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Costa Rica, with its pristine waterfalls, looming volcanoes, Nothing stimulates great photography like an inspiring subject—and superabundant wildlife and turbulent history, is a land of extremes. New Orleans does so with its rich history, natural beauty and recovery from We invite you to discover its full magnitude as our expedition touches Hurricane Katrina, displaying the true essence of this once-French colony. Let down in San José, Costa Rica’s lively capital and cultural hub, where the Mentor Series take you and your camera deep into the heart of the Big we’ll meet our guides—world-class photography instructors dedicated Easy as we explore America’s liveliest city. to coaching and mentoring you every step of the journey. Photograph Metairie Cemetery, with shadows cascading across the Our first excursion is to the Monteverde Cloud Forest, graced daily elaborate tombs of the elite and famous. We’ll experience the Mississippi with dense cloud coverage blanketing majestic peaks—a mountaintop river aboard the Steamboat Natchez, where we will photograph a jazz band, phenomenon caused by cold ocean air forced upward into sloping terrain. breathtaking views of the city and the graceful lines of riverboat architecture. The next morning, traverse the Arenal Hanging Bridges, an eco- We’ll also take a trip to a working plantation, where we’ll capture candid friendly project with extraordinary impact. We’ll navigate to the Caribbean shots of models dressed in period costume, preserved Doric columns and Sea, boarding excursion boats and floating along the tranquil, wildlife-rich wrought iron details. Photograph Oak Alley as the sunlight streams through rivers that lead out to the coast. A lodge near Tortuguero National Park a dense canopy of branches to form a perfect balance of light and shadow will be our home for the next three nights. in this immaculate preserve. Expect ample time to capture images of keel-billed toucans, parrots, The quiet waterways of the bayou swamp tour allow us to photograph basilisk lizards and spider monkeys. And we’ll have an exclusive opportunity rare birds, snakes, turtles, and, of course, alligators. And we won’t miss out to visit the beaches in the evening to witness sea turtles nesting. on New Orleans’s famous French Quarter and Jackson Square. Flanked by historic buildings, we’ll wander among neon-lit, jazz-filled streets—from Bourbon to Canal—that have made the French Quarter legendary. Special thanks to our premier sponsor:

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32 TWO FOR THE SHOW 56 44 Fashion photography’s most famous tag team, Markus Klinko and Indrani have had their triumphs and trials. Get the whole story on their shared history, recent projects and troubles, and their upcoming Bravo reality show. BY LINDSAY SAKRAIDA

44 WHO SHOT ROCK? For the ﬁrst time, a major show on rock and roll focuses on the photographers who turn musicians into icons. Take AP’s tour of the show here, with an inside look from photo historian/guest curator Gail Buckland. BY JACK CRAGER

56 INSTANT GRATIFICATION Who says easy and shallow go hand in hand? The ubiq- uitous cameraphone is always at the ready and is a snap to shoot with. The surprise is that photographers like Chase Jarvis, Greg Schmigel, Sion Fullana and Lisa Wiseman are making great art with it. BY JENNY ANDREWS DEPARTMENTS

9 FLASH News & Trends in Photography Man Ray Reconsidered + Exhibitions Across America + Tribute to Julius Shulman + New Book on Lillian Bassman

17 FOCUS The People Behind the Pictures One to Watch: Horacio Salinas + Side by Side: Vincent Dixon and Hèléne Chauvet + The Pick: Clay Patrick McBride

25 FLICKR CREATIVE SHOWCASE 32 Three new talents, Jim Patterson, Katarina Stefanović and Joel Tjintjelaar, prove that classic landscape photography is alive and well.

65 GEAR What Photographers Need The new Canon EOS 7D + Editor’s Choice: Storage and Display, Compact Cameras + Shootout: Olympus E-P1 vs. Panasonic Lumix DMC-GH1

75 SKILLS Know-How Now Digital Darkroom: Vincent Dixon’s Phocus how-to + Light Matters: Joe McNally’s telescopic shot + The 25 Picture Biz: Why you should register your copyright ON THE COVER 88 PARTING SHOT Black Markus Klinko and Indrani took this image A thought-provoking image from Rafal Milach’s of Naomi Campbell, outﬁtted in superhero Sea of Concrete, the grand-prize winner of Blurb’s glam, as part of a shoot for a new Bravo reali- 17 SALINAS ©HORACIO STEFANOVIC; AND INDRANI; ©KATARINA ©MARKUS KLINKO DILTZ; ©HENRY JARVIS; ©CHASE LEFT: TOP OCKWISE FROM Photography.Book.Now competition. ty series. See page 32 for the rest of the story. CL

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To join our community, go to livinginhd.com 4 EDITOR’S LETTER | CONTRIBUTORS

JACK CRAGER The writer of “Who Shot Rock?”, Crager is a A NEW LENS freelance journalist living in New York City. A longtime managing editor of American Photo, he has written extensively about photography, music and pop culture. He also writes about running and ﬁtness for New York Road Runners.

feature brewing. It doesn’t hurt that Jarvis is so endlessly quotable: “The best camera is the one that’s with you” and “I think of my iPhone photos as a visual journal.” This wasn’t the ﬁrst time that the idea of featuring cameraphone photography in the issue had come up. Earlier in the summer our photo editor, Chelsea Stickel, sent DAVID KELLEY me a note about iPhone camera accesso- Writer for the Side by Side and Digital ries and apps, and photo director Larry Darkroom columns this issue, Kelley is an Nighswander recently became addicted to artist and writer based in New York City. His iPhone photography himself and was brim- videos and photographs have been exhibited ming with ideas too. See the results of our internationally, and he is currently a fellow at the Whitney Museum of American Art staff and contributor fervor for this topic Independent Study Program. on page 56. And there’s much more to discover: close-up looks at the photographers who make the photos in our new Focus department; the Editor’s Choice gear reviews Welcome to the new American Photo! you trust; software tutorials in Digital For more than 30 years the magazine has Darkroom and the “Who Shot Rock?” fea- been exploring the art and culture of pho- ture, with “Behind the Lens” commentary tography, and we’ll continue to do so for from Albert Watson, James Mollison and years to come. In this issue you’ll ﬁnd sto- Nitin Vadukul about photos they shot of LINDSAY SAKRAIDA ries on subjects that have long inspired you rock-and-roll icons. A freelance magazine writer and former as well as new topics, all covered in a fresh We’re eager to hear your feedback about associate editor of American Photo, Sakraida way that’s meant to fuel your passion for the wealth of information in this issue, our covered the “Two for the Show” feature this shooting. new look and suggestions for stories you issue. Based in Brooklyn, New York, she’s a major advocate for local galleries and photo- On page 32, you’ll discover the lat- would like to see covered in these pages in graphic talent. est work by Markus Klinko and Indrani, the coming months. Send your comments including shots of Naomi Campbell taken to us at [email protected]. exclusively for American Photo, paired with behind-the-scenes stories from the photographers themselves. They also share a never-before-seen image of Lady Gaga that upholds the singer’s risqué reputation. One of the most captivating elements of the feature is a timeline that shows how the photographer and art director came into SARAH KINBAR/ EDITOR ANDY SNOW their own as an image-making force. Writer for this issue’s One to Watch column, Back in August, I spent 20 minutes on the photographer Snow has worked for a wide phone with Chase Jarvis, and something range of clients from General Electric Co., Mead, NCR and Proctor & Gamble to PC just clicked. His die-hard enthusiasm for World, TIME, Fortune and Forbes. Snow holds cameraphone photography — as well as the a bachelor’s degree in philosophy from compelling nature of his iPhone photos — Princeton and a master’s degree in visual AR LEFT: ©CHELSEA STICKEL; TOP TO BOTTOM: ©VIVIAN GILL; ©KOJI HIGASHINO;©KIRA KLEAVELAND; ©ANDY SNOW ©ANDY KLEAVELAND; HIGASHINO;©KIRA ©VIVIAN GILL; ©KOJI BOTTOM: TO TOP STICKEL; ©CHELSEA AR LEFT: was so infectious, I couldn’t deny we had a arts from Antioch University. F

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Upcoming Portland, OR Dallas, TX San Diego, CA Orlando, FL Dates Oct 17/18 Nov 7/ 8 Nov 21/ 22 Dec 5 / 6 Sign up and see a full listing of cities at digitaldaysphoto.com | 888-243-6464 NEWS & TRENDS IN PHOTOGRAPHY FLASH 9 REMEMBERING JULIUS SHULMAN 12 | THE BOOK ON BASSMAN 12 | EXHIBITIONS 14

Right: Man Ray’s “Self-Portrait With Camera” from 1930, printed from a negative that he “solarized,” or reexposed to light during development to par- tially reverse its tones.

LOOK Alias Man Ray: The Art of Reinvention ($50, The Jewish Museum and Yale University Press) BY MASON KLEIN

The Jewish Museum’s Man Ray show is accompanied by a catalog containing more than 200 illustrations of his work in photography and other media, as well as candid photos of the artist as a young Dadaist. It contains an illustrated timeline that locates Man Ray’s output within a larger cultural context. Essays trace the evolution of Man Ray’s artistic aliases.

NEW LIGHT ON MAN RAY A MAJOR EXHIBIT EXPLORES THE MAN BEHIND THE IMAGE | BY AMY BEDIK Man Ray is best known as a photographer. In fact, he was the only photographer — and the only American — to breach the inner circle of Dada, the anti-establishment visual arts, literature, theater

Y TRUST/ ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS NEW YORK/ADAGP, SOCIETY (ARS), RIGHTS ARTISTS Y TRUST/ and graphic-design movement that grew out of World War I Europe. But a tribute at the Jewish Museum in New York reminds us that the photographer was a protean talent who also expressed

©MAN RA himself through painting, sculpture, ﬁ lm and the graphic arts. On display from Nov. 15 through

NOV/DEC 2009 | AMERICANPHOTOMAG.COM 10 FLASH

March 14, 2010, Alias Man Ray: The Art of Reinvention also reveals the artist to have been a master of disguise who delighted in evading and confounding expectations — and chose to hide his own roots. Man Ray’s photographic fame is based on his "Rayographs," his proprietary term for photograms, as well as on his often- manipulated portraits of art-world luminar- ies such as James Joyce, Ernest Hemingway and Gertrude Stein. But as curator Mason Klein argues in the show’s catalog, it is by looking at the full scope of Man Ray’s work that the ﬂ uid nature of his identity as both an artist and an American becomes clear. Indeed, the artist’s given name was Emmanuel Radnitzky, and he was born to Russian immigrants in Philadelphia in 1890. By 1912, he was already signing his work “Man Ray.” This alias announced his interest in light as an essential subject but also distanced him from his working-class Jewish origins. He went on to study at New York City’s Modern School, a gathering place for political radicals who embraced movements such as socialism, anarchism and progressive art. Freedom from societal and aesthetic dogmas — and from an incon- venient heritage — became the foundation for Man Ray’s life in art. He soon found kindred spirits among the European avant-garde, which had made its way to the New York apartment of wealthy art patrons Walter and Louise Arensberg.

“MARCEL DUCHAMP, SOLARIZED PORTRAIT,” 1930, GELATIN SILVER PRINT

The Arensbergs’ home became the meeting Montparnasse and making a living as an place, in the words of Gabrielle Buff et- editorial and portrait photographer. His Picabia, of “a motley international band productivity was astonishing. Vanity Fair living in an inconceivable orgy of sexuali- magazine published a selection of his ty, jazz and alcohol.” Man Ray was a habitué Rayographs, and demand for his incisive of the salon and soon became a key partic- portraiture quickly grew. He hired the ipant in Dada, a movement that aimed to young American photographer Berenice overthrow the artistic norms of the day. Abbott as his assistant, and as Sylvia In 1915, Man Ray met Dada provocateur Beach, proprietress of celebrated Parisian MAN RAY, AFRICAN ART & THE MODERNIST LENS Marcel Duchamp over a game of tennis bookshop Shakespeare and Company said, October 2009 – January 2011 played without a net or a common language. to be “done” by Man Ray and Berenice TRAVELING EXHIBITION Yet the two men, who would remain friends Abbott meant that you rated as somebody. and collaborators for more than 50 years, Man Ray’s importance as a photographer The Phillips Collection, Washington, DC Oct. 10, 2009-Jan. 10, 2010 shared a fascination with the ﬂ ux of person- is widely acknowledged, but photography The University of Virginia Art Museum, al identity. Man Ray helped Duchamp was one of many outlets for his profuse Charlottesville, VA Aug. 7-Oct. 10, 2010 develop his artistic alter ego, the transves- creative impulses. That, together with his UBC Museum of Anthropology, Vancouver, BC tite Rrose Sélavy, and they both used absur- refusal to be pinned down personally or Oct. 29, 2010-Jan. 23, 2011 dist language to explore the boundaries of aesthetically, has made it diffi cult for both Man Ray, African Art & the Modernist Lens explores the sexuality, propriety and personality. critics and the public to appreciate his work photographer’s role in turning African art from the object of curiosity and arcane study into a form of expression admired Man Ray’s work was embraced by as a whole. The Jewish Museum’s Alias Man by early 20th-century European and American audiences. expatriate European artists but reject- Ray paints a uniﬁ ed portrait of the artist (2) PARIS NEW YORK/ADAGP, SOCIETY (ARS), RIGHTS Y TRUST/ARTISTS

Sixty of his photographs of artworks from various African CREDIT TO tribal regions are displayed next to the artifacts they depict. ed by the American art establishment. and sheds new light on the motives behind PHO

Paris beckoned. By 1921, he was living in his personal revisionism. AP ©MAN RA

AMERICANPHOTOMAG.COM | NOV/DEC 2009 &`SOa]\aSdS`g^`] eWZZa\O^c^bVWaQO`R

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FINAL FRAME Julius Shulman, the doyen Remembering photographer Julius Shulman | BY MICHAEL WEBB of American architectural photographers, died on July 15 at age 98 after seven decades of celebrating California modernism and chronicling Los Angeles. His career began by chance and ended in a blaze of fame. Invited by a friend to see a new Richard Neutra house in 1936, he impressed the architect with a few images he took with his Kodak Vest Pocket camera. That BOOKS encounter blossomed into a The Audacity of Style close association with pro- BY MICHAEL WEBB gressive architects in L.A. Born a day before Irving Penn and around the world. Shul- — in Brooklyn in 1917 — Lillian man brought their work alive Bassman is still working in by capturing a sense of depth her Manhattan studio, using and atmosphere, while seiz- Photoshop to manipulate im- ing every opportunity to cre- ages she has created over the ate an iconic image. A single past 60-plus years. In Lillian composition — two women Bassman: Women (Abrams, in white chatting in a glass- $50), her fashion and adver- walled room that seems tising photography bookends to hover over the lights of two eras: her early years with L.A. — has been reproduced Harper’s Bazaar and Seventeen, countless times, and a rare and her return to the world of vintage print now fetches fashion in the early ’90s. In her $50,000 or more. In the late introduction, Deborah Solomon 1980s, Shulman closed his skips the two decades in be- studio and sold many of his tween, when Bassman turned cameras out of disgust with her back on fashion and de- the way architects were stroyed most of her negatives turning away from modern- before starting to experiment ist ideals. Then came a surge with color and more conceptual of interest from aficionados kinds of imagery. That gives who cherished his images, the survey a sense of unity, for prompting a succession of the cardinal subject — then books, exhibitions and a doc- and now — “is not dresses or umentary film, Visual Acous- hats or belts … rather they are tics: The Modernism of Julius romantic images that turn Shulman by Eric Bricker. His the blur into a surprisingly passion reignited, he began focused expression of female collaborating with Ger- feeling.” Solomon focuses on man photographer Juergen Bassman’s “talent for sensu- Nogai. Together, they cre- ous abstraction, for making ated an image of L.A. City inwardness visible.” Bassman Hall, bathed in red light for had the good fortune to get her a campaign by the Ameri- start with Alexey Brodovitch, can Heart Association. Shul- the imperious art director of THE SCOOP TOP: A portrait of Shulman man had photographed the Bazaar who despised literal holding his first Kodak Vest When Shulman transferred his representation. As the 140 Pocket camera. tower when it was new; now, architectural photography archives to as a nonagenarian, he and tritone images in this book the Getty Research Institute, he held BOTTOM: L.A. City Hall on the reveal, she walked a fine line back his private photos, including an night of Jan. 31, 2008. Three Nogai judged the exposure image of a junk in Hong Kong’s harbor. identical exposures of 45 sec- without a meter and focused between documentation and Shulman’s love of photography wasn’t onds at f /22 were made using the old-fashioned manual invention. Today, she has the

limited to architecture — he cherished Fujichrome Provia 100F ﬁlm, using CA MONICA, SANTA GALLERY, CRAIG KRULL NOGAI/COURTESY NOGAI; ©JULIUS SHULMAN AND JUERGEN ©JUERGEN BOTTOM: TO ,TOP the harbor photo, one of his favorites. a Sinar p2 4x5 view camera and a way. Shulman’s eyes were freedom to please herself and Schneider 90mm wide-angle lens. still as sharp as any lens. create prints for collectors. LEFT

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Reception: Thu, Nov. 5, 5-8 Psychically charged, highly contemporary ON THE WALL portraits borrow from fashion and ﬁne-art PHOTOGRAPHY EXHIBITIONS AROUND THE COUNTRY | BY ANGELA FARIS BELT traditions. Gallery Hours: Sun-Fri 10-6 Contact: 315-443-1300, lightwork.org NORTHEAST the creative team of Nicholas Kahn and Gallery Hours: Tue-Fri 10-6, Thu 10-8, PHOTOGRAPHIC RESOURCE CENTER Richard Selesnick Sat-Sun 12-5 INTERNATIONAL CENTER OF AT BOSTON UNIVERSITY Nov. 13-Jan. 24, 2010 Contact: 617-975-0600, prcboston.org PHOTOGRAPHY 832 Commonwealth Ave., Boston, MA Public Reception: Thu, Nov. 12, 1133 Sixth Ave. at 43rd St., New York, NY Exhibition: 2009 Leopold Godowsky Jr. 7-8:30 LIGHT WORK Exhibition: Dress Codes: The Third ICP Color Photography Awards, showcas- A colorful tribute to the co-inventor of 316 Waverly Avenue, Syracuse, NY Triennial of Photography and Video ing the work of Claudia Angelmaier, Kodachrome, in the year of the ﬁlm’s unfor- Exhibition: Deana Lawson: Corporeal Oct. 2-Jan. 17, 2010 Alejandro Chaskielberg, Curtis Mann, and tunate demise. Nov. 2-Dec. 23 Expect anything but standard fashion- magazine fare in the Center’s eclectic Year of Fashion capstone. Center Hours: Tue-Thu 10-6, Fri 10-8, Sat-Sun 10-6 Contact: 212-857-0000, icp.org

