy them more even if squirrels were involved. (I really get a kick out of squirrels.) The next time you’re in Seattle, if you have the good fortune of timing your visit during one of their runs, you should really make good on that opportunity.
Blood Squad consists of founding members Elicia Wickstead and Brandon Felker—both longtime improv performers and instructors—as well as Molly Arkin and newcomer Jon Axell. All four are incredibly talented and together form an improv group quite literally unlike any you’ve ever seen. Blood Squad builds their funny out of the horror movie genre(!), and they do it in a long-form improv format. That means that at the start of each performance, the group takes a suggestion from the audience for a horror movie that’s never been made (say, “Killer Prom at Murder High” or the very festive “Santa Claus Your Face Off”), and then they just…go. And not for a series of short sketches, like ten minutes at a time, but for an entire show running somewhere in the neighborhood of 75 uninterrupted minutes. Each group member invents several characters to play, and every one of them enjoys a full story arc during the course of the performance. They narrate character, set, title, and action descriptions from the improvised “script”, and when the time comes, they off themselves and each other in the most graphic (yet not) ways they can dream up. It’s all done without sets, props, costumes, or anything else typically associated with theater or film, though they do usually have a guest at the side of the stage performing improvised mood music during key moments. It’s the kind of thing that’s hard enough to do without worrying about being funny, and these guys are effortlessly hysterical. Every. Time. I swear I never get tired of watching them pretend to kill each other, and seriously, I can’t recommend them more.
I think it was in 2007 that I introduced myself and asked if photography was of interest to them in their promotions. They had been using, and would continue to use, brilliant illustration and design work done by local artists Devin Sheridan and Alex Thomas. That worked really well because the shows in each of their runs are unified by a single horror sub-genre (summer camp slasher, haunted house, psycho hillbilly, zombie, etc.), and Devin and Alex would draw up a poster for each theme. It worked so well, frankly, that I actually wondered if they’d be interested in having photography. It was decided, though, that promotional images of the actual group would be good too, and so it happened that Blood Squad and I collaborated a little later in the year. That’s when we came up with the morgue headshots below, which I still love today.
With a new official group member and the departure of Michael, Elicia got in touch in September and asked about the possibility of doing a new shoot to reflect the changes. The idea this time was to photograph them in the woods somewhere, near dusk or at night, with the four of them emerging or having already emerged from a grave. They’d look dashing and done up, yet still bruised and battered (beautifully done by hair and makeup artist Jana Hutchison), and looking either annoyed and inconvenienced or simply non-plussed and blasé about the situation. I liked the concept a lot, but it was clear right away it wasn’t the kind of thing we could just casually shoot. More on that shortly, but first, here’s the final image:
If you’re interested in reading about the production of the shot, then by all means read on. If not, have a great day and don’t forget to see Blood Squad. Their next show is at the Balagan Theater at 8pm on December 22nd. Be there.
So, when Elicia presented the idea to me and asked if it was do-able, I did the same thing I always do (the same thing any photographer does, frankly) when asked to do a shoot that poses problems not encountered before. I said, “Sure, absolutely, totally” and then set about figuring out how to do it.
As is often the case, one of the first things to sort out is finding the right location. We wanted something that appeared remote but wasn’t. We wanted trees, but we also needed a good amount of open, uncluttered ground. In my mind I had this idea that they were buried on the crest of a hill that looked out over nothing but wilderness, and that they stood out against this dark and sort of ominous sky. I was sure such a place existed but had no idea where to find it, and knew that wherever it was, it was likely to be far enough removed from Seattle city limits that shooting there wouldn’t be practical anyway. And who knew if we’d get good clouds on the day of the shoot? Pretty much right away I struck the possibility of finding a perfect location that had everything. What made the most sense to me was finding a suitable foreground (one with trees, open space, and a clear horizon line) that I could drop in front of a totally new background of mountains, trees and sky, which I would shoot later.