FROM REVERSED IMAGES: REPRESENTATIONS OF SHANGHAI AND ITS CONTEMPORARY MATERIAL CULTURE CURRIER MUSEUM OF ART 150 Ash Street, Manchester, NH Exhibition: Brett Weston: Out of the Shadow Oct. 10-Jan. 3, 2010 More than 100 works form the expansive retrospective of one of American photography’s important artists, son of the renowned Edward Weston. Museum Hours: Sun, Mon, Wed-Fri 11-5; Sat 10-5; First Thursday 11-8 Contact: 603-669-6144

MID-ATLANTIC CORCORAN GALLERY OF ART 500 Seventeenth Street NW, Washington, DC Exhibition: Edward Burtynsky: Oil Oct. 3-Dec. 13 Expansive and pointed landscape imagery comprises a highly relevant exhibition on environmental issues. Gallery Hours: Wed and Fri-Sun 10-5, Thu 10-9 Contact: 202-639-1700, corcoran.org

PRINCETON UNIVERSITY ART MUSEUM Princeton University Campus, McCormick Hall, Princeton, NJ Exhibition: Emmet Gowin: A Collective Portrait Oct. 24-Jan. 17, 2010 An encompassing personal look at one of photography’s most inﬂuential artists and educators. Museum Hours: Tue-Sat 10-5, Sun 1-5 Contact: 609-258-3788, princetonartmuseum.org SILVER EYE CENTER FOR PHOTOGRAPHY ! 1015 E. Carson St., Pittsburgh, PA Exhibition: The World at Our Door: Melissa Farlow and Randy Olson Through Jan. 2, 2010 Globetrotting National Geographic photojournalists show the world’s people, creatures and cultures. Center Hours: Wed-Fri 12-6, Sat 11-5 Contact: 412-431-1810, silvereye.org

AMERICANPHOTOMAG.COM | NOV/DEC 2009 FLASH | ON THE WALL 15

SOUTHEAST Otherworldly, time-exposed color images of Dec. 1-Feb. 27, 2010 NORTHWEST SPELMAN COLLEGE MUSEUM OF shorelines give viewers new perspective. Reception: Dec. 5, 7-10 BENHAM GALLERY FINE ART Gallery Hours: Tue-Sat 10-5 With hand-colored gelatin silver prints, the 1216 First Ave., Seattle, WA 350 Spelman Lane, Atlanta, GA Contact: 713-524-5070, photogenic drawing process, and delicate Exhibition: Academic Eye: Ellen Garvens, Exhibition: Undercover: Performing and johnclearygallery.com black and whites, these artists create visual Rebecca Cummings, Michael Van Horn, Paul Transforming Black Female Identities poetry that defines sublime. Berger Through Dec. 5 PHOTOGRAPHS DO NOT BEND Gallery Hours: Tue-Sat 11-5 Nov. 5-Dec. 24 Featuring photographs by Lalla Essaydi, 1202 Dragon St., Suite 103, Dallas, TX Contact: 520-624-7370, Artist Reception: Fri, Nov. 6, 6-8 Myra Greene, Lyle Ashton Harris, Gordon Exhibition: The Bauhaus 1919-1933: ethertongallery.com UW fine art photography professors show off Parks, Cindy Sherman, Lorna Simpson, Celebrating the 90th Anniversary of their photographic stuff. James Van Der Zee Its Founding Year CAMERA OBSCURA GALLERY Gallery Hours: Wed-Sat 11-6, Tue, Nov. 10, 6:30: Gallery Walk with Oct. 17-Nov. 14 1309 Bannock Street, Denver, CO First Thursday 6-8 exhibition curators Andrea Barnwell Exhibition: Esteban Pastorino Diaz: Exhibition: Photographs by Elliott Erwitt Contact: 206-622-2480, Brownlee, Ph.D., and Karen Comer Lowe. Invention Nov. 6-Dec. 3 benhamgallery.com Highly diverse show uncovers agendas behind Nov. 21-Jan. 2, 2010 the masks and superficial manipulations of Two great shows move successively from black women. photography’s academic roots to a singular, Museum Hours: Tue-Fri 10-4, Sat 12-4 epitomized contemporary practice. Contact: 404-270-5607, Gallery Hours: Tue-Sat 11-6 spelman.edu/museum Contact: 214-969-1852, pdnbgallery.com

MUSEUM OF CONTEMPORARY ART MIDWEST JACKSONVILLE MUSEUM OF CONTEMPORARY 333 N Laura St., Jacksonville, FL PHOTOGRAPHY, COLUMBIA COLLEGE Exhibition: Through the Lens: Contemporary CHICAGO Photography From the Permanent Collection 600 S. Michigan Ave., Chicago, IL Through Jan. 3, 2010 Exhibition: Reversed Images: Represen- Featuring images by Ruth Bernhard, Andre tations of Shanghai and Its Contemporary Kertesz and Francie Bishop Good Material Culture Dozens of unrelated photographs pepper Through Dec. 23 gallery walls to survey the museum’s kaleido- Chinese photographers reveal the private and scopic collection. public city's nostalgia and progress, tradition Museum Hours: Tue-Sat 10-4, Thu 10-8, and transformation. Sun 12-4 Gallery Hours: Mon-Sat 10-5, Thu 10-8, Contact: 904-366-6911, Sun 12-5 mocajacksonville.org Contact: 312-663-5554, mocp.org

JACKSON FINE ART SCHNEIDER GALLERY 3115 E. Shadowlawn Ave., Atlanta, GA 230 W. Superior St., Chicago, IL Exhibition: Tierney Gearon & Todd Murphy Exhibition: Jamie Baldridge & Sergio Fasola: Oct. 30-Jan. 16, 2010 Magic Realism Nov. 6-Jan. 2, 2010 Tierney Gearon’s surreal and humorous FROM JAMIE BALDRIDGE & SERGIO FASOLA: MAGIC REALISM photos along with acclaimed curator Todd Opening Reception: Fri, Nov. 6, 5-7:30 Murphy’s large-scale light boxes of metamor- Delight in occasionally irreverent, highly phosing tree segments with birds that charged works by two masters walking the Opening reception: Fri, Nov. 6 BLUE SKY GALLERY symbolize Atlanta’s cultural evolution. line between real and imagined. A truly diverse collection revealing the eclec- 122 NW 8th Avenue, Portland, OR Gallery Hours: Tue-Sat 10-5 Gallery Hours: Tue-Fri 10:30-5; Sat 11-5 tic vision of Magnum’s funnyman. Exhibition: Giacomo Brunelli: The Animals & Contact: 404-233-3739, Contact: 312-988-4033, Gallery Hours: Tue-Sat 10-6 Joni Sternbach: SurfLand jacksonﬁneart.com schneidergallerychicago.com Contact: 303-623-4059, Nov. 5-29 cameraobscuragallery.com Exhibition: Mary Frey — Imaging Fauna & CATHERINE EDELMAN GALLERY Reiner Riedler — Fake Holidays 300 W. Superior St., Chicago, IL WEST Dec. 3-27 Exhibition: Gregory Scott: Outside the Frame FRAENKEL GALLERY Some seriously uncanny portraits of animals Nov. 6-Jan. 2, 2010 49 Geary St., San Francisco, CA and unusually serious images of people make Painting and photography converge in curious Exhibition: Carleton Watkins: Discoveries these exhibits well worth seeing. works that question photographic dimension Nov. 5-Dec. 30 Gallery Hours: Tue-Sun 12-5 and representation. An impressive collection of historical imagery Contact: 503-225-0210, Gallery Hours: Tue-Sat 10-5:30 by one of America’s greats. blueskygallery.org Contact: 312-266-2350, Gallery Hours: Tue-Fri 10:30-5:30; edelmangallery.com Sat 11-5 PHOTOGRAPHIC CENTER NORTHWEST Contact: 415-981-2661, 900 12th Avenue, Seattle, WA SOUTHWEST fraenkelgallery.com Exhibition: PCNW Members’ Exhibition & VERVE GALLERY Awards 219 East Marcy Street, Santa Fe, NM PETER FETTERMAN GALLERY Juror: Eric Fredricksen, Director, Exhibition: Don Kirby and Stephen Strom Bergamot Station Western Bridge, Seattle, WA Nov. 12-Jan. 8, 2010 2525 Michigan Ave., Gallery A7, Artists' Reception: Fri, Dec. 4, 6-9 FROM JAMIE BALDRIDGE & SERGIO FASOLA: Opening Reception: Thu, Nov. 12, 5-7 Santa Monica, CA Dec. 1-Jan. 15, 2010 MAGIC REALISM A show for anyone who believes landscape Exhibition: Faces of Fashion This exhibition promises an exceptional photography never grows old. Oct. 10-March 7, 2010 barrage of work by up-and-coming artists. SOUTH CENTRAL Gallery Hours: Tue-Sat 11-5 Fashion doesn’t get more classic than this: Center Hours: Mon 12-9:30; Tue-Thu A GALLERY FOR FINE PHOTOGRAPHY Contact: 505-982-5009, a century of images by Irving Penn, Horst, 9-9:30; Fri 12-9:30; Sat-Sun 11-5 241 Chartres Street, New Orleans, LA santafephotogallery.com Lillian Bassman, Louis Faurer and more. Contact: 206-720-7222, pcnw.org Exhibition: 50 Photographs by Jessica Lange Gallery Hours: Tue-Sat 11-6 Oct. 3-Dec. 31 ETHERTON GALLERY Contact: 310-453-6463, Book Signing: Sat, Oct. 3, 1-2 135 South 6th Avenue, Tucson, AZ peterfetterman.com Reception for the Artist: Sat, Oct. 3, 5-7 November Exhibitions: Quietude and loneliness pervade black-and- Art + Design: Etherton Invites ROBERT KOCH GALLERY white shots by the well-traveled actress/ Judy Gelles: Beach Boxes 49 Geary Street, 5th Floor, photographer. Through Nov. 28 San Francisco, CA Gallery Hours: Thu-Mon 10:30-5:30 Form follows function in these selective-color Exhibition: Holly Andres: Sparrow Lane Contact: 504-568-1313, agallery.com creations that really hit home. Nov. 5-Dec. 24 December Exhibitions: New Work by Quixotic youths explore unsettling domestic JOHN CLEARY GALLERY Kate Breakey, Photogenic Drawings by Alche- rooms and suburban landscapes, in narratives 2635 Colquitt, Houston, TX my’s Carol Panaro-Smith and with uncertain outcomes. Exhibition: Mark Jaremko: Nightscapes James Hajicek, Photographs by Masao Gallery Hours: Tue-Sat 10:30-5:30 Oct. 24-Nov. 28 Yamamoto Contact: 415-421-0122, kochgallery.com NICHOLAS METIVIER GALLERY, TORONTO; TORONTO; METIVIER GALLERY, NICHOLAS NEW YORK/ HUNT KRAEUTLER, HASTED BURTYNSKY/COURTESY ©EDWARD BOTTOM: TO SHANGHAI; TOP SHANGHART, FUDONG/COURTESY SITE: ©YANG Artist's Reception: Sat, Oct. 24, 6-8 OPPO ©JAMIE BALDRIDGE/COURTESY SCHNEIDER GALLERY BALDRIDGE/COURTESY ©JAMIE

NOV/DEC 2009 | AMERICANPHOTOMAG.COM

THE PEOPLE BEHIND THE PICTURES FOCUS 17 ONE TO WATCH 17 | SIDE BY SIDE 20 | THE PIC 22

Right: Typical of Horacio Salinas’s clever twist on reality, a CFL bulb is not a light but a swirl of soft ice cream. Here, for a GQ story, he put it in a cone, sculpted it with light and made the idea of “going green” appetizing.

CLOSE-UP Horacio Salinas Studied at: Fashion Institute of Technology, NYC Assisted: Irving Penn Appeared In: Vogue, GQ, The New York Times Awards: Winner, 2007 National Magazine Award for Photo Portfolio; Gold Medal from Society of Publication Designers

SHAPE SHIFTER HORACIO SALINAS REIMAGINES THE ART OF STILL-LIFE PHOTOGRAPHY | BY ANDY SNOW Conceptual still-life photographer Horacio Salinas, whose work has appeared in Vogue, GQ and The New York Times, is known for creating visual iconography that can be glamorous, humorous or down- right startling. In Salinas’s world, objects become new forms separated from their normal function: CIO SALINAS (2) A blue feather duster is propellant from a spray can; white clothing becomes steam from a kettle; a

©HORA handbag transforms into a beehive. A visual puzzle solver, Salinas, whose studio is located, maybe not

NOV/DEC 2009 | AMERICANPHOTOMAG.COM 18 FOCUS | ONE TO WATCH

oddly, in Hell’s Kitchen, defies a teacher at Hunter College ates sketches first. “I returned typically looks for items him- the norm in terms of images to take up photography, he to my pen-and-ink drawings, self. “My vision of red may be delivered to clients, which in- studied at New York’s Fashion but now I draw the way I see different than the red deliv- clude Barneys New York and Institute of Technology. By things. And I see differently.” ered by the stylist. It is all up Elizabeth Arden. 1995, he was working as a free- To obtain props he sometimes to me to pull together the ele- His heroes? Picasso, War- lance photo assistant in fash- works with stylists, though he ments.” AP hol and Duchamp. Also his ion photographer Irving Penn’s father, an Argentina-born studio in NYC. Penn’s legend- ABOVE: A veil suspended over a toy train is one of a series that uses diapha- blacksmith transplanted to ary fashion and still-life imag- nous clothing as steam or smoke, juxtaposing it with the industrial weight of Queens. “In the blacksmith ery helped Salinas understand irons, manhole covers and radiators. The resulting fashion story “White Heat,” shop, we would put small shav- how important it is to have a won New York’s CITY magazine a National Magazine Award for Photo Portfolio, and a Gold Medal from the Society of Publication Designers. OPPOSITE: Shot ings on paper, place a magnet vision before actually taking for a story on allergies for parenting magazine Cookie, the boa constrictor’s skin below and move the magnet the photograph. In 2005, after pattern mimics the peanuts, but also calls to mind the suffocating reaction of around to make drawings with years spent photographing those with a peanut food allergy. the silver metal.” Many of his high fashion, Salinas discov- images still have a playful qual- ered his muse and has since ity, sometimes reminiscent concentrated on his concep- TRADE SECRETS of Salvador Dali or even The tual work. Though Salinas uses whatever camera will deliver the right images for his cli- Twilight Zone (Tom Ford sun- At 38, he is now a master ents, he loves shooting film with his 8x10 view camera. He asserts that know- glasses dripping with honey, image-maker, grafting and ing how to use a large-format camera helps him as a photographer because tiny toy cars crashing beside crafting elements to fit a nar- of the amount of time required to set up and shoot a single picture. That process slows him down, forcing him to really “see” what he’s photographing. In

high-fashion footwear). rative with brilliance of con- Salinas’s opinion, learning to work with a view camera helps a photographer (2) CIO SALINAS Salinas’s ﬁrst love was draw- cept and technical prowess. be more decisive.

ing, but heeding the urging of As part of the process, he cre- ©HORA

AMERICANPHOTOMAG.COM | NOV/DEC 2009

20 MIND B AMERIC A photogr VINCENT DIX York, Los Angeles andBuenosAires. of photographers, withbranches inNew tional agency representing aselectgroup he founded BriteProductions, aninterna- years ago. InadditiontoanatelierinParis, to digital,includingmedium-format, six near Herald Square. Dixon converted fully with hisfamily, heworks from hisstudio and Wonderbra. Now livinginNew York Perrier, Carlsberg, Absolut,Volkswagen award-winning images for clientssuchas in Paris 15years ago. Hehascreated Kilkenny, Ireland, Dixon began hiscareer HÈLÉNE CHA Yann Le Pape, PlatonandFred Jacobs. photographers such asJean-Paul Goude, Before Kilato, starting sheretouched for helpful toretouching asphotography is.” to soundtoopretentious, butpaintingisas worlds andphotography. ofart Idon’twant for metheconnection between thetwo Paris. "Retouching," Chauvet muses, “is Nationale Supérieure Louis-Lumière near teachers. Shestudiedphotography atEcole because bothherparents were art-history sual training began atanearlyage, shesays, Kilato, aretouching atelierinParis. Hervi- Y DAVID KELLEY

ANPHOTOMAG.COM FOC UVET: ON: apher andretoucher work intandemtocreate anew reality US

Originally fr | NOV/DEC 2009 C MELDING | hauvet runs SIDE BYSIDE SIDE om Saõ Paulo withdarkDecember airport, skiesforcing Dixon tolightasthoughitwere asunny day inanticipation am atagarden with beautifullygroomed grass, Ishootit.” The othercomponents were shot in theparkinglotof taken by Dixon theyear before. Dixon says that whenhe’s traveling, seeselementshecanuse later:“IfI heoften Nightmares,” shotfor ItalianjeanslabelMeltin’Pot, incorporates aphotograph ofthe Los Angeles (above) airport One ofDix a seamlessnessthatoftenbeliestheintricate thatresultfromtheircollaborationhave images museums, castles andcathedralsinEurope. The toucher Hèléne Chauvet, whogrewuptouring that heworkscloselywithclassicallytrainedre- also hasaPhDinmolecularbiology).Andithelps empiricism (it’s illuminatingtoknow thatDixon possible. Fortunately, hiseyeistemperedby monsters —asnaturallyandrealistically as cial orambitiousitmightbe—evenifincludes is torendertheconcept foranad,however artifi- ing thecompleteSometimes image. Chauvet delicate processofcompositingandretouch- backgrounds or details. Itculminateswiththe suggestions fromChauvet tophotograph more asplanned,thencertain everythingisgoing JPEGs fromDixon duringtheshoot tomake each picture.Itcontinueswithe-mailsof the compositionandpotential problemsof second nature,beginswithadiscussionof ever since.Theirstreamlined workflow, now film lab Chauvet wasmaking rapher friendinParis 14 when yearsago de deuxbehindtheirmaking.

The challeng Introduced toeachother by aphotog- , the two have been working together , thetwohavebeenworkingtogether on andChauvet’s ﬁnalcompositions (opposite, top) for the2009summercampaign,“Abandon Your e forphotographer VincentDixon her markattheDahinden pas pas even accompaniesDix with thesunny Californiabackground. and Chauvet later replacedtheovercast skies to simulatethenaturallightinLAXscene, the yearbefore.Dixon littheSaõPaulo shots had shotInternationalAirport atLos Angeles was ontheshoot andrememberedaskyDixon overcast dayattheSaõPaulo airport.Chauvet here, Dixon wasforcedtoshoot onarainy, projects. For theMeltin’ Pot jeansadshown tributes creativelyaswelltechnicallyto Wayne Gretsky inacafé.)Chauvet oftencon- of hockey game,theyusednearly90images photos. (For a2005adforPlayStationice sembled fromasmany as16ormoreseparate she attimesplaystheroleofartdirector. The resultingcompositionscanbeas- T for direct sun,diffusion for hazyor overcast skies. modiﬁed tomatchquality: bare-bulb strobe orFresnel (wide-screen.com/sunPATH/). Studiolightisalso to matchstudiolightingtheangleofsun ings andtimeofday, andusessunPATH software later, Dixon records GPScoordinates, compass reading inthestudio, sothatallcanbecomposited T o simulatethelookofoutdoorphotoswhenshoot- ECH TIP on shoots, where AP »

PORTRAITS: ©JONATHAN ORENSTEIN, ©PHILIPPE LEPAULARD; ©VINCENT DIXON (5) FOCUS | SIDE BY SIDE 21

WORKING TOGETHER VINCENT: “When you are working with a large production, you don’t have the luxury to wait for the weather to turn — you have to work with what you have and solve problems on the spot.” HÈLÉNE: “Sometimes I go to the Louvre just to see, for example, how Dutch Masters painted light on hair, or the way they painted a chair to make it look alive. In some ways they had the same problem: how to make it look real.” VINCENT: “Working with other retouchers can be difficult, espe- cially when there is a difference of opinion. When I started working with Hèléne, the projects I would get back from her would often be different than I anticipated, and better.” HÈLÉNE: “Of course, it happens sometimes that we disagree. I would be lying if I said the opposite. But I am still working with Vincent after 14 years; this wouldn’t be the case if we didn’t respect each other’s opinions. Anyway, if we have chosen to work together, it’s because we share the same eye for pictures. Actually it’s a bit of the LAX background. Because the budget was limited, lights were repositioned difficult for me to remember the last time we didn’t agree.” for each of the details (from left to right, girl, guy and monster). The key light for all three was a large Chimera softbox rigged high from the roof of the grip truck to mimic sunlight. Gridded heads were positioned for each model to rimlight the FOR A STEP-BY-STEP GUIDE TO HOW DIXON SHOOTS WITH HASSELBLAD’S PHOCUS SOFTWARE, GO TO PAGE 75. clothing so that it stood out from the background.

NOV/DEC 2009 | AMERICANPHOTOMAG.COM 22 FOCUS | THE PIC

CHOSEN ONE Why one photo made the cover of Kid Rock’s latest album, Rock N Roll Jesus BY JENNY ANDREWS

With only two days, a truckload of equipment, and over 20 set- overt. Still, several have been put to use promoting the album. ups to photograph, it’s a good thing Clay Patrick McBride is sim- The photo that rose to the top (above) always stood out. Shot patico with music-industry heavy hitters — and a fast shooter. at Jesse James’ West Coast Choppers, Rock looks strong but A veteran of 50 or so album covers and a longtime compadre of not threatening, at peace but powerful. With two ladies tucked Kid Rock, McBride knows what Rock likes and what makes him behind Rock to complete the trinity, McBride gave a nod to a look good. But drilling down to the one image that makes it onto photo he’d seen of Jimi Hendrix flanked by two blondes. He an album cover is a process filled with mock-ups and approvals. calls Rock’s album cover “sleazy, cool and beautiful.” AP As Patrick Fong, the Atlantic Records art director on the proj- CLOSE-UP: CLAY PATRICK MCBRIDE ect, says, “It’s where art meets commerce.” To title an album Rock N Roll Jesus is a strong statement from Training: Studied painting and art history in the South the get-go, and it needed an image to match. The album concept, of France, then turned to photography and earned a BFA at New York’s School of Visual Arts. Rock’s personality (a mix of Detroit blue collar and flash), and Worked with: Norah Jones, Kanye West, Metallica, his appeal across a range of genres all needed to coalesce in a Jay Z, Al Green, LeBron James, Allen Iverson. single visual. Photos made the rounds among Atlantic execs, Inspired by: His sister’s 1970s record collection, with covers by bands like Led Zeppelin. Rock and his reps. Some came close but didn’t make the final cut Best advice: Take risks. (below, left to right), deemed too country, too aggressive or too Web site: claypatrickmcbride.com Y PATRICK MCBRIDE (4)/COURTESY ATLANTIC RECORDS ATLANTIC (4)/COURTESY MCBRIDE Y PATRICK ©CLA

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FUJIFILM believes that every picture captures a memory, imparts meaning and plays a role in the grand mosaic of life. In today’s warp speed world, everyone, everywhere seems to be taking pictures all the time. Digital photos have become more ﬂuid, conversational and an essential part of our everyday lives. FUJIFILM Digital Cameras were made for these moments in time. They make photos a part of life’s ﬂow through easy, intuitive design. And they Behind every great photo there’s a great story. enable consumers from all walks of life to “There was something so striking about seeing that tree all alone on the horizon. Maybe it was the way it was silhouetted against the tell their stories in detail and in their own sky as the sun was going down. It reminded me of a conductor – its unique way. The way we’re moving today, branches orchestrating an ensemble of deep, warm hues – purple, yellow and orange. It only lasted for a brief moment before the sun it seems our pictures are the only things fully set. I’m glad I was there to capture the photo...Bravo.” that last. Read more stories at everypicturematters.com

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VIEW MASTERS These three new talents prove that classical landscape photography is alive and well and living on the Web BY RUSSELL HART

Sometimes it seems as if pure landscape photography is a dying art. People and the places where they live hold sway as photographic subject matter, and even the most depopulated views focus on the effects of human intervention and environmental abuse in the landscape. That isn’t the case on Flickr, though, where landscape for landscape’s sake is thriving. So for this issue’s installment of the Flickr Creative Showcase, we bring you three of our favorite landscape photographers now sharing their work on the website. And remember that there are more where these came from.

Landscapes from Flickr, top to bottom: Katarina Stefanović’s fairytale take on Switzerland’s Rochers-de-Naye, shot with a Nikon F80 and 24-120mm Nikkor zoom on Kodacolor 200 film; Joel Tjintjelaar’s austere interpretation of the North Sea, shot with a Canon EOS 400D and 10-24mm Tamron zoom with a neutral density filter at an exposure of 210 seconds at f/22 (ISO 100); Jim Patterson’s lush view of the California coast near Santa Cruz, shot with a Nikon D300 and 12-24mm Nikkor zoom with a graduated neutral-density filter at an exposure of ½ second at f/13 (ISO 100). OP TO BOTTOM: ©KATARINA STEFANOVIC; ©JOEL TJINTJELAAR; ©JIM PATTERSON STEFANOVIC; ©KATARINA BOTTOM: OP TO T

NOV/DEC 2009 | AMERICANPHOTOMAG.COM Shot at two different beaches in the same coastal enclave near Santa Cruz, California, Jim Pat- terson’s two views show yet again that photographic subjects are wide-open to interpretation. When Patterson was photographing the rock wedge, above left, the sun had set and the clouds lacked color, so he converted the image to black and white with Nik Silver Efex Pro software. The color scene, left, had such an extreme brightness range that Patterson shot three bracketed exposures and then used Photo- shop to manually blend a darker exposure for the sky with brighter ones for the rocks and beach.

CLOSE-UP JIM PATTERSON Hometown: Santa Cruz, CA Camera: Nikon D300 Flickr member since: 2006 Website: jimpattersonphotography.com

WAVE ACTION Underwater photographer Jim Patterson goes topside

From his work as a scuba outfitter and as a frequent diver, Jim accelerated learning. “I did shoot film seriously for about three Patterson knows that the landscape beneath the waves can be just years before switching to digital,” he says. “But with film, the time- as beautiful, in its gnarly way, as the one above. Indeed, he has intensive process of getting images from camera to computer was been photographing underwater since 2001. It was a little more always a roadblock to shooting and editing. Digital has helped me than a year ago that Patterson started shooting on relatively dry improve my work, because it gives me much faster feedback, and land — and yet he has produced the spectacular marine views you feedback while I’m still on location.” see here. He feels likewise about Flickr. “It’s definitely a great way to learn Either way, why does Patterson prefer to shoot landscapes — or in when other photographers offer their thoughts on your images,” his case, seascapes — over other kinds of subject matter? “Because he says. “And I’ve found that many photographers are willing it is a meditative, relaxing experience,” says the Santa Cruz, to share tips and processing techniques.” Other Flickr photog- California-based photographer. “Tuning in to the details of a scene raphers Patterson admires include Chip Phillips and Stephen such as the angle of the light, the movement of the waves and the Oachs, as well as Patrick Smith, whose work we featured in our balance of elements is much more rewarding for me.” “12 Flickr Superstars” issue (May/June ’09). What goes around (2) STEFANOVIC ©KATARINA (2); OPPOSITE: : ©JIM PATTERSON Patterson credits both Flickr and digital photography for his comes around. AP LEFT

AMERICANPHOTOMAG.COM | NOV/DEC 2009 FLICKR CREATIVE SHOWCASE 27

OVER HILL, OVER DALE The dream world of Katarina Stefanović

An engineer by day, Katarina Stefanović was seduced by photography’s charms when she spruced up her family home with prints of her travel pictures. “I discovered through visitors’ reactions that the photos could be more than decorations on a wall,” says Stefanović. “So I got myself busy and made a portfolio.” She showed the portfolio to photographer friends, who encouraged her to exhibit the work. But she needed more “affirmation,” so Stefanović joined Flickr. And she soon took on a major photographic project: permanently installing her prints in a hospital in her native Belgrade. “I had to gather as much courage as I could to do it,” she says. Stefanović’s photographs seem the perfect remedy for a hospital environment. Their intense color and extraordinary landforms transport the viewer to a dreamy, beautiful place. “I want the viewer to go into that world and explore, to feel that he or she is on the spot where the picture was taken,” she says. In fact, that world is often quite close to home, with many of her photographs made in the nearby Pannonian Plain. “You could live your whole life within a 50-kilometer ring around Belgrade and always find landscapes worth photographing,” she says. Unlike most of her fellow Flickr-ites, Stefanović still shoots film, though she scans it and uses image- editing tools to manipulate shapes and colors. “I remain faithful to my old 35mm SLR,” she says. And film’s more-deliberative demands seem suited to her attitude about photography. “I take pictures when I feel like it,” she says, “out of pure pleasure.” AP

The idyllic, fantastic quality of Katarina Stefanović’s Serbian landscapes is at odds with the memory of recent war in the region. “Over the Mountains and the Sea,” above right, was shot in southern Serbia. “Blonde,” below right, was taken north of Belgrade in the Pannonian Plain, where an ancient sea sculpted wavelike contours into the land. Both images were made on Kodacolor 200 ﬁlm with a Nikon F80.

CLOSE-UP KATARINA STEFANOVIĆ Hometown: Belgrade, Serbia Camera: Nikon F80 (Nikon N80 in U.S.) Flickr member since: 2007 Flickr page: ﬂickr.com/photos/jup3nep

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STILL WATERS In Joel Tjintjelaar’s austere black and whites, eeriness runs deep

Like many of Flickr’s most talented members, Joel Tjintjelaar didn’t take his photography seriously until recently. “I always admired black and white, but I only did some happy snapping,” says the Dutch information-technology project manager. “Then I thought, ‘Hey, why not produce these beautiful images myself?’” That makes Tjintjelaar’s work sound easier than it is. “The ﬁrst time a subject catches my attention, it’s rare that I can shoot it the way I see it in my mind,” he explains. “So I go back again and again until everything is perfect — light, weather, the tides. I’ve shot a few piers and breakwaters along the Dutch coast maybe a thousand times, from all angles and in all weather conditions, in broad daylight and in the dark of night, at high tide and low tide. And still I think I’m missing that one special shot that captures the essence of that pier. My wife hates it because I take her with me when she’d rather go shopping.” That’s understandable, given the photographer’s love of long exposures. “A long-exposure shoot of mine usually takes two or three hours,” he says. “If I’m really lucky, I’ll get ﬁve good frames.” Despite that attention to capture, Tjintjelaar does plenty of image editing to make the world look the way he sees it. “It’s mostly just heavy dodging and burning, but it amounts to 80 percent of the time I put into a photograph,” he says. “Like Ansel Adams said, dodging and burning are steps to take care of mistakes God made in establishing tonal relationships. But steps sometimes turn out to be big leaps.” AP

In Joel Tjintjelaar’s study of wharfposts, above right, a long 152-second exposure (made possible by a neutral density ﬁlter) stilled the waters of the turbulent North Sea. Likewise, his surreal pier, right, was shot in broad daylight with strong wind, but a 30-second exposure burnished the waves to an icy calm. Both images were converted to black and white with Nik Silver Efex Pro, and required much burning and dodging in Photoshop CS4 with a Wacom Bamboo pen tablet.

CLOSE-UP JOEL TJINTJELAAR Hometown: Bergen op Zoom, Holland Camera: Canon EOS 400D (Rebel XTi in U.S.) Flickr member since: 2005 Website: jtjintjelaar.redbubble.com ©JOEL TJINTJELAAR (2)

AMERICANPHOTOMAG.COM | NOV/DEC 2009 IkXiYh_X[jej^[ FefFêje$YecD[mib[jj[h WdZ:_iYel[hj^[MehbZe\Fêje]hWfô TWO FOR THE SHOW How photographer Markus Klinko and art director Indrani collaborated their way to a hot new Bravo network reality series — including an episode in which they shoot supermodel Naomi Campbell for the cover of American Photo BY LINDSAY SAKRAIDA Markus Klinko and Indrani shot this striking image (as well as those on the following two pages) of supermodel Naomi Campbell exclusively for 33 American Photo as part of their upcoming Bravo reality TV series. Their set was the parking lot behind a London studio. Stylist G.K. Reid created the superhero look the photographers wanted by dressing Campbell in fashions by Gareth Pugh, Thierry Mugler and Alejandro Inglemo, among other designers. O & INDRANI, STYLING BY G.K. REID BY O & INDRANI, STYLING ©MARKUS KLINK the look of a superhero. The idea was to play up her personal strength. “She’s a strong woman,” says Indrani. “People criticize her because she has expressed that strength in certain ways in the past.” Indrani is referring to Campbell’s habitual appearances in gossip columns. “You read all this stuff about her and none of it happened,” says Klinko. “Whatever people say about her, she didn’t come to our shoot as a celebrity; she came to it as a model. And she modeled and was very cooperative.” Indrani is quick to point out, however, that Campbell had some “strong opinions” about her wardrobe. “I must have missed that,” Klinko admits. The Bravo show isn’t the only big news from Klinko and Indrani. In late August 2009, Klinko, for Markus Klinko Photography Inc., and Indrani, for Double Exposure Studios LLC, filed for Chapter 11 bankruptcy protection from All Points Capital Corporation. (See sidebar on the next page for details.) These latest events in their shared story — the reality show and the financial troubles — tell us something about Klinko and Indrani, but a holistic look at their career paints a fuller picture. Klinko and Indrani are living proof of the mutability of talent. As unfair as it might seem, people who do one thing very well often do another with equal aplomb. Indeed, both of them started professional life at the top of their respective fields before making their mark in the world of photography. Rewind to the early 1990s, when Swiss-born Klinko was a world- renowned concert harpist based in New York City. Despite a recording contract that most classical musicians would die for, Klinko decided in 1994 to give up the harp and take up photography — something he loved but knew little about. Ignoring predictions that he would regret the decision, Klinko sold all his harps and used the money to buy photography equipment. Two weeks later, he got a job taking test shots for a modeling agency. That’s when he met Indrani. Indrani’s one-word moniker points to her success as a working model. A devoted amateur photographer in her own right, Indrani would often strike up shoptalk with the people photographing her. That’s how she and Klinko made a connection that has endured for 15 years. “Indrani showed up,” Klinko likes to say, “and she never left.” The two began a relationship, both romantic and professional, and they discovered their alloyed style while shooting editorial assign-