Seattle’s Woodland Park was a no-brainer to check out (although honestly I wish I’d thought of it a little sooner), and it did in fact have a great spot with scattered medium-size trees and lots of bare earth. Well, almost bare—there was the small, half-hour matter of raking away several inches of fallen leaves. When I saw it, though, I knew. If I were going to bury someone, or four someones, I’d definitely do it there. Here it is, in a photo taken after a brisk raking. Yes, that’s a dog park in the background.
You might notice a couple changes I made to the foreground in Photoshop, namely the removal of the two trees on the right. Behind and to the left of the main foreground tree is another tree just barely peeking out, which I also removed because it was visually confusing. To the right of the main foreground tree is another, slimmer tree that I nudged left a little bit so it would frame Brandon and Molly a little better. And then I copied the main foreground tree, reversed it, and put it in the far right of the frame to balance out the composition.
The background image of the trees and sky I found while scouting in Sand Point. At the top of a residential street, I could stand on my poor car’s roof and shoot a clean skyline above the houses.
I darkened the sky, of course, and flipped the image horizontally. The reason for the flip was to make the light part of the sky line up more closely with the rim lights on the Blood Squad members, as though a setting sun were creating them. I had to carve up the background a bit and shuffle pieces of it around, hiding the seams behind the trees in the foreground image. That was necessary to make the treeline coexist with everybody in the shot, and not intersect in a distracting way behind anyone. I also made the treeline dip down behind Elicia so her broken shoe would stand out against the sky.
After location, the second issue was the nighttime nature of the shot. You’re not going to have an easy time shooting something like this if you actually try to do it at night because, well, all your light is gone. Duh. When every last bit of natural light is gone, you’re left to bring any and all the light that you want and to try to work in the dark, which doesn’t work very well at all. To do it at night would mean filling in considerable shadows and dimly lighting a pretty large area, and good luck with that without big lights on lifts. The simple(r) answer is to shoot during the day, and manipulate the color and density later to make it look like late evening. Here’s the shot with all the shading, but without the nighttime color layer.
I went with the Profoto 7B for lighting. I love my Paul Buff Einstein monolights, which I use for most things and would have used for this, were it not for the fact that I needed more output than their 640WS. I lit everyone from camera right with a four-foot octobank at the top of a rather high stand, and used a softbox from camera right, about three-quarter rear, for a rim light. The ambient light from the afternoon sun filled it all in.
Opting to shoot in a park meant the hole in the ground would be a problem too. I didn’t want to dig a hole in a public park without asking but at the same time, I didn’t much want to ask, either. It didn’t seem like a lot of good could come from that, so it made more sense to me to shoot Jon elsewhere. We laid some dirt down on the ground at the park to make a burial mound, photographed that, and then after shooting outside moved the party to my studio. Jon was great, and ran through a series of expressions and actions that were as entertaining as they were varied. Really, just the kind of model you want. Here’s an outtake showing the studio setup for the hole shot:
I copied the camera angle and lighting from the outdoor shot as closely as possible, using the same high octobank and softbox rim. To Jon’s right, camera left, was a 4×8 sheet of white foamcore to do what the sun was doing, just filling in the shadows. The foamcore behind him was only there to make it easier to cut him out in Photoshop. It’s the same idea with the dirt he’s leaning on—it makes blending him into the scene a world simpler.
I photographed Molly and Elicia in the studio as well. Shooting them on location was worth trying, and we did, but it was cold at the park and the soft ground made it difficult for them to stand in heels. It wasn’t a problem. I’d kind of figured we’d need to shoot them inside anyway so we had budgeted time for that. Like Jon, I cut them out, placed them into the scene, and drew reasonable shadows behind them. Obviously, it’s difficult to overstate the importance of shadows when you’re doing this kind of thing. If you get them wrong, or worse yet don’t add them at all, you’ve lost. See what I mean?