his coming winter, two of photography’s biggest talents will be spending as much time in front of the camera as they do IN THE BAG behind it. Markus Klinko and Indrani — the most famous two- THE GEAR BEHIND MARKUS KLINKO & INDRANI’S some in fashion and celebrity photography — will give televi- COVER SHOOT FOR AMERICAN PHOTO sion viewers an inside look at their sometimes tempestuous and highly prolific working relationship in a new Bravo network reality series, tentatively titled Double Exposure. ƭɥɥMamiya RZ67 Pro IID 6x7cm medium-format SLR with a Consider these photos of Naomi Campbell a sneak peek. Mamiya 65mm f/4 wide-angle lens Production hasn’t wrapped yet, but the word is that an episode might be devoted to their session with Campbell. ƭɥɥLeaf Aptus-II 10 digital back for the Mamiya, which produces t“We had this great studio booked in London, but we decided to do 56-megapixel images for 16-bit file sizes of up to 345MB the entire shoot in the tiny parking lot behind it,” says Indrani, who ƭɥ6.ɥƑƦƐƎƎɥ6 33ǈ2#!.-"ɥBroncolor Scoro power packs; flash heads functions both as creative director and postproduction specialist. “I were fitted with the Broncolor Pulso-Flooter, a Fresnel-type hous- wanted a look that was a little gritty and raw, and I found some amazing producing broad, stage-style lighting ing surfaces there, like gates with a wonderful sheen and a wooden fence we were able to light from behind to make the cracks glow.” ƭɥɥBroncolor Para 330 FB, a parabolic reflector with a diameter of Though the location gave the duo the atmosphere they were look- -# 1+8ɥƏƎɥ$##3Ʀɥ42#"ɥ3.ɥ+(%'3ɥ3'#ɥ$#-!#ɥ ,/ #++ɥ(2ɥ+# -(-%ɥ % (-23ɥ ing for, it presented particular challenges — mainly drivers hoping to from behind so that beams pour through its cracks use the parking lot for its intended purpose. “There were a lot of comi- cal incidents with people trying to park,” Klinko recalls. “And we were ƭɥ 23ɥ 43ɥ-.3ɥ+# 23Ʀɥ +(-*.ƹ2ɥcustomized two-handed grip for the cam- like, ‘Don’t you realize this is Naomi Campbell and that we’re not going era (see page 43), with handles shaped specifically for his hands and to move her just because you want to park your car?’” trimmed in exotic tropical materials The photographers used costumes and staging to give Campbell 35 ments for smaller, indie fashion magazines. They soon signed on with Randal Walker Management in Paris and inked a commercial contract with a small L’Oréal brand to shoot a cosmetics ad campaign. THE SCOOP: Their career gained serious momentum in 2000 when the photographers created an editorial portfolio for the The London Sunday Times. MONEY TROUBLES Shortly after that, they were approached by supermodel Iman, who wanted them to shoot a book cover, and her husband, David Bowie, who wanted cover art for his album Heathen. Today, Klinko and Indrani call Iman and Bowie their creative godmother and godfather. Photography at the level practiced by Klinko “What was really exciting was that each of them had been following and Indrani is big business, and it’s common our work for awhile,” says Indrani. “And they came to us and said, ‘We practice for a business to carry debt in order to love what you’re doing, but we want you to do something completely operate. But ultimately, the duo’s debt became a different.’ We learned from those early mentors to push ourselves to 41"#-ɥ3'#8ɥ!.4+"ɥ-.ɥ+.-%#1ɥ, - %#ƥɥ'(2ɥ24,- do things we hadn’t done or seen before,” says Indrani. mer, Klinko and Indrani filed for Chapter 11 bank- In addition to good mentoring, Klinko and Indrani’s bril- 14/3!8ɥ/1.3#!3(.-ɥ$1.,ɥ3'#(1ɥ!1#"(3.1Ʀɥ++ɥ.(-32ɥ liant career owes much to their well-tuned partnership, which in recent years is purely professional. Klinko handles Capital Corporation. Here’s the back story: the camera while Indrani acts as the art director for all their shoots, though they collaborate in every aspect of the process. ƭɥɥɥ/4124#"ɥ +(-*.ƻ2ɥ!.,/ -8Ʀɥ 1*42ɥ Indrani is also in charge of postproduction, an important part of their Klinko Photography Inc., Cyborg Imaging Cor- work. Early years saw the duo (now handled by Opus Reps) pushing poration and Klinko himself for unpaid debt in digital capabilities to the limit, often putting their subjects in fantas- 4+8ɥƐƎƎƗƦɥ!+ (,(-%ɥ +(-*.ɥ' "ɥ$ (+#"ɥ3.ɥ, *#ɥ tical, computer-generated settings. “We’re always fascinated with the / 8,#-32ɥ"4#ƥɥ -ɥ 8ɥƐƎƎƘƦɥ)4"%,#-3ɥ6 2ɥ line between fantasy and reality,” Indrani explains, “and how our sub- extended against the three in the amount of jects themselves are able to walk it. Celebrities exist in fantasy worlds ǬƑƑƕƦƎƖƎƥƗƏƦɥ6(3'ɥ ""#"ɥ(-3#1#23ƥɥɥ for most people, and we find that world very interesting.” Though some photographers have made their mark humanizing ƭɥ8ɥ3'#ɥ #%(--(-%ɥ.$ɥƐƎƎƙƦɥ +(-*.ɥ23(++ɥ' "ɥ larger-than-life personalities, Klinko and Indrani bolster the glamour, mystery and awe inspired by celebrity culture. “We’re not trying not paid the debt. Klinko allegedly testi- to bring things down to earth,” says Klinko. “I think we’re looking for fied that none of the defendants had assets something in between fantasy and reality.” AP 24ƌ!(#-3ɥ3.ɥ2 3(2$8ɥ)4"%,#-3ƥɥ -ɥ1#2/.-2#Ʀɥ ɥƊ+#"ɥ -.3'#1ɥ+ 624(3Ʀɥ3'(2ɥ3(,#ɥ(-!+4"- ing Indrani and her fledgling company Dou- +#ɥ7/.241#ɥ34"(.2ɥ ƥɥɥ!+ (,#"ɥ in this second filing that Double Exposure was created as an alter-ego company with the sole purpose of hiding MKP’s assets by effec- tively replacing its operations and absorbing its clientele and work.

ƭɥɥ3'42ɥ 2*#"ɥ$.1ɥ3'#ɥ!.413ɥ3.ɥ!.-2("#1ɥ MKP, Cyborg, Indrani and Double Exposure each as “alter egos” of each other’s compa- -(#2Ʀɥ6'(!'ɥ6.4+"ɥ, *#ɥ3'#,ɥ).(-3+8ɥ1#2/.-- 2( +#ɥ$.1ɥ3'#ɥ)4"%,#-3ɥ -"ɥ(-3#1#23ƥɥ

ƭɥ # -6'(+#Ʀɥ +(-*.Ʀɥ$.1ɥ 1*42ɥ +(-*.ɥ'.- tography Inc., and Indrani, for Double Expo- sure Studios LLC, ﬁled for bankruptcy protection. Double Exposure estimated liabilities of ǬƏƎƎƦƎƎƎɥ3.ɥǬƕƎƎƦƎƎƎƦɥ6'(+#ɥ ɥ#23(, 3#"ɥ ǬƏɥ,(++(.-ɥ3.ɥǬƏƎɥ,(++(.-ƥɥ.3'ɥ 1#ɥ#23(, 3#"ɥ 3.ɥ' 5#ɥ 22#32ɥ.$ɥ+#22ɥ3' -ɥǬƕƎƦƎƎƎƥɥ

ƭɥ#2/(3#ɥ3'#2#ɥ31.4 +#2Ʀɥ +(-*.ɥ' 2ɥ1#/.13#"+8ɥ stated on his Facebook page that “our atten- O & INDRANI (2); STYLING BY G.K. REID BY O & INDRANI (2); STYLING tion remains on our photography and on continuing to organize our ﬁnances.” ©MARKUS KLINK 36 O & INDRANI (3) ©MARKUS KLINK

THE LIFE AND CAREER OF KLINKO & INDRANI

-ɥ.1.-3.Ʀɥ -"1 -(ɥ 482ɥ'#1ɥ Klinko signs a recording deal 3 Indrani creates the Shakti Klinko wins the Grand ﬁrst professional camera, 6(3'ɥ, ).1ɥ+ #+ɥ ɥ(-ɥ 1(2ɥ Empowerment Education Prix du Disque for his a 35mm Nikon F5, and as a solo classical harpist. foundation to establish schools, recording Markus Klinko: 199 1989 1990 shoots photographs for 6.,#-ƹ2ɥ+(3#1 !8ɥ!+ 22#2Ʀɥ 1994 Solistes de l’Orchestre de herself while traveling vocational education and village l’Opera de Paris Bastille. the world as a model. microﬁnancing in her native India. 37

ɥ/.131 (3ɥ.$ɥMary J. Blige (opposite) exempliﬁes the %+.228ɥ+..*ɥ.$ɥ +(-*.ɥ -"ɥ -"1 -(ƹ2ɥ%+ ,.41Ʀɥ 2ɥ".#2ɥ3'#ɥ ƶ 3ƹ2ɥ(,/.13 -3ɥ3.ɥ - +89#ɥ now-iconic photo of a crystalline Beyoncé Knowles ǒ #+.6ɥ+#$3Ǔƥɥ'#ɥ(, %#ɥ6 2ɥ42#"ɥ$.1ɥ3'#ɥ!.5#1ɥ.$ɥ ɥɥɥɥɥɥɥɥ6'.ɥ8.4ƹ1#ɥ318(-%ɥ3.ɥ1# !'ɥ #8.-!ɥ -.6+#2ƹ2ɥƊ123ɥ2.+.ɥ + 4,Ʀɥ3'#ɥ,4+3(/+ 3(-4,ɥDan- gerously in Loveƥɥ.ɥ +(-%ɥ6 2ɥ-##"#"ɥ$.1ɥ3'#ɥ"4.ƹ2ɥ/.131 (3ɥ with the image.” — Markus Klinko of David Bowie (below), in which eyes make the man.

Klinko ends his music career, selling all his harps 5 Indrani models for French Vogue, Glamour and other 4 Klinko and Indrani move to Miami for and using the money to buy camera and lighting 3'1##ɥ,.-3'2ɥ3.ɥ".ɥ3'#(1ɥƊ123ɥ, ).1ɥ fashion magazines while in Paris, and she and Klinko equipment. He practices shooting with a mannequin location shoots for a local fashion have their ﬁrst serious photo editorial and advertis- 199 199 in his bedroom and does his ﬁrst live test with 1994 magazine, working without assistants. ing experiences, publishing work in Femme, Scene, model Padma Lakshmi. Klinko meets Indrani at a Spirit and Photographie , % 9(-#2ƥɥ'#8ɥ +2.ɥ #%(-ɥ test shoot he is doing for a modeling agency, and experimenting with digital postproduction, and Indrani soon becomes his art director and girlfriend. Indrani assumes the role of retouching director. 38

THE LIFE AND CAREER OF KLINKO & INDRANI

Indrani attends Princeton University '#ɥ/'.3.%1 /'#12ɥ,##3ɥ$ 2'(.-ɥ#"(3.1ɥ 2 #++ ɥ+.6Ʀɥ Indrani graduates magna cum laude from but continues to work full time with who commissions them to do their ﬁrst cover, for The 1(-!#3.-ɥ6(3'ɥ ɥƥƥɥ(-ɥ-3'1./.+.%8ƥɥ , -ɥ Klinko, who lives in New York City. London Sunday Timesƥɥ'#8ɥ +2.ɥ".ɥ ɥ1#%4+ 1ɥ$# 341#ɥ asks the couple to shoot the cover for I Am

1996 Wanting more control over postpro- in British GQɥ! ++#"ɥ(-4/ɥƐƎƎƎƦɥ$.1ɥ6'(!'ɥ3'#8ɥ2'..3ɥ 2001 2000 Iman, a book of images, essays and interviews duction, Indrani quickly masters the -4"#2ɥ.$ɥ$ ,.42ɥ6.,#-ɥ24!'ɥ 2ɥ .++8ɥ(,2ɥ -"ɥ (+ƹɥ 2411.4-"(-%ɥ3'#ɥ24/#1,."#+ƹ2ɥ! 1##1ƥɥ'#8ɥ 3#!'-.+.%8ɥ -"ɥ #!.,#2ɥ3'#ɥ"4.ƹ2ɥ Kim; they also begin to work on worldwide advertis- +2.ɥ2'..3ɥ3'#ɥ!.5#1ɥ$.1ɥ 5("ɥ.6(#ƹ2ɥ + 4,ɥ lead digital artist. ing campaigns for clients such as diamond.com. Heathen, their ﬁrst use of black and white. 39

."8ɥ 13ɥ6 2ɥ3'#ɥ231 (%'3$.16 1"ɥ$.!42ɥ(-ɥ +(-*.ɥ -"ɥ -"1 -(ƹ2ɥ “Weƹre fascinated by how our portrait of hip-hop artist and producer Pharrell Williams (opposite, top), while elaborate shots of musicians Kelis and Janet ɥɥɥɥɥɥɥɥ24 )#!32ɥ 1#ɥ +#ɥ3.ɥ6 +*ɥ3'#ɥ+(-# Jackson (opposite), and actors Will Smith and Jada Pinkett Smithɥǒ #+.6Ǔɥ'(%'+(%'3ɥ3'#ɥ"4.ƹ2ɥƋ (1ɥ$.1ɥ"1 , ƥɥ'#ɥ(, %#ɥ.$ɥ — Indrani singer Kelis (of “Milkshake” fame) was largely enhanced in post- between fantasy and reality.” production, with Indrani digitally adding the vibrant cityscape. O & INDRANI (4) ©MARKUS KLINK

3 '#ɥ"4.ɥ/'.3.%1 /'2ɥ3'#ɥ!.5#1ɥ Klinko and Indrani shoot Klinko and Indrani have their Klinko, for Markus Klinko Pho- $.1ɥ#8.-!ƹ2ɥƊ123ɥ2.+.ɥ + 4,Ʀɥ 3'#ɥ!.5#1ɥ.$ɥ 1( 'ɥ 1#8ƹ2ɥ Ɗ123ɥ, ).1ɥ#7'( (3(.-ƦɥIcons, tography Inc., and Indrani, for Dangerously in Loveƥɥ'#8ɥ #%(-ɥ comeback album, The opening at the Paciﬁc Design Double Exposure Studios LLC, 200

2005 Emancipation of Mimi. 2009 ɥ1#+ 3(.-2'(/ɥ6(3'ɥ ƹ1# +ɥ 1(2Ʀɥ 2009 Center during the Month of ﬁle for Chapter 11 bankruptcy going on to shoot dozens of their Demand for their celebrity '.3.%1 /'8ɥ .2ɥ-%#+#2ƥɥ protection from their creditor, campaigns. portraiture continues to grow. Production begins on their ++ɥ.(-32ɥ /(3 +ɥ.1/.1 3(.-ƥ Bravo network television show.

“I started listening more and more to Indrani for ɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥɥ.-#ɥ2(,/+#ɥ1# 2.-ƨɥ'#ƹ2ɥ +6 82ɥ1(%'3ƥƷɥ— Markus Klinko

Klinko and Indrani recently shot a provocative ad for Hello Kitty (opposite) with the always-controversial Lady Gagaƥɥ'#ɥ/'.3.ƹ2ɥ3.-%4#ǈ(-ǈ!'##*ɥ6(3ɥ.6#2ɥ much to styling: playful makeup and hair with a

O & INDRANI (3); LEFT: STYLING BY G.K. REID BY STYLING O & INDRANI (3); LEFT: 231 3#%(! ++8ɥ/+ !#"ɥ*(33#-ɥ/412#ƥɥ3'#1ɥ231.-%ǈ 6(++#"ɥ24 )#!32ɥ' 5#ɥ(-!+4"#"ɥ2(-%#12ɥMariah Carey (above left) and Britney Spears (above right). ©MARKUS KLINK 42

'#ɥ/'.3.%1 /'#12ɥ' 5#ɥ, (-ǈ tained a robust working relationship with supermodel Iman (left) ever since she commissioned them to photograph the cover for her book I Am Iman (-ɥƐƎƎƏƥɥKlinko and Indrani (right) shot this self-portrait $.1ɥ ɥƐƎƎƘɥ!.5#1ɥ.$ɥMiami magazine, which featured their Iconsɥ2'.6ɥ 3ɥ13ɥ 2#+ɥ ( ,(ƥ

COUPLING: Q&A WITH KLINKO AND INDRANI

Working in close creative quarters with a signiﬁcant other for eight years would be difficult for most people. Continuing that working relationship long after the romantic one has ended would be next to impossible. Fifteen years after Klinko met Indrani, the two explain how they’ve beaten the odds.

AMERICAN PHOTO: Markus, when you first met Indrani and she saw learned to use our opposite qualities to help the process. your photographs, she immediately started telling you what she AP: What specific things do each of you bring to the table? would have done differently. How did you handle that? MK: When you do fashion photography, you work with many beautiful MARKUS KLINKO: She was so cute, she could have said anything to %(1+2ƥɥ-"ɥ.-#ɥ.$ɥ3'#ɥ!' ++#-%#2ɥ$.1ɥ ɥ231 (%'3ɥ, -ɥ(2ɥ3.ɥ1#,#, #1ɥ3' 3ɥ ,#ƥɥ'#ɥ3'(-%ɥ(2Ʀɥ/'.3.%1 /'#12ɥ' 5#ɥ ɥ+.3ɥ.$ɥ#%.ƥɥ'#8ƹ1#ɥ+(*#ɥ +# "ɥ 6'(+#ɥ8.4ƹ1#ɥ 331 !3#"ɥ3.ɥ3'#ɥ'.3ɥ%(1+Ʀɥ3'#ɥ 4"(#-!#ɥ6'.ɥ6(++ɥ4+3(, 3#+8ɥ guitarists in a band. But I started listening more and more to Indrani for +..*ɥ 3ɥ3'#2#ɥ/(!341#2ɥ(2ɥ1 1#+8ɥ.3'#1ɥ231 (%'3ɥ,#-ƥɥ' 3ƹ2ɥ.-#ɥ.$ɥ3'#ɥ .-#ɥ2(,/+#ɥ1# 2.-ƨɥ'#ƹ2ɥ +6 82ɥ1(%'3ƥɥ#ɥ6(++ɥ!+ 2'ɥ2.,#3(,#2Ʀɥ 43ɥ ,.23ɥ(,/.13 -3ɥ3'(-%2ɥ ƹ5#ɥ+# 1-#"ɥ$1.,ɥ -"1 -(ƨɥ.-ƹ3ɥ+..*ɥ 3ɥ(3ɥ$1.,ɥ 3'#8ƹ1#ɥ +6 82ɥ'# +3'8ɥ!+ 2'#2ƥ an entirely male, heterosexual perspective. INDRANI:ɥ#ɥ!+ 2'ɥ 3ɥ3(,#2ɥ #! 42#ɥ6#ƹ1#ɥ .3'ɥ/ 22(.- 3#ƥɥ#ɥ31423ɥ I: ɥ318ɥ3.ɥ!1# 3#ɥ ɥ2#-2#ɥ.$ɥ/41/.2#ɥ$.1ɥ3'#ɥ(, %#Ʀɥ2.,#3'(-%ɥ3' 3ƹ2ɥ -"ɥ1#2/#!3ɥ# !'ɥ.3'#1ɥ#-.1,.42+8Ʀɥ#-.4%'ɥ3' 3ɥ6#ƹ1#ɥ +#ɥ3.ɥ3#++ɥ# !'ɥ ,.1#ɥ(,/.13 -3ɥ3' -ɥ)423ɥ ɥ%(1+ɥ+..*(-%ɥ/1#338ɥƫ .3'#1ɥ6' 3ɥ6#ɥ1# ++8ɥ3'(-*ƥɥ-"ɥ6#ƹ1#ɥ-.3ɥ +6 82ɥƋ 33#1(-%Ʃɥ6#ɥ2 8ɥ(3ɥ MK: ɥ' 5#ɥ -ɥ -#!".3#ɥ$.1ɥ3'(2ɥƫ as we see it. I: Markus, can you let me finish? What matters to me is to find the AP: Do you think your clashes actually make your work better? 04 +(38ɥ (-ɥ 3'#ɥ 24 )#!3ɥ 3' 3ɥ , *#2ɥ (3ɥ#731 .1"(- 18ɥ .1ɥ 4-(04#ƥɥ ' 3ƹ2ɥ I: 3ƹ2ɥ/ 13ɥ.$ɥ3'#ɥ!1# 3(5#ɥ/1.!#22ƥ what I get excited about. O & INDRANI (2) MK: '#ɥ(-(3( +ɥ! 42#ɥ.$ɥ!.-Ƌ(!3ɥ424 ++8ɥ' 2ɥ3.ɥ".ɥ6(3'ɥ"(Ɖ#1#-!#2ɥ(-ɥ MK: .4ɥ*-.6Ʀɥ ɥ6(++ɥ.$3#-ɥ2 8Ʀɥƴ ɥ+(*#ɥ3'(2ɥ(, %#ƥƵɥ-"ɥ -"1 -(ɥ6(++ɥ2 8Ʀɥ , +#ɥ -"ɥ$#, +#ɥ.43+..*ƥɥ43ɥ3' 3ƹ2ɥ/#1' /2ɥ6'8ɥ3'#ɥ(, %#2ɥ #!.,#ɥ ƴ#++Ʀɥ6' 3ɥ(2ɥ(3ɥ3' 3ɥ8.4ɥ+(*#ɥ .43ɥ(3ƲƵɥ-"ɥ,8ɥ -26#1ɥ6(++ɥ #Ʀɥƴ#++Ʀɥ iconic — because we have two dimensions that first clash and then ɥ)423ɥ+(*#ɥ(3ƥƵɥ' 3ƹ2ɥ -ɥ#%.3(23(! +ɥ/#12/#!3(5#Ʀɥ -"ɥ2'#ɥ/.(-32ɥ.43ɥ3' 3ɥ come together with a larger point of view. (3ɥ1# ++8ɥ".#2-ƹ3ɥ, 33#1ɥ6' 3ɥ8.4ɥ8.412#+$ɥ+(*#ƥɥ 3ƹ2ɥ(,/.13 -3ɥ3.ɥ - +89#ɥ

I: ' 3ƹ2ɥ1# ++8ɥ(,/.13 -3ɥ3.ɥ42Ʀɥ3'#ɥ,4+3(/+(!(38ɥ.$ɥ/#12/#!3(5#2ƥɥ#ƹ5#ɥ 6'.ɥ8.4ƹ1#ɥ318(-%ɥ3.ɥ1# !'ɥ6(3'ɥ3'#ɥ(, %#ƥ ©MARKUS KLINK

44 1967

JIMI HENDRIX PHOTOGRAPHER: ED CARAEFF MONTEREY, CALIFORNIA

At the tender age of 17, Ed Caraeff managed to get a coveted chair by the stage at the now-legendary Monterey International Pop Festival. A German photographer advised him to “save some ﬁlm for this Jimi Hendrix chap.” When Caraeff’s roll of 36-exposure Tri-X had just a few frames left on it, a blazing-hot Hendrix set his guitar on ﬁre — and the rest is rock-and-roll history.

A landmark exhibition on the history of rock-and-roll photography reveals why musicians need photographers

BY JACK CRAGER ©ED CARAEFF (4) 46

rom its birth, rock and roll has reached its ers — the book is a less-structured mix of music imagery rang- fans through sight as well as sound. Pho- ing from iconic wallpaper to little-known gems, accompanied tographs have captured and conveyed the by stories about the photos and their creators. music’s rebellious energy and changeable While some rock photographers have become celebrities F moods. Stars ranging from Elvis Presley themselves — Annie Leibovitz, Mark Seliger, Linda McCart- (photogenic catalyst) to Amy Winehouse (con- ney — Buckland found many whose work is more famous than temporary renegade) have collaborated with they themselves are. “Some of these people, whose pictures photographers to burnish their own images, have been seen by millions, are next to anonymous,” she says. whether for magazines, album covers, posters or books. Together “I included a lot who probably haven’t been heard of, but they’ve they have, in turn, shaped the passionate and defiant face of rock taken amazing pictures. The time has come for them to have and roll itself. their work acknowledged.” Such underrecognized photogra- “The music needs images to communicate its message of free- phers include Pennie Smith, Henry Diltz and Roberta Bayley. dom and personal reinvention,” says photo historian Gail Buck- Indeed, perhaps more than in other kinds of photography, the land, who has authored and collaborated on many books about quality and style of rock-and-roll photographs are easily over- photography. “After the music stops, the still image remains, a shadowed by the celebrity and instant recognizability of their conduit for the electricity that is rock and roll.” subjects. Who Shot Rock & Roll demonstrates a clear curatorial Buckland’s most recent project explores this symbiotic, sensitivity to that issue. “The book and exhibition have many of often highly creative relationship. What started as a book con- the greatest musicians of our time,” Buckland says, “but I never cept has grown into a major exhibition, Who Shot Rock & Roll: A just went for who was in the picture. It had to be a great photo as Photographic History, 1955-Present, that Buckland herself well.” Yet this photographic greatness has often resulted from curated. The show’s eponymous catalog is an impressive tome highly collaborative efforts — and friendships — between image- — more than 300 pages — just out from Knopf. Who Shot Rock makers and musicians. (See Q&A, page 55.) is appearing at the Brooklyn Museum from Oct. 30 through Jan. All that said, the photography draws its essential potency 31, 2010, then will travel nationwide through 2011. It is the first from the music. “Still photography is a brilliant vehicle for that major museum exhibition on rock and roll in which photogra- moment of ecstasy in the crowd as people watch their idols,” phers take center stage. Buckland says. “Photographs have communicated an enormous “Rock and roll has been documented by people on the front amount of the greatness of rock and roll, whether it’s a live per- lines,” Buckland says. “I wanted to step back and ask, ‘What are formance by Jimi Hendrix, Led Zeppelin or the Clash, or a por- the great photographs in rock-and-roll history? Which ones trait of Kurt Cobain, the Beatles or Bob Dylan — or pictures of stand the test of time? Who are the people who shot the iconic the crowds who love them.” album covers, the posters in teenagers’ bedrooms, the classic Buckland’s book and show aim to bring it all back home, as a images, and what are their stories?’” legitimate, recognized and influential part of photo history. “I Spanning such a vast subject is no small feat. While the exhibi- hope this helps bring a whole new group of photographers into tion is organized into distinct sections — rare behind-the-scenes the pantheon,” she says. “And not just because of who they pho- ©MAX VADUKUL OPPOSITE: FEINSTEIN/WWW.BARRYFEINSTEINPHOTOGRAPHY.COM; : ©BARRY

photos, live shots, portraits, conceptual images and album cov- tographed, but because they are great photographers.” AP LEFT 47

1966 BOB DYLAN PHOTOGRAPHER: BARRY FEINSTEIN LONDON, ENGLAND

A personal friend of Dylan, the photographer traveled with the already-famous musician on his 2007 1966 tour of England. Feinstein captured this scene of clamoring fans AMY WINEHOUSE from inside Dylan’s limousine as it PHOTOGRAPHER: MAX VADUKUL made its way to a tour-closing show MIAMI, FLORIDA at London’s Royal Albert Hall. Photographers can make strange bed- fellows. On the day Winehouse married Blake Fielder-Civil, Vadukul shot this seductive portrait for a Rolling Stone cover story called “The Diva & Her Demons,” which chronicled the private life of Britain's hottest R&B star — and portended the wild turn it would take. 48

The music needs images to communicate its message of freedom and personal reinvention.”

1967 FRANK ZAPPA PHOTOGRAPHER: JERRY SCHATZBERG NEW YORK CITY 1999 Schatzberg shot the cover art for Weˇre Only in It for the Money, a 1968 album by the MICHAEL JACKSON Mothers of Invention, parodying the cover PHOTOGRAPHER: ALBERT WATSON of the BeatlesˇSgt. Pepperˇs Lonely Hearts NEW YORK CITY Club Band. This outtake, a straight-on portrait of bandleader Frank Zappa, nonetheless Watson created this collage for Michael reﬂected the groupˇs madcap sensibility. Jacksonˇs Invincible album, though the image here (chosen for printing) differs slightly from the one that appeared on the album. Highly complex, it was a true collaboration between the King of Pop and the master studio photographer.

BEHIND THE LENS

ƭɥƶ#ɥ42#"ɥ,4+3(/+#ɥ,(11.12ɥ.-ɥ3'#ɥ2#3ɥ3.ɥ! /- ture Michael’s energy and the variety of his " -!#ɥ,.5#2ƦƷɥ 32.-ɥ1#! ++2ƥɥƶ2ɥ2..-ɥ 2 ɥ I saw the contact sheet, I knew that the best approach was to put multiples atop one another, because it captured that energy even more.”

ƭɥƶ'#ɥ$4++ɥ(, %#ɥ(2ɥ#22#-3( ++8ɥ ɥ1#/1#2#-3 - tion of the original contact sheet,” Watson ""2ƥɥƶ'#1#ɥ6#1#ɥ.-+8ɥ#(%'3ɥ,(11.12Ʀɥ 43ɥ they created hundreds of images of Michael Jackson — or at least parts of him — when assembled like this.” OPPOSITE: ©JERRY SCHATZBERG; RIGHT: ©ALBERT WATSON 49 50

1985 TINA TURNER PHOTOGRAPHER: HENRY DILTZ LOS ANGELES, CALIFORNIA

Veteran rock photographer Diltz shot Turner onstage at L.A.’s Universal Amphitheater at a performance that was part of her solo comeback tour when she was in her mid-40s. An enlarged detail from a 35mm slide, this energetic portrait is the cover of Who Shot Rock & Roll.

1990 KURT COBAIN PHOTOGRAPHER: IAN TILTON SEATTLE, WASHINGTON

British photographer Tilton befriended the members of Nirvana when he photographed them in 1988. At this performance, after smashing a guitar into an ampliﬁer onstage, singer Cobain walked backstage and broke into tears — allowing his friend Tilton to capture the moment. OP TO BOTTOM: ©HENRY DILTZ; ©IAN TILTON/WWW.IANTILTON.NET; OPPOSITE: ©ESTATE OF DAVID GAHR OF DAVID ©ESTATE OPPOSITE: ©IAN TILTON/WWW.IANTILTON.NET; DILTZ; ©HENRY BOTTOM: OP TO T 51

1968 JANIS JOPLIN PHOTOGRAPHER: DAVID GAHR UNKNOWN LOCATION

Legendary rock lensman Gahr shot this image of Joplin in full-throated performance just two years before her death from a drug overdose. Two decades later, TIME magazine ran the picture on the cover of its retrospective issue, “1968: The Year That Shaped a Generation.” 52 200 London and Manchester, England, 2005. 2006; bottomrow, atRod Stewart concerts in 2005; middlerow, ataP. Diddyconcert inMiami, Top row, ataMarilynMansonconcert inItaly, themselves inthemanneroftheirmusicalidols. concerts toseekoutfans whodressed andstyled Over athree-year period,Mollisonattendedrock LONDON ANDMANCHESTER, ENGLAND MILAN, ITALY; MIAMI,FLORIDA; THE DISCIPLES PHO TOGRAPHER: 5-O6 JAMES MOLLISON BEHIND THELENS seamless backgr ƶ thing. T ƭɥ v t inter the peopleIw 3 ƭɥ wos andthrees, thenputthemtogether intheselongcomposites.” '#ɥ enues’ entrance, inviting fans toposefor himasthey arrived for . . '# 2 esting asagroup.’ shootingpeopleby SoIstarted themselves orin 8 ' ++(2.-ɥ ++(2.-ɥ ɥ .6 )423ɥ" hen Ithought,‘Hang on,theseindividualsare muchmore 2 ƥɥƶ#ɥ+# 1-#"ɥ 2 23(3 ( # " 3 as photographing.” - ɥ !'#"ɥ 4/ɥ ɥ, ̕ 3 ɥ ound thatmy assistantcould actuallyholdbehind 6.1 3. *ɥ *#2 %# 2 3 3. ɥ 2(-%+#2 '#1 ' ɥ ( 6.1 $ 3 ɥ (-" ɥ 234" *ɥ ƦƷɥ'#ɥ# (5(" 04(!*+8 (.ɥ 4 6(3'ɥ 1 +ɥ$ 7/+ (-2ƥɥƶ'# ƦƷɥ'#ɥ /.13 , # 1 #! ++2 2 ɥ

(-ɥ +#ɥ /.23 231. # 8 ƥɥƶ#ɥ!1 ɥ" ( ǈ " /1." - ̕ 2 3 ɥ ɥ - 2 # 3 # 1 4 8 ! ɥ 3(.- #"ɥ ɥ ɥ 3 -8 '#ɥ - ƥɥ

LEFT: ©JAMES MOLLISON AND HASTED HUNT,NYC (3); OPPOSITE: ©CENTRAL PRESS/GETTY IMAGES 53

1965 BEATLEMANIA PHOTOGRAPHER: CENTRAL PRESS LTD. After the music stops, LONDON, ENGLAND On the day the Beatles appeared before the still image remains, a conduit for Queen Elizabeth II to receive their Most Excellent Order of the British Empire the electricity that is rock and roll.” honors and medals, pandemonium broke out among their fans, shown here being held back by British constables in front of Buckingham Palace. The photograph was probably shot by Ted West or Roger Jackson, both of whom worked for the Central Press agency. 54

BEHIND THE LENS 1993 ƭɥƶ ɥ$#+3ɥ+(*#ɥ".(-%ɥ ɥ+ 8#1#"ɥ(, %#Ʀɥ2'..3(-%ɥ# !'ɥ.-#ɥ(-"(5("4 ++8ɥ and double-exposing them on the same piece of film,” says Vadukul. RADIOHEAD ƶ' 3ɥ8.4ƹ1#ɥ+..*(-%ɥ 3ɥ(2ɥ$1.,ɥ.-#ɥ-#% 3(5#Ʀɥ-.ɥ1#3.4!'(-%ƥƷɥ'#ɥ PHOTOGRAPHER: NITIN VADUKUL photographer shot with a Nikon F4 on Tri-X film, in natural light; a ST. LOUIS, MISSOURI black-velvet background minimized exposure of unoccupied parts of the frame so they could clearly record additional heads and faces. Vadukul photographed Radiohead for Rolling Stone magazine when the ƭɥƶ ɥ6.4+"ɥ14-ɥ.Ɖɥ ɥ6'.+#ɥ1.++ɥ.$ɥƊ+,ƦɥƑƖɥ$1 ,#2Ʀɥ.-ɥ.-#ɥ -"ɥ,#,- ber, then rewind the film back into the cassette and shoot the same band was really taking off, around the 1.++ɥ % (-ɥ.$ɥ3'#ɥ-#73ɥ%48ƦƷɥ "4*4+ɥ1#! ++2ƥɥƶ$ɥ!.412#Ʀɥ ɥ .1#ɥ(-ɥ,(-"ɥ time of their debut album, Pablo Honey. where I was positioning them relative to the unexposed areas of the Gail Buckland calls Vadukul’s image “the frame, to create a composition. It’s like a tapestry.” most perfect evocation of the dissonant, cerebral, complex music coming from these five individuals.” OPPOSITE: ©NITIN VADUKUL/WWW.NITINVADUKUL.COM; RIGHT: ©BOB GRUEN Times Square vendor, whichLennon from Gruen’s contact sheetbecame lier given Lennon acheapNew York New York” portrait. Gruenhadear- agreed towear. Frame number31A Gruen was asked tocreate a“very Lennon’s PHO City T-shirt he’d boughtfrom a SCHOOL OFR Q&A withcurator GailBuckland TOGRAPHER: big they would be.Butobviously, themore successful musi- bet AP: w imagination ofthew to choosefr cians ar pher — thatc or GAIL BUCKLAND: jects w in thispr AMERIC GB: e dowant pictures ofthem. Walls andBridgesalbum, During acover shootfor ations between —musiciansandphotographers artists ween photographers andmusicians. Absolutely Y s started withyoungs started groups notknowing orartists how JOHN LENNON ou seemtogo for shotsthatshow areal connection ere inthehistoryofrock androll? NEW YORK CITY e photographed more, and there are more pictures ome outofmutualrespect. Many ofthephotogra- oject chosenaccording tohow thesub- important AN PHOTO: To what extent were thephotographs an iconic image. 19 BOB GRUEN om. And often the peoplewhohaveom. Andoften caughtthe . Ithinkthere isatendernessinmany ofthese 74 Most oftheseimag orld —whoare ourgods, ouricons — OCK es represent collab- was friendswithCrosby, Stills andNash,they hungout the musicians.Butatonetime, it was amazing.Henry Diltz offered, andtheseare artists working together. AP: and the it becameaboutthepack w it becamealotlessinter w kind ofimag bet imag tog photographer, andthey would sitdown andfigure outwhat GB: ould say, “Okay, guys, let’s take apicture now! ould go outandshoot itandgive ittothe studio. Andlater ween photographers tochange? andmusiciansstarted ether. They’d go offcamping,andthenatsunriseDiltz Do y There was atimewhenthemusicianwould choosethe es, arealness. The pictures were notstolen,they were y would justpackage andrepackage. Andthat’s when ou think,atsomepoint,thattheatmosphere oftrust e they wanted for theiralbumcover, thenthey esting tothephotographers andto aging —thestudioshadaformula, ” 55 Even with the restrictions of cameraphone technology, there’s an astounding variety in the results. The four photographers featured here each have their own unique take. CHASE JARVIS: Widely recognized as a guru of the cameraphone, Jarvis has produced a book on his work and his cameraphone philosophy, titled with his mantra, The Best Camera Is the One That’s With You (row two: 3, 5; row three: 4; row four: 1, 2). SION FULLANA: A professional photographer living in NYC, Fullana, originally from Majorca, Spain, considers the iPhone ideal for his street photography, capturing raw reality as well as painterly images (row two: 2; row three: 1, 2; row four: 3; row five: 2). LISA WISEMAN: Fascinated with patterns, soft colors and details most people would miss, Wiseman’s work often has an abstract look. She refers to the cameraphone as “the new Polaroid” (row one: 2; row two: 1). GREG SCHMIGEL: Self-proclaimed amateur Schmigel, who shoots with his iPhone every day, has become well known for his street (he calls it “life”) photography via his website justwhatisee.com (row one: 1, 3; row two: 4; row three: 3, 5; row five: 1). 57