And that’s pretty much it for the broad strokes. The rest was mostly detailing, because I’m kind of detail-oriented. The smoke was added in Photoshop by blending a couple smoke brushes I found online. I also added the color to the end of Brandon’s Nat Sherman cigarette with a Hue/Saturation layer set to Colorize, not necessarily because I think it shows up, but because it was the right thing to do. It only takes a second.
I broke the heel on Elicia’s shoe in Photoshop. Also, the shoe was entirely black on the inside, and while it was still clear she was holding a shoe, it didn’t read immediately the way I wanted it to. I added a liner, which I think looks way better.
It’s a lot of work but I actually enjoy the process as much as the result. Visualizing a concept, breaking it down, solving it, photographing it, and bringing the elements together over a cup of tea and some good music (a lot of Rolling Stones and Black Keys for this one) on a rainy November day is definitely my idea of a good time. Big thanks to Blood Squad for being amazing, and for coming back and giving me this project to chew on. It was a blast, and I’m already looking forward to the next one.
I just learned that this past Friday, Washington State Senator Scott White suffered a fatal heart attack at the age of 41. I am terribly sorry to hear the news. I didn’t know him well, but what little I knew, I liked very much. He really didn’t seem like a politician to me—there was nothing about him that came across as even remotely artificial—he just seemed like a regular guy who wanted to do what he could to make a positive difference.
I met Senator White at the end of 2009, when he was still a House Representative and I was asked to photograph him for an article about legislation he was proposing. It was a bill that would make crimes against the homeless qualify as “bias-motivated attacks”, or hate crimes. I photographed him under an I-5 overpass in Seattle, at the site of a homeless man’s murder that inspired his work on the issue. It was a typical wet day. I remember apologizing for asking him to stand in mud for the shoot, but he couldn’t have been happier to do it and he was glad to give me all the time I needed. It was his nature to smile, I think—I asked him to keep a serious expression due to the nature of the bill highlighted in the article, but I could tell he found it difficult.
Since then, we bumped into each other several times at community functions. The first time was quite a while after we shot together, and I didn’t even expect him to remember me, much less take the time to talk with me (there were plenty of people there more important than I). But he came over and struck up a conversation, asked how things were, and told me that the article was up in his office, along with my photograph. I asked him about the fate of the bill, and congratulated him on its passage. I remember feeling glad that he was in Olympia, and it saddens me to think we’ve lost him.
55-year-old Indian novelist Amitav Ghosh is so boyish, soft-spoken, and downright unassuming that you’d never guess he’s a literary powerhouse. But it’s true—with seven novels under his belt and more works of non-fiction, Ghosh has served as a literary professor at both Queens College and Harvard University. The man is so good, in fact, that he was awarded the $1M Dan David Prize, which he shared with the one and only Margaret Atwood. I’m far less eloquent, so I’ll just quote one of the judges for the prize, who lauded Ghosh’s work as “distinguished equally by its precise, beautifully rendered depictions of characters and settings, and by its sweeping sense of history unfolding over generations against the backdrop of the violent dislocations of peoples and regimes during the nineteenth and twentieth centuries.” I don’t doubt that that’s true.
I had the pleasure of meeting Mr. Ghosh recently when I was asked to photograph him for an article. I wish we had more time (I only had about five minutes with the man), but it’s like they say—if wishes and buts were clusters of nuts, we’d all have a bowl of granola. I’m quite happy with the results, and I’m not complaining.
Much like the swallows of Capistrano, I travel with my two brothers and my parents to a warmer climate each year. Difference is, we converge on Chattanooga, Tennessee instead of South America. And we’re only there for a few days, not a few months. And we don’t subsist on insects caught in flight, because we’re not swallows.
The reason my family goes to Chattanooga is not because that’s where the Waffle House is. The Waffle House being there—that’s just icing (or syrup, as the case may be). No, we actually go to Chattanooga because that’s where my grandmother lives. The six of us are scattered across the country so the holidays are really the only time we can all get together, and when you’re my grandmother’s age, one of the perks is that everyone else will come to you. My grandma was born in 1910. She just had her birthday a couple weeks ago, and that means she’s 99 years old. That’s amazing. She’s amazing.