instant g ratiﬁcation The artistic potential of cameraphone photography gives new meaning to the phrase “hold the phone” BY JENNY ANDREWS, WITH ADDITIONAL REPORTING BY LAURENCE CHEN 58

riters are often given the sage advice that to keep the creative juices ﬂowing, they should write something, anything, every day. Artists should sketch. Nothing epic or earth shattering, just a few bits jotted down is enough to keep the synapses ﬁring. (Sometimes even a grocery list or doodling on a cocktail napkin will CLOSE-UP wsuffice.) For a surprising number of photographers, pro as well as amateur, the cameraphone, which emerged on the scene nine years CHASE JARVIS ago with the Sharp J-SH04 (Apple’s iPhone appeared more recently, Home base: Seattle, WA in 2007), has become the equivalent of a daily journal. Website: chasejarvis.com Photographer Chase Jarvis claims he even feels more inspired in his Cameraphone: iPhone 3GS professional work since he started shooting with his iPhone. Self-pro- Photos shown here: “Come here often?”: aban- claimed amateur Greg Schmigel, whose website has brought him noto- doned washer and dryer; “Orange Arrow”: Jarvis riety for his street (he prefers “life”) photography, some days might was shooting and looked down to see this arrow; shoot a handful of cameraphone images, other days hundreds. “It’s “Post Match Exodus”: sports fans exiting Qwest addictive,” says New York photographer Sion Fullana, who has logged stadium in Seattle; “Animal”: Muppet in a glass case; “Hotel Lobby”: hotel ceiling lights in Dubai. many miles and thousands of images on city streets, likening his iPhone skills to “a muscle that builds.” One commonality among all serious cameraphone shooters, and perhaps a large part of the addiction: 59

NEW APP FROM CHASE JARVIS At the end of the day, they are amazed by the images they get. This is why cameraphone photography has become more than just a visual notebook, a journalistic record of events or a way to send friends photos of your dog. While most photographers will claim that they simply fell into shooting with their cell phones, saying, “What the heck, I’ve always got my phone with me,” it has rapidly evolved into a legitimate tool for artistic expression and has even shown up in commercial outlets, such as Robert Clark’s commissioned book Image America, shot entirely with his cameraphone. Fullana landed a cover gig from Time Out New York for his urban iPhone images. Jarvis has just released his own book, titled with his mantra The Best Camera Is the One That’s With You (Peachpit), which blurs the lines between high and low art. In it, photos of seagulls and stained glass Working with Übermind for over a year, carry equal weight with a Muppet head and bacon frying. This illus- Jarvis developed the Best Camera iPhone trates something Jarvis revels in with his cameraphone — “the wanton app. It offers 14 filters (above: Candy), and freedom of creativity to just snap something.” San Francisco photog- images can be stacked and mixed in infinite rapher Lisa Wiseman also finds the lack of pressure to take a “perfect” ways. In seconds photos can be edited and photo “a beautiful thing,” and she points out that while she might not sent. A live feed at thebestcamera.com consider a crack in a wall a worthy subject for a D-SLR, she’ll shoot it gathers images taken worldwide using the with her iPhone. Without the iPhone, it’s a moment missed and a lost app into a “living, breathing gallery.” To chance to explore a different side of her creativity. download, go to itunes.com/appstore. Another plus is the ability for a photographer to blend into the scenery. The presence of an obvious camera makes most human

iPHONE APPS

The iPhone, introduced in 2007, is not only the most popular cameraphone on Flickr, it’s actually the second most popular camera of any type (in ﬁrst place is the Canon EOS Digital Rebel XTi). One reason: the abun- dance of apps available. Here are our top ﬁve picks. Pano $2.99 Create seamless panoramic photos right in your iPhone. debaclesoftware.com

CinemaFX (ﬁlter shown above: TiltShift $1.99 QuadCamera $1.99 CameraBag (ﬁlter shown above: Charmed Glow) $0.99 Simulates a tilt/shift lens and gives your Create a collage from four to eight Helga) $1.99 Get 21 visual effects inspired by major image the “scale model” look. Sounds like a shots taken in a row, apply effects. Convert images automatically to classic motion pictures. toy-camera look, i.e. unsharp and vignetted, artandmobile.com/quadcamera photographic styles. nexvio.com/product/CinemaFX.aspx when in fact it’s the subject that ends up nevercenter.com/camerabag

SITE: ©CHASE JARVIS (5); RIGHT, TOP TO BOTTOM: ©CHASE JARVIS; ©LARRY NIGHSWANDER (5) NIGHSWANDER ©LARRY JARVIS; ©CHASE BOTTOM: TO TOP (5); RIGHT, JARVIS SITE: ©CHASE looking like it’s a toy rather than real. imimux.com/tiltshift OPPO 60

CLOSE-UP GREG SCHMIGEL Home base: Arnold, MD Website: justwhatisee.com Cameraphone: iPhone 3GS Photos shown here: “Green Apple Gum”: with ShakeIt Photo app; “Young Lovers, NYC”: shot with 2MP iPhone; “All in Red”: shot on the Washington, DC, Metro with 2MP iPhone; “Mother and Child Crossing”: with 3GS, converted color to black and white in iPhoto. : ©GREG SCHMIGEL (4); OPPOSITE: ©LISA WISEMAN (5) ©LISA SCHMIGEL (4); OPPOSITE: : ©GREG LEFT

subjects self-conscious or even uncooperative. But if you look like you’re just texting someone on your cell, no one seems to notice. Schmigel says he likes the “raw energy” of unposed photos and has a better chance of getting those by becoming part of the scene, just another person walking by. Fullana even ventures into somewhat dicey parts of town, feeling safer with the iPhone than expensive mugger-magnet equipment. While some photographers profess to very stripped-down image-editing techniques, maybe only converting color to black and white, or making minor tweaks with Photoshop or the Picnik option on Flickr later, there are plenty of bells and whistles to be had. Applications range from a Holga- style effect, which simulates the look of that cheap cult camera, to panoramas and collages. Jarvis has in fact developed his own commercially available iPhone app, called Best Camera. Frustrated by the number of steps usually needed to download an image, make enhancements and then send or post it, he created an effortless take-apply-send approach that requires only seconds to complete. Wiseman ponders: “How are we making memories in this culture?” The answer might be, we’re sharing images of our lives in an unprecedented way, via blogs, websites, Twitter, Facebook and e-mails. And the cameraphone is custom-made to facilitate this dispersal. Jarvis’s book and Best 61

Camera app are in fact part of an entire “ecosystem” that includes a live feed at thebestcamera.com of just-taken images, connecting people from around the world instantaneously. In the midst of the lovefest, there have been complaints — poor performance in low light, low resolution and limited battery life (Schmigel has spent many an hour “recharging” himself and his iPhone at Starbucks). The new iPhone 3GS has 3 megapixels and touch-screen CLOSE-UP interaction, and there are cameraphones out there with 7 or more mega- LISA WISEMAN pixels. But Wiseman says that in cameras with a small sensor, a higher Home base: San Francisco, CA megapixel number makes the images too grainy. Fullana is willing to Website: lisawiseman.com sacrifice technical superiority for mood. Though many photographers Cameraphone: iPhone 3G are satisfied with their 2 or 3 megapixel cameraphones, better image Photos shown here: ”7.5.08, San Luis Obispo”: quality and more apps are sure to come. coat left hanging in a closet at a friend’s wedding; For all the high-tech underpinnings, there is something visceral and “4.21.08, San Francisco”: a floor lit through semi- primitive about this low-megapixel, optically challenged, pocket-size translucent tiles; “6.8.08, LAX”: surreal reflections piece of equipment. A key part of the allure is the challenge. Jarvis calls of ceiling lights in the airport window; “6.17.08, San it “infinity limited,” saying that it “requires you to hone your creative Francisco”: the color on this photo of window blinds is true and lasted only about four minutes; “6.7.08, vision.” To make it art takes a certain level of commitment. Los Angeles”: table legs and carpet at a hotel in L.A. Usually such an exercise is a barrier to a mass cultural phenomenon like the cameraphone, but Jarvis points out there isn’t much of a 62

hurdle to overcome in getting people to use what amounts to a new version of a point-and-shoot camera. In the case of the cameraphone, the nonremovable, usually nonzooming lens and limited pixels are not a handicap but a boon — there’s not that much to think about, so just shoot. The cameraphone will never replace the D-SLR (though the iPhone is running a close second to the Canon EOS Digital Rebel XTi as the most popular camera on Flickr), yet when comparing the two, Jarvis uses the example of café menus — the ones with fewer items can be more appealing, despite the limitations. Says Jarvis: “The technology doesn’t matter 99.9 percent of the time. It’s really about the image.” Or as Schmigel puts it, “It’s not what you’re using, it’s the passion of the person seeing.” Jarvis posits that the functional simplicity and immediate gratiﬁcation (likened to the Polaroid instant camera) makes the technology available to everyone, tapping into previously undis- covered talent, what Wiseman calls “the democratization of photography.” As Jarvis puts it, the cameraphone “serves both ends of the spectrum and everyone in between.” Even his mom, who always claimed to be uncreative, is now snapping away. AP

CLOSE-UP

SION FULLANA Home base: New York City, NY Website: sionfullana.com Cameraphone: iPhone 3G Photos shown here: ”The Tree of the Fallen Leaves”: contrast and color processing with Picnik; “Dreaming of Success”: Fullana shot this mannequin on 5th Ave. with both an iPhone and D-SLR, but preferred the iPhone versions; “The Light in the End”: Battery Park; “Rainy Friday”: Fullana had owned his iPhone for only two weeks, no apps used. : ©SION FULLANA (4); OPPOSITE, CLOCKWISE FROM TOP LEFT: ©ROBERT CLARK; ©JAMES DUNCAN DAVIDSON; ©MELISSA LYTTLE ©MELISSA DAVIDSON; DUNCAN CLARK; ©JAMES ©ROBERT LEFT: TOP FROM CLOCKWISE : ©SION FULLANA (4); OPPOSITE, LEFT 63

PROS & THEIR IPHONES

Professional photographers are quickly turning the iPhone into standard camera equipment, using it not only as a visual notebook and a method to free their minds from creative stumbling blocks, but also for their commercial work. Below are three pros who have integrated their cameraphones into their daily routine.

Robert Clark New York photographer Robert Clark enjoys the distinction of being the ﬁrst photographer to shoot a commercial assignment with a cameraphone, his commissioned book Image America. “It’s loose and free, stream of conscious- ness photography,” he says. “I just treat it as a visual diary, taking notes on my own life.” Other photographers, who at ﬁrst discouraged him from using a phone camera, changed their minds when they saw the results. “National Geographic photographer David Alan Harvey thought it was the best work I had ever done,” Clark says with a laugh. (above: ShakeIt Photo app)

Melissa Lyttle James Duncan Davidson When St. Petersburg Times (Florida) staff photographer Lyttle shot an Anyone who has felt the heft of a Leica rangefinder knows how a well-made actual assignment with the iPhone camera, she found an unexpected sur- camera can inspire your shooting. Similarly, Davidson finds the iPhone’s inter- prise. “It’s like it freed something up in my brain,” she says. “Some sort of face to offer a unique way of imaging. The mix of the large screen and touch blockage ... it took all the rules that I subconsciously impose on myself in my focusing now also found on compact cameras provides an intimate interaction regular photographic life and it threw them all out the window. I felt really that encourages creativity. He considers it a kind of digital Polaroid camera. “I’m free to just go and play and have fun and not take myself or my photography finding it to be a really wonderful tool for sketching ideas,” he says. “It’s useful as too seriously. In a lot of ways it was like some sort of visual yoga.” (above: a piece of serious thinking gear even though it’s not a serious production tool.” CameraBag/Helga app) (above: CameraBag/Lolo app) ©2009 Samsung Electronics America, Inc. Samsung is a registered trademark of Samsung Electronics Co., Ltd. Screen images simulated.

Samsung, Dan Marino and our partners have teamed up to sack Autism. Samsung’s Four Seasons of Hope and Dan Marino have collectively raised more than 2 million dollars for the fight against Autism. Now we’re going to raise even more by teaming up with our partners: HH Gregg, P.C. Richard & Son, Conn’s, Fred Meyer and American TV. To find out how you can join the team and help, visit www.fourseasonsofhope.com or call the Dan Marino Foundation at 954-389-4445. Samsung’s Four Seasons of Hope. A little hope can make a big difference.

WHAT PHOTOGRAPHERS NEED GEAR 65 EDITOR’S CHOICE 65 SHOOTOUT 70

GOTTA HAVE IT

EYE-FI PRO 4GB WI-FI SDHC CARD Wireless file transmission to a network or stand-alone computer was once available only in high- CANON EOS 7D | end D-SLRs outfitted with bulky CANON FINALLY CHALLENGES THE CROWD-PLEASING NIKON D300 BY RUSSELL HART transmitters that cost a small for- NOTEWORTHY SPECS ƭɥƏƎƎǈ/#1!#-3ɥ5(#6Ɗ-"#1ɥ!.5#1 %# tune. Eye-Fi, a California startup, ƭɥƏƘǈ,#% /(7#+ɥǈɥ ɥ(, %# ƭɥ#6ɥƏƙǈ/.(-3ɥɥ2823#,ɥǒ ++ɥ!1.22ǈ38/#ɥ 11 82Ǔ has been miniaturizing this sensor (1.6X FOV crop) ƭɥɥ5("#.ɥ 3ɥƑƎ$/2ɥ$.1ɥƦɥ/+42ɥƐƓ$/2ɥ technology to fit within tiny, ƭɥƘǈ$1 ,#2ǈ/#1ǈ2#!.-"ɥ2'..3(-%ɥ2/##" ƭɥBUY IT: $1,700; usa.canon.com affordable SDHC memory cards that work in all kinds of digital WHAT’S NEW: Though the name suggests it might be a step up from the EOS 5D Mark II, the cameras, not just D-SLRs. Its lat- EOS 7D doesn’t have the 5D’s full-frame image sensor. That’s because it is, in fact, an APS-C dig- est, the Pro, delivers two major ital SLR — the most advanced Canon model in this class. It has the same-size chip as in the EOS improvements, RAW file support 50D and Digital Rebels (a smaller chip even than the middle-size one found in Canon’s EOS-1D and direct, routerless connection Mark III). Together with its $1,700 price tag, that puts the EOS 7D head-to-head with Nikon’s to a PC or laptop — in addition to D300 and new D300s, a tier Canon has never really occupied. the ability to send selected files, WHAT’S BETTER: The EOS 7D has three more megapixels of resolution than the 15-mega- now found in all Eye-Fi cards. pixel EOS 50D and Rebel T1i. Of more value are its superfast 8fps framing rate and improved These features make this inex- pensive device eminently usable autofocus, both of which make it very well suited to action subjects. Also to that end, the AF for serious assignments, whether system’s 19 points can be quickly selected in groups. And despite its APS-C sensor, the 7D has on location or in the studio. The a big, bright viewfinder that covers 100 percent of the subject. Pro also includes free uploading WHAT’S NOT: Cramming more megapixels into an APS-C-size sensor. The 7D is slightly less to more than 20 Eye-Fi-support- noisy at high ISOs than the EOS 50D but not quite as smooth as the 21-megapixel, full-frame ing photo- and video-sharing EOS 5D Mark II. Final-production tweaks in image processing may improve that — but for now, sites, one year’s free access to the Nikon D300s, with 6 million fewer pixels, is less noisy than the EOS 7D for low-light shoot- over 10,000 wireless hot spots ing. And while the 7D's HD video is more versatile than in other D-SLRs, that feature still lacks and geotagging through Wi-Fi the one thing that would make it work for reportage or the family: AF tracking, something you positioning via Skyhook Wireless. do get in the less expensive D-SLR-style models featured in Shootout (see page 70). BUY IT: $150; eye.fi LOOK FOR A FULL FIELD TEST OF THE CANON EOS 7D IN OUR NEXT ISSUE.

NOV/DEC 2009 | AMERICANPHOTOMAG.COM 66 GEAR | EDITOR’S CHOICE

SAVING GRACE THE LATEST PORTABLE AND DESKTOP STORAGE TOOLS DELIVER SMARTS, SPEED AND SPACE | BY JONATHAN BARKEY

HYPERDRIVE NEWERTECH DATA ROBOTICS OWC MERCURY COLORSPACE UDMA VOYAGER Q DROBOPRO ELITE-AL PRO QX2

Superfast memory-card Easiest way to swap bare Smarter than RAID; Four-drive RAID for THE SHORT OF IT backup hard drives doubles original capacity faster eSATA transfers

THE LONG OF IT This portable memory- Thoughtfully designed, this Like the original, revolu- Compared with two-disk card backup and display hard-drive dock lets you tionary four-bay Drobo, RAID systems, OWC’s lat- unit might be the fastest swap out backup drives as this massive Pro version est four-drive unit doubles of its kind. It can back up if they were memory cards employs dynamic maximum data transfer and verify digital file data in a card reader — eliminat- disk-spanning and data speed — to a smokin’ at a pace-setting 2GB per ing conventional enclosures protection that is simpler 300MB/second with an ,(-43#ɥǒƓƎ ǌ2#!.-"ǓƦɥ that require disassembly. to manage than more- eSATA cable. Its five oper- and its new Li-ion bat- Drop a Serial ATA (SATA) familiar RAID systems, but ating modes include RAID tery provides an excep- drive of any capacity into even smarter. Designed for 5, for high speed and data tional 250GB (two hours) the Voyager Q’s toaster- power users, it can hold protection with three or of backups per charge. One style slot, then lever-eject eight 3.5-inch SATA disks more disks. You can set it inch thick and about the it when you’re done. The totaling up to 16TBs. It lets up so if one fails, the sys- size of a 3x5 index card, the Voyager Q accepts 3.5- you mix drive sizes and add tem restores data to its 10-ounce ColorSpace can inch (full size) and 2.5-inch capacity simply by swap- replacement. The alumi- decode, browse, display (laptop size) drives, and ping out the smallest disk. num case has a locking and zoom RAW files from supports hot-swapping. It can even tolerate two drive-bay cover and front- any D-SLR and four differ- simultaneous disk fail- panel selector switch; disks ent medium-format brands, ures; you replace the bad are secured with thumb- displaying them on its 3.2- drive(s) and it restores data screws. Configurations (-!'ƦɥƑƐƎ7ƐƓƎǈ/(7#+ɥ ƥɥ automatically. range from 2TB to 8GB.

CONNECTIONS !!#/32ɥƏƓɥ"(Ɖ#1#-3ɥ,#,- You get a choice of USB DroboPro has both USB “Quad” interface includes ory card types, supports ƐƥƎƦɥ(1#(1#ɥƓƎƎɥ -"ɥƘƎƎɥ 2.0 and FireWire 800 (two eSATA, FireWire 800, incremental backups and (two FW 800 ports), and ports), plus iSCSI, offer- (1#(1#ɥƓƎƎɥ -"ɥɥ can even copy its contents the superfast eSATA inter- ing a very fast connection 2.0. Backup software sup- to an attached USB drive. face — assuring compat- to your computer or net- ports both Windows and work using a standard Eth- Mac OS. ibility with any computer ernet cable. and supporting external booting (depending on OS).

BUY IT From $249 to $499 $95; newertech.com From $1,300; From $550 to $2,080 (depending on capacity); drobostore.com (case without drives, hyperdrive.com $330); macsales.com

AMERICANPHOTOMAG.COM | NOV/DEC 2009 GEAR | EDITOR’S CHOICE 67

ACER ASPIRE EPSON P-7000 LACIE 2BIG QUADRA EASYSTORE H340 MULTIMEDIA G-TECHNOLOGY GOTTA HAVE IT HOME SERVER PHOTO VIEWER G-DRIVE MINI SSD

Two-drive RAID gives you Runs Windows Home Leave your laptop at home Fast, safe and silent speed, safety or both Server

This two-drive RAID shares This compact, good-looking Epson’s virtuoso viewer can This rugged, pocket-size %#-#2ɥ6(3'ɥ3'#ɥ+ 1%#1ɥƓ (%ɥ NAS server features Giga- virtually replace your lap- solid-state drive trumps As Moore's Law Quadra, but costs much bit Ethernet capability and top in the field. Its stunning conventional 2.5-inch hard predicted, SanDisk less. It features four differ- four hot-swappable SATA Ɠǈ(-!'ɥ ɥ"(2/+ 82ɥ/'.3.2ɥ drives for safe backup of Extreme Pro Compact- ent RAID modes: Fast (no drive bays, with a 1TB drive 6(3'ɥƖƓƎ7ƓƘƎɥ1#2.+43(.-ɥ irreplaceable HD video, Flash memory cards data backup), Big (for the included. It runs Windows and over 16.7 million col- audio and multimedia files have doubled their top most space), Safe (mir- Home Server — Microsoft’s ors. Nearly all card formats — not to mention photos read/write speed in just 36.ɥ8# 12ɥǊɥ$1.,ɥƓƕɥ rors data on both drives) user-friendly networking are supported; UDMA CF made on demanding loca- MB/second (300X) to and our favorite, Mixed system — so it can back cards download at 600MB/ tion assignments. Relying a blistering 90MB/sec- (creates separate Fast up and restore to multiple minute to its 160GB drive. on static flash memory ond (600X). And that’s and Safe volumes). The PCs, host shared files and The inch-thick, 3.5x6-inch instead of a spinning plat- a good thing given the LaCie sports lockable, hot- make them available online, P-7000 reads JPEG and ter, it’s immune to mechan- onward march of sen- swappable disks; USB 2.0, and stream digital-media ɥƊ+#2Ʀɥ9..,2ɥ3.ɥƓƎƎɥ ical failure, much faster at sor resolution, espe- (1#(1#ɥƓƎƎɥ -"ɥ(1#(1#ɥ content simultaneously to percent, displays EXIF data reading and writing, drop- cially in D-SLRs and 800 ports; and eSATA, for multiple devices and apps. and histograms. Plays five proof to 1,500 Gs and silent medium format; the superswift 165MB/sec data Though the easyStore isn’t video and audio formats in operation. Measuring growing popularity of RAW shooting; and transfers in Fast mode. The RAID-based, with two or through built-in speakers, Ɠƥƙ7ƑƥƐ7ƥƙɥ(-!'#2ɥ -"ɥ the heavy bandwidth 2big can be rack-mounted, more drives installed its headphones or video-out; weighing only 8.5 ounces, needed for high- or stacked and daisy- redundant system protects allows basic image editing. the mini is housed in a definition video. Pro chained with other 2bigs. data if one disk fails. fanless aluminum case. cards employ an all- new “multilane” Power Compatible with Apple’s Five USB 2.0 ports and one Now supports tethered 2ɥɥƐƥƎƦɥ(1#(1#ɥƓƎƎɥ Core Controller and Time Machine backup eSATA port further extend USB 2.0 image capture and FireWire 800 ports UDMA 6 card-to- system, it includes addi- storage capacity, and one from compatible D-SLRs. for bus power without an camera interface. They’re also tough, tional backup software with of the USB ports allows (Previous owners can AC adapter. But the cutting one-touch backup of any operating reliably disaster-recovery options download this upgrade edge costs dearly — five to for both Windows and connected USB device. The from epson.com.) Pict- between -13˚F and eight times more than stan- Mac OS, and is available easyStore has fewer frills Bridge-capable for direct- 185˚F at up to 90 in configurations from 1TB than similar HP models, but to-printer output, with dard drives with compara- percent humidity. 3.ɥƓƥɥ it’s a lot cheaper. cropping and sizing. ble gigs, at least for now. Capacities include ƏƖƦɥƑƐɥ -"ɥƖƓƥ BUY IT: $300 (16GB), $390; newegg.com $599 (128 GB) or $1,299 From $300 to $700; $800; epson.com $500 (32GB) OR lacie.com (256 GB); $800 (64GB); g-technology.com sandisk.com

NOV/DEC 2009 | AMERICANPHOTOMAG.COM 68 GEAR

FANTASTIC FOUR THESE NEW COMPACTS BOAST INNOVATIONS EVEN A PRO COULD LOVE | BY KATHLEEN DAVIS

NIKON COOLPIX S1000PJ COOLEST FEATURE: CAMERA TURNS INTO A MINI-PROJECTOR

Bigger LCDs and Wi-Fi have made sharing digital photos easier, but you still have to pass the camera around to give everyone a look. Nikon’s new 12.1-megapixel Coolpix solves the problem with first-of-its-kind technology. Turn on its tiny, built-in projector and everyone in the room can view VGA- 04 +(38ɥ/'.3.2ɥ.1ɥ5("#.2ɥǒ6(3'ɥ2.4-"Ǔɥ 3ɥ2(9#2ɥ4/ɥ3.ɥƓƎɥ(-!'#2ɥ !1.22Ʀɥ.-ɥ surfaces up to six feet away. The coolest new Coolpix is lots of camera too, with a 5X zoom that starts out at a wide-angle 28mm (35mm equivalent) and vibration reduction bolstered by a motion-detection system that ups ISO -"ɥ2'433#1ɥ2/##"ɥ 43., 3(! ++8ƥɥǒ#-2(3(5(38ɥ%.#2ɥ 2ɥ'(%'ɥ 2ɥ ɥƖƓƎƎƥǓɥ3(++ɥ not sure you’ll get it sharp? The Best Shot Selector shoots a burst of up to 10 frames and saves the sharpest one. BUY IT: $430; nikonusa.com SAMSUNG TL225 COOLEST FEATURE: TOUCH-SCREEN IS HIGHEST-RES EVER This 12.2-megapixel compact takes a cue from Apple’s iPhone. Using its 3.5- inch touch-screen, you can scroll through photos with finger swipes, delete photos by drawing an “X” through them or rotate photos by tracing a circle. The LCD itself boasts the highest resolution of any camera, with an impressive 1,152,000 pixels. Aside from the TL225’s dazzling, user-friendly interface, its face-recognition capability can memorize up to 20 faces that you iden- tify for it — and when it spots one, it bases focus and exposure on it. The Schneider zoom has a nearly 5X range that starts at a wide-angle 27mm (35mm equivalent). Also way cool: a front-facing screen for self-portraits. BUY IT: $350; samsung.com FUJIFILM FINEPIX F70EXR COOLEST FEATURE: SIMULATES SHALLOW DEPTH OF FIELD It packs a 10X wide-angle zoom into the smallest body in its class, but Fuji’s new 10-megapixel model has other unique charms. In Pro Focus mode, it shoots a series of frames in which focus is automatically varied from your actual focused distance and reassembles them to create an out-of-focus — and less-distracting — background and foreground. Ideal for portraits, that effect is impossible to achieve with a small-chip, short-lens camera in a single exposure. Likewise, in Pro Low-Light mode the F70EXR shoots a series of bracketed exposures — then reassembles the frames to produce a much smoother, fuller-toned image with greatly reduced noise. BUY IT: $270; fujifilmusa.com SONY CYBER-SHOT DSC-WX1 COOLEST FEATURE: MAKES PANORAMAS WITHOUT STITCHING Even automatic panorama stitching programs take work during shooting to get a seamless shot. Sony’s 10-megapixel WX1 makes the technique intuitive: Hold down the shutter button in its Sweep Panorama mode and simply pan across the scene, and it fires off 10 frames per second, reassembling them into a sharp, seamless image that measures a considerable 7152x1080 pixels. (Like an old-fashioned swiveling-lens panoramic camera, the WX1 can !.5#1ɥƏƘƕɥ"#%1##2ƥǓɥ *(-%ɥ(3ɥ ++ɥ(-ɥ(2ɥ, "#ɥ# 2(#1ɥ 8ɥ ɥ!1(2/ɥ#(22ɥƓɥ9..,ɥ 3' 3ɥ23 132ɥ 3ɥ ɥ5#18ɥ6("#ɥƐƓ,,ɥ#04(5 +#-3ƥ BUY IT: $380; sony.com

AMERICANPHOTOMAG.COM | NOV/DEC 2009 Develop Your Inner Creativity

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FRATERNAL TWINS The Olympus E-P1 and Panasonic Lumix DMC-GH1 both embrace the new Micro Four Thirds format, but these trendsetting cameras have very diff erent looks and personalities B Y JONATHAN BARKEY

OLYMPUS EP-1 PANASONIC LUMIX DMC-GH1 ƭɥ38+(2'ɥ23 (-+#22ǈ23##+ɥ ."8ɥ#5.*#2ɥƏƙƖƑƹ2ɥ!+ 22(!ƦɥƋɥ 3ǈ3.//#"ɥ+8,/42ɥɥ# - ƭɥ.41ɥ'(1"2ɥ (, %#ɥ 2#-2.1ɥ -"ɥ (!1.ɥ.41ɥ'(1"2ɥ (-3#1!' -%# +#ɥ +#-2ɥ F 35mm half-frame SLR. mount combine D-SLR and camcorder functions in a compact body. ƭɥ ƥɥ4(*.ɥƏƗ,,ɥ$ǌƐƥƘɥ(%(3 +ɥɥ+#-2ɥǒƑƓ,,ɥ#04(5 +#-3Ǔɥ$# 341#2ɥ ɥ2+(,ɥ ƭɥ (5#ɥ ɥ2#+$ǈ!+# -(-%ɥ2#-2.1ɥ! /341#2ɥƏƐƥƏǈ,#% /(7#+ɥ23(++2ɥ -"ɥƐƓ$/2Ʀɥ “pancake” design made possible by smaller Micro Four Thirds lens mount, 1920x1080-pixel AVCHD video in clips limited only by memory card. turning the E-P1 into a truly pocketable interchangeable-lens camera. ƭɥ 4,(7ɥɥ 1(.ɥɥƏƓǈƏƓƎ,,ɥ$ǌƓƥƎǈƕƥƘɥǒƐƘǈƐƘƎ,,ɥ#04(5 +#-3Ǔɥ*(3ɥ+#-2ɥ ƭɥƏƐƥƑǈ,#% /(7#+ɥ (5#ɥ ɥ2#-2.1ɥ(2ɥ2 ,#ɥ 2ɥ(-ɥ+8,/42ɥǈ 2Ʀɥ"#+(5#1(-%ɥ has built-in optical stabilization and silent AF optimized for video. superb quality up to ISO 1600, plus self-cleaning and image stabilization. ƭɥ'1##ǈ(-!'ƦɥƓƖƎƦƎƎƎǈ".3ɥ+(5#ǈ5(#6ɥ ɥ3(+32ɥ -"ɥ26(5#+2ɥ$.1ɥ'(%'ǈɥ -"ɥ+.6ǈ ƭɥ#!.1"2ɥ'(%'ǈ"#$ɥƏƐƘƎ7ƗƐƎǈ/(7#+ɥ5("#.ɥ 3ɥƑƎ$/2ɥ 2ɥ ɥ .3(.-ɥ Ʀɥ(-ɥ angle shooting, or it can be folded ﬂ ush with camera body. clips of up to 7 minutes; 30-second audio clips can be attached to stills. ƭɥ4++ǈ!.+.1ɥɥ' 2ɥƏƥƓƓɥ,(++(.-ɥ".3ɥ1#2.+43(.-ƦɥƏƎƎɥ/#1!#-3ɥ!.5#1 %#ƥ ƭɥBUY IT: $800ɥɥǒ6(3'ɥ ƥɥ4(*.ɥƏƓǈƓƐ,,ɥ$ǌƑƥƕǈƕƥƖɥ9..,Ǔɥ ƭɥBUY IT: $1,500ɥɥǒ 6(3'ɥ 4,(7ɥɥ 1(.ɥɥƏƓǈƏƓƎ,,ɥ$ǌƓǈƕƥƘɥ9..,Ǔ

Digital photographers have always pined for a camera as small are very diff erent. The Olympus E-P1 stylishly evokes the Olympus as a point-and-shoot but that takes interchangeable lenses and Pen F, a classic 1960s half-frame SLR. In contrast, Panasonic’s has an image sensor as large as the ones in DSLRs. That dream, or Lumix GH1 looks like a downsized, conventional D-SLR. But it’s something close to it, has fi nally materialized in a pair of highly billed as a “creative HD hybrid,” its mission is to combine high- innovative models from Olympus and Panasonic. Both are based on quality still shooting with camcorderlike video performance. a new standard called Micro Four Thirds, which uses the same-size image sensor as existing and previous D-SLRs from these compa- BODY AND OPERATION nies. But these new cameras are not SLRs at all, relying on live-view Smaller than an Olympus E-450 (still the world’s tiniest D-SLR last technology rather than an optical refl ex viewfi nder for focusing and time we checked), the E-P1 squeezes most of that camera’s features, composing. By design, Micro Four Thirds eliminates the D-SLR’s and more, into a stainless-steel shell measuring just 4.7x2.75x1.4 bulky mirror box, allowing a shorter lens-to-sensor distance and a inches and weighing less than a pound. Hands and fi ngers take easily smaller-diameter lens mount. The result: cameras and optics signifi - to its smooth surfaces, rounded edges, front grip pad and contoured cantly lighter and more compact than their D-SLR equivalents. palm-hold. Its three control dials are a rarity at this price. Our two Shootout contenders share basic technologies. Both Mount the E-P1’s 17mm f/2.8 M.Zuiko “pancake” lens, the equiv- have 12-megapixel Live MOS sensors, use the same lens system, alent of a 34mm focal length in the 35mm format, and you can fi t and feature image stabilization and high-def video. Otherwise, they the camera in a coat pocket. The 14-42mm f/3.5-5.6 kit zoom, the

AMERICANPHOTOMAG.COM | NOV/DEC 2009 Olympus E-P1

PROS ƭɥ , ++#23Ʀɥ+(%'3#23ɥ(-3#1!' -%# +#ǈ+#-2ɥ"(%(3 +ɥ! ,#1 ƭɥ 38+(2'ɥ23 (-+#22ǈ23##+ɥ ."8ɥ#5.*#2ɥ!+ 22(!ɥƏƙƖƎ2ɥ+8,/42ɥ#-ɥɥƑƕ,,ɥ half-frame SLR ƭɥ 4/#1 ɥ(, %#ɥ04 +(38ɥ4/ɥ3.ɥ ɥƏƖƎƎɥ ƭɥ /3(.- +ɥ24/#12+(,ɥƏƗ,,ɥƴ/ -! *#ɥ+#-2Ƶɥ ƭɥ 1(ǈ,."#Ʀɥ(-ǈ ."8ɥ(, %#ɥ23 (+(9 3(.- ƭɥ .3ɥ2'.#ɥ$.1ɥ#73#1- +ɥƋɥ 2'ɥǒ-.ɥ 4(+3ǈ(-ɥƋɥ 2'Ǔɥ ƭɥ -ǈ! ,#1 ɥɥ"#5#+./,#-3ɥ -"ɥ ɥ#"(3(-%ɥ ƭɥ (7ɥ13ɥ(+3#12ɥ$.1ɥ(-ǈ! ,#1 ɥ2/#!( +ɥ#Ɖɥ#!32 ƭɥɥɥɥ 4!'ɥ,.1#ɥ Ɖɥ.1" +#ɥ3' -ɥ - 2.-(!ɥ 4,(7ɥƏ CONS ƭɥ .ɥ#+#!31.-(!ɥ5(#6Ɗɥ-"#1Ʃɥ ɥ(2ɥ-.3ɥ 13(!4+ 3#" ƭɥ ɥ! -ɥ #ɥ' 1"ɥ3.ɥ2##ɥ(-ɥ 1(%'3ɥ+(%'3 ƭɥ .ɥ 4(+3ǈ(-ɥƋɥ 2' ƭɥ +.6ɥ$.!42(-%ɥ6(3'ɥ*(3ɥ+#-2