Here is a photo we made together yesterday, on Thanksgiving day. I know it won’t be as meaningful to you as it is to me, but I hope you will appreciate it nonetheless. And I hope your holiday was as lovely as mine.
Canon EOS 5D
f/5.6 @ 1/8, ISO 200
I recently had the opportunity (and the pleasure) to photograph Washington State Representative Scott White, a democrat from Seattle’s 46th district serving his first term. The photo accompanies an article about his effort to pass legislation that would qualify violence against the homeless as a “bias-motivated” attack, or hate crime. According to a report from The National Coalition For The Homeless with data spanning the past decade, fatal bias-motivated attacks in the United States against the homeless outnumber (by more than a factor of two, he told me) similar attacks motivated by ethnicity, sexual orientation, and religion combined. I wish Rep. White the best of luck with his proposal.
We made this photo beneath the I-5 overpass at 65th in Seattle, the site of the fatal stabbing of a homeless man named David Ballenger in August of 1999. For the Seattle Post-Intelligencer’s excellent article about David’s life and death, please click here. For more information about Rep. White and his work, you can follow this link. And to view a larger version of the photo, please click anywhere on it.
I was on the road this past week, photographing people and sleeping wherever I could, and I didn’t write about any of it. I am a bad blogger. So there, now you know.
I suppose it’s just as well—I was kept pretty busy with enjoying myself—but now I’m home already, so I completely blew my chance to keep you updated on my wanderings as I wandered. Ah well, I’ll set off again soon for another short trip, and it will be different. I can do better. I will do better. In the meantime, though, accept these random anecdotes, which I would have shared this past week if only I had taken the time.
In Missoula, I met and photographed a very kind, trusting, and just plain wonderful 47-year-old mother of three named Tina, who to my mind embodies everything that’s good about getting out of town every once in a while. When I spoke with her over the phone to set up the shoot (part of a personal project) the night before, she invited me to sleep in her spare room (a much better alternative to camping in 35-degree weather) and told me I’d be welcome to stay as long as I liked the next day, if I would only be sure to lock up the house when I left. When I did leave, she even sent me off with a jar of homemade pear sauce, which I have not yet opened but feel sure will taste like candy. It was a refreshing twelve hours. On my drive back to Seattle I reflected on Tina and her generosity, and I was reminded of the moment in Twin Peaks when Special Agent Cooper says to Sheriff Harry Truman, “That’s what you do in a town where a yellow light still means ‘slow down’, not ‘speed up’.” Are such giving people and such hospitality to be found in larger cities? Almost certainly, but I rather suspect it’s considerably more rare. Thank you, Tina.
I also photographed a young woman named Rachelle for a couple really fun hours in the afternoon on Tuesday. I was photographing her nude as part of my personal project, which was enjoyable if for no other reason than the welcome change of pace (I don’t typically photograph nudes). We shot a little bit at her place before heading up a very nearly car-less mountain route to do some more shooting outdoors. The road was gravel and offered a spectacular view of mountains, trees, and sky. That the road was gravel was the most important thing, though, as it served to let us know when a car was coming before it rounded the corner. Only once did that happen, and Rachelle leapt to the road like a jungle cat and threw on her long coat as a young-ish guy and his big black dog rolled by. Both could be seen smiling quite widely inside.
There’s much more I could write about, of course—the truly beautiful sights from the road, for example, or maybe renting* fleece blankets at Target because I underestimated the cold (or perhaps because I overestimated the effectiveness of the fleece blanket I already had)—but this is meant to be a blog about me as a photographer, not a road-tripping vagabond. So I will close this entry with a photograph, a self-portrait from the roadside, somewhere west of Seattle. You can click on it if you’d like to see it larger. Enjoy, and have a good night.
*By “renting” I really mean “buying and returning”. As any stylist knows, Target’s return policy is excellent.