BOTTOM LINE Despite limitations, delivers D-SLR image quality and lens choice in a gorgeous, point-and-shoot-size metal body. (Above, a test shot from the Olympus E-P1)

equivalent of 28-84mm in 35mm, makes the camera less pocketable, but it has a unique collapsing design that shortens the barrel for transport. Despite its stellar handling and like most compact cameras these days, the E-P1 lacks a traditional eye-level viewfi nder. Its 3-inch, 230,000-dot LCD screen works fi ne generally but is noisy in low light and hard to see in bright sunlight. The latter isn’t an issue, however, when you’re using the detachable, hotshoe-mount viewfi nder that comes with the 17mm lens. Panasonic’s Lumix DMC-GH1, by contrast, has an electronic viewfi nder (EVF) that allows you to shoot with the camera to your eye using any of its lenses. We think it’s the best EVF available in a consumer model. Its 1.44 million dots make it so sharp that it’s good enough for accurate manual focusing. And with 100 percent subject coverage, a feature ordinarily found only in pro D-SLRs,

the GH1’s ﬁ nder is also way bigger than in any D-SLR in this price range. : ©RUSSELL HART : ©RUSSELL In bright light, the GH1’s 60fps refresh rate makes for very smooth viewing, but

RIGHT as light dims, the image shows smearing and noise, same as with the E-P1’s screen. » GEAR | SHOOTOUT

Panasonic Lumix DMC-GH1 PROS ƭɥ (123ɥ$4++ǈ$4-!3(.-ɥ23(++ǌ5("#.ɥɥ'8 1("ɥ"(%(3 +ɥ! ,#1 ɥ ƭɥ 4/#1 ɥ(, %#ɥ04 +(38ɥ4/ɥ3.ɥ ɥƏƖƎƎɥ ƭɥ 23ɥ!.-31 23ǈ"#3#!3(.-ɥɥ-# 1+8ɥ#04 +2ɥ3' 3ɥ.$ɥǈ 2ɥ ! ! ƭɥ ƏƥƓƓɥ,(++(.-ɥ".3Ʀɥ+(5#ǈ5(#6ɥ#+#!31.-(!ɥ5(#6Ɗɥ-"#1ɥ(2ɥ2' 1/ɥ#-.4%'ɥ$.1ɥ, -4 +ɥ$.!42ɥ #$ $! ƭɥ Ƒǈ(-!'ƦɥƓƖƎƦƎƎƎǈ".3ɥ ɥ3(+32ɥ -"ɥ26(5#+2ɥ$.1ɥ+#22ǈ. 3142(5#ɥ2'..3(-%ɥ " !$"$ ! ƭɥ 4++ɥɥƏƙƐƎ7ƏƎƘƎǈ/(7#+ɥƐƓ$/2ɥ.1ɥƏƐƘƎ7ƗƐƎǈ/(7#+ɥƖƎ$/2ɥɥɥ5("#.ɥ ƭɥ 7!#++#-3ɥ$.!42ɥ31 !*(-%ɥ(-ɥ5("#.ɥ,."#ɥ $ $ ƭɥ (134 ++8ɥ2(+#-3Ʀɥ(, %#ǈ23 (+(9#"ɥƐƘǈƐƘƎɥ,,ɥǒ#04(5 +#-3Ǔɥ*(3ɥ+#-2ɥ $ ƭɥ 4(+3ǈ(-ɥ23#1#.ɥ,(!1./'.-#ɥ ƭɥ ++ɥ#7/.241#ɥ,."#2ɥ(-!+4"(-%ɥ$4++ɥ, -4 +ɥ 5 (+ +#ɥ$.1ɥ5("#. CONS ! $!!! ! ƭɥ +#!31.-(!ɥ5(#6Ɗɥ-"#1ɥǒǓɥ23(++ɥ-.3ɥ 2ɥ!+# 1ɥ 2ɥ ɥǈ ƹ2ɥ./3(! +ɥƊɥ-"#1ɥ ƭɥ ɥ+ %2ɥ2+(%'3+8ɥ #'(-"ɥ1# +ǈ3(,#ɥ,.5#,#-3Ʀɥ2'.62ɥ +41ɥ -"ɥ-.(2#ɥ(-ɥ+.6ɥ+(%'3ɥ ƭɥ (5#ɥ24 )#!3ɥ-.3ɥ5(2( +#ɥ(-ɥ 4123ɥ,."#ɥ ® ƭɥ .ɥ(-ǈ ."8ɥ(, %#ɥ23 (+(9 3(.-

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Yet at 460,000 dots, the GH-1’s external LCD is actually sharper than the E-P1’s, and it is fully articulated for easier composition at awkward angles. Even with that ability, a faux pentaprism and a D-SLR-style handgrip, the GH1 is only slightly larger and heavier than the E-P1 body. But its 1-pound, 14-140mm kit zoom, while superb, makes the GH1 with lens almost twice the weight of the E-P1 and 14-42mm combined. That’s still much smaller and lighter than even a small D-SLR and comparable zoom.

SENSORS AND IMAGE QUALITY The Live MOS image sensors in these cameras diff er only slightly. The E-P1’s has 12.3 million eff ective pixels; the GH1 has 12.1 million. In our comparisons of RAW test ﬁ les, the Panasonic looked slightly sharper than the Olympus, likely due to a gentler anti-

aliasing ﬁ lter. But its JPEGs were a touch softer than the Olympus’, probably because of THAN BARKEY the stronger noise reduction needed to compensate for linear banding visible in shadow

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*Check your local listings. Paid programming is produced by Shamrock Studios and Caribbean Travel + Life and is not commissioned/endorsed by any TV network owned/operated by Discovery Communications. KNOW-HOW NOW SKILLS 75 DIGITAL DARKROOM 75 | LIGHT MATTERS 82 | THE PICTURE BIZ 84 ON ©VINCENT DIX FOCUS ON PHOCUS HASSELBLAD’S TETHERED SHOOTING SOFTWARE GIVES VINCENT DIXON EXTRAORDINARY CAPTURE CONTROL | BY DAVID KELLEY Vincent Dixon was an early convert to digital photography. He specific corrections for optical flaws, however small. Once the had long used Hasselblad cameras to shoot for clients such as Volks- software determines what’s needed based on data from the lens, it wagen, Perrier and Motorola, so in the New York City-based relays this information to the digital back. “This is where the full photographer made the switch simply by putting an Imacon digital integration of lens, body and digital back pays off,” says Dixon. back on his Hasselblad H1. Then, more recently, Dixon upgraded When Dixon is shooting, he works with a digital technician who to the Hasselblad H3DII-50 camera system, which includes a helps him monitor a range of capture details. This way of working 50-megapixel back and image-processing software called Phocus. allows Dixon to concentrate on shooting, also reducing the chance Phocus is designed for “tethered” shooting: Captured images are that unexpected results will require fixing in postproduction. And immediately transferred to and viewed on a nearby computer. it allows Dixon’s art director and clients to view the images on a At first Dixon found Phocus to be somewhat cumbersome and monitor and make immediate suggestions, so that Dixon can unstable when used to capture the 600 successive frames he shoots make on-the-fly adjustments to suit a particular layout. on a typical day. However, the software’s latest releases have really To illustrate Dixon’s typical workflow with Phocus, we’ve decon- made a difference. V“ ersion 1.2.1 is a big improvement in terms of structed a recent photograph that Dixon created in São Paulo, stability and speed,” Dixon says. “You just need a fairly powerful Brazil, for a Meltin’ Pot jeans ad campaign called “Abandon Your computer with a good video card for it to run smoothly.” Nightmares.” (See page 20 for details.) Keep in mind that the image Dixon is most enthusiastic about the new image-processing is incomplete; Dixon here focused solely on the car and model in capabilities and sheer file quality Phocus offers. Its powerful tools the foreground. The assistant and model on the left were replaced allow pre-emptive correction of problems traditionally fixed with in postproduction with a fully costumed monster! digital retouching . Hasselblad has “mapped” its lenses at different IN OUR NEXT ISSUE: WHAT’S NEW WITH PHOTOSHOP CS4 apertures and focused distances, allowing Phocus to make highly 76 SKILLS| DIGITAL DARKROOM Step 1: Adjusting the Histogram After Dixon has styled, composed and lit his subject, he goes straight to Phocus’s Adjust tab to set exposure. He does this by tweaking the live histogram, confirming that there is highlight and shadow detail in all three colors (red, green and blue) and that no color is “clipping.” Dixon prefers to keep his RAW files flat so they include as much tonal information as possible, but to make the preview image richer (and more attractive to art directors or clients who might be on-set), Dixon adjusts its brightness and contrast. Sliders beneath the histograms control shadow, gamma and highlights. Changes in these curves do BEFORE not affect the RAW file, but Phocus allows you to apply them during the export if you want to.

DIXON’S HISTOGRAM BASICS: ƭɥ'#!*ɥ3' 3ɥ# !'ɥ!.+.1ɥ!' --#+ɥ2/ -2ɥ3'#ɥ range from shadow to highlight. ƭɥ'#!*ɥ3' 3ɥ-.ɥ!.+.1ɥ!' --#+ɥ(2ɥ!+(//(-%ɥ (cut off at the edge of the histogram). ƭɥ")423ɥ.5#1 ++ɥ#7/.241#ɥ6(3'ɥƦɥ!.-31 23ɥ and brightness sliders.

AFTER

Step 2: Correcting Color Dixon adjusts the color of his preview image using Phocus’ Color- Correction tool. For the car shot, Dixon shifted the coppery color of the car to a deeper, more cherry red. By selecting the car with the color-dropper icon he was able to shift its speciﬁc hue without affect- ing any others. A pie and arrow appear on the color wheel within that color’s range; widening or narrowing the slice changes range, while extending or shortening the arrow adjusts hue, saturation and lightness.

DIXON’S COLOR-CORRECTION BASICS: ƭɥ+(!*ɥ"1.//#1ɥ(-ɥ.+.1ǈ.11#!3(.-ɥ3 ƥ BEFORE ƭɥ#+#!3ɥ Ɖ#!3#"ɥ!.+.1ɥ(-ɥ/1#5(#6ƥ ƭɥ(#ɥ -"ɥ 11.6ɥ //# 1ɥ.-ɥ!.+.1ɥ!' 13ƥ ƭɥ("#-ɥ.1ɥ- 11.6ɥ/(#ɥ3.ɥ!.-31.+ɥ1 -%#ɥ.$ɥ!.+.1ɥ Ɖ#!3#"ƥ ƭɥ31#3!'ɥ.1ɥ2'.13#-ɥ 11.6ɥ3.ɥ ")423ɥ'4#Ʀɥ2 341 3(.-ɥ -"ɥ+4,(- -!#ƥ ON (4) ©VINCENT DIX AFTER

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78 SKILLS| DIGITAL DARKROOM

Step 3: Correcting Distortion (7.-ƹ2ɥ 22#+ + "ɥɥƑƕ,,ɥ$ǌƑƥƕɥ6("#ǈ -%+#ɥ+#-2ɥ! 42#2ɥ .3'ɥ slight vignetting and slight curvature in straight lines (hard to see here), so he checks the distortion tool in the Lens-Corrections tab to straighten the lines and brighten the corners of the image.

BEFORE

DIXON’S DISTORTION-CORRECTION BASICS: ƭɥ'#!*ɥ!'1., 3(!ɥ #11 3(.-ɥ3.ɥ 5.("ɥ!.+.1ɥ$1(-%(-%Ʀɥ6'(!'ɥ.!!412ɥ when a lens doesn’t focus all colors on the same plane. ƭɥ'#!*ɥ"(23.13(.-Ʀɥ#2/#!( ++8ɥ6'#-ɥ42(-%ɥ ɥ6("#ǈ -%+#ɥ+#-2Ʀɥ3.ɥ!.1- rect perspective. ƭɥ")423ɥ5(%-#33#ɥ3.ɥ 1(%'3#-ɥ!.1-#12ɥ.$ɥ$1 ,#ƥɥǒ(%-#33(-%ɥ.!!412ɥ on some lenses at certain focal lengths.)

AFTER

Step 4: Adjusting Luminance, Eliminating Moiré Dixon adjusts the luminance and moiré tools in the Noise-Filter tab to compensate for any moiré patterns caused by the tight weave in the model’s blue jeans.

BEFORE

DIXON’S NOISE-CORRECTION BASICS: ƭɥ.+.1ɥ2+("#1ɥ ")4232ɥ3'#ɥ!.+.1ɥ.$ɥ-.(28ɥ/(7#+2ɥ(-ɥ3#7341#"ɥ 1# 2ɥ such as fabric and hair. ƭɥ 4,(- -!#ɥ2+("#1ɥ 1(%'3#-2ɥ.1ɥ" 1*#-2ɥ-.(2#ɥ5(2( +#ɥ(-ɥ3'#ɥ2' ".6ɥ areas of pictures made in low light and with longer exposures. ƭɥ .(1ɥ+#22#-2ɥ.1ɥ#+(,(- 3#2ɥ(-3#1$#1#-!#ɥ/ 33#1-2ɥ! 42#"ɥ 8ɥ interaction of pixel lines with textured surfaces. ON (4) ©VINCENT DIX AFTER

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920 918 917 "$" # &% &"!%"'$(%& GEAR | SHOOTOUT " " " !" #"(#)'"#(!' #"#&&'$ ( #)&'")'#(# never any banding. At those settings, #&!#&( ' #",(&))&', &, ' #)&+'( %)$!"( the GH1’s JPEG noise reduction *'(#)&+'( ( #" "'(# (!' #&!#&( '*'(#)&+'( simply smeared shadow detail, leav- ing unpleasant artifacts. High-ISO JPEGs from the Olympus were more tolerably ﬁlmlike. We also compared the two cameras’ output to that of the 15.1-megapixel Canon EOS Digital Rebel T1i, '@E8A?$>; which we’re testing. Despite their )( **"('%"+"(' -" ()&+ (%()'$# + 3-megapixel deﬁcit, the Micro Four )"'+ ) (%(),"+! * +! )' +()+ Thirds cameras delivered sharp- ness virtually identical to that of (418-@1?@-/451B191:@?5:<4;@;3>-<45/5:761@@1/4:;8;3E @ /;9.5:1?@41<>1/5?5;:;2!5/>;$51F;($<>5:@41-0C5@4@41 the Canon, though the latter was 1D@>-;>05:->E<1>2;>9-:/1;2-4>;91&5:7? : less noisy at the highest ISOs. Our ;>01>@;1:?A>1/;:?5?@1:@<>5:@5:3.1@C11:9A8@5<81'@E8A?$>; conclusion: Used at ISO 1600 and <>5:@1>?;2@41?-919;0181G :10@419-:A2-/@A>5:3 <>;/1??@;5:/8A01/;8;>591@>5//-85.>-@5;: below, these mirror-free marvels deliver on their promise of D-SLR image quality in a smaller package.

REAL-WORLD SHOOTING Inveterate D-SLR users might find that shooting with these non-D-SLRs 59-31$&#&5$ mixes fun and frustration. The E-P1 H ;8;>$5391:@:7'E?@19"1C )5:7? HA58@5:-85.>-@5;: is clearly more compact and appeal- HA-8$>5:@1-0'E?@19 ingly stylish in design. Its lack of a H #;:@>;881>"1C$>5:@;:@>;881> viewfinder is limiting, though, and H$>5:@$8A35:2;>0;.1$4;@;?4;<-:0535@-8$4;@; $>;21??5;:-8 the arm’s-length stance required by H$>5:@1>>5B1> the LCD makes handholding longer H535@-8$4;@;>;:@//1?? lenses awkward. The 14-42mm kit H$;?@1>>@5?@ #<@5;:-8';2@C->1$;?@1>/>1-@5;:?;2@C->1 lens takes more time to focus even in H:1>3E'@->%A-85G 10 good light, and balks in continuous AF mode. Reassigning focus to the AEL/AFL button lessens the need to refocus between shots, however. The GH1’s contrast-detection AF system is amazingly fast and rarely 1?53:61@, $>5:@1>?1>51? hunts for focus. It’s nearly the equal H'#&(()&"&#)"(!' of phase-detection systems used by H$>5:@-@1D@>1918E4534?<110? conventional D-SLRs, and it follow- H1:1G @2>;9A:-@@1:010<>5:@5:3 H'75<@415:@1>>A<@5;:? focuses extremely well too. H#)('(""!%) (+ Both cameras can shoot at up H$>;0A/1<>5:@?2-?@C5@4;A@?-/>5G /5:3=A-85@E to 3fps in JPEG bursts limited only H& (&#)# #&)&+ H'+(#)'#!"!"((## ' by the specs of your Secure Digital card. (You’ll need higher-capacity SDHC cards for serious video.) We reserved the slower-focusing E-P1 for more deliberative subjects at I* &# New York’s Coney Island amuse- I* &# ment park (page 71) and challenged I* &# I* &# the faster-focusing GH1 with an African dance troupe (page 72). In I* &# I* & the process, we confirmed the lim- I* & itations of an electronic viewfinder I* & versus the optical finder in a D-SLR.

I* In effect, the EVF makes the cam- I* era less responsive, due to the lag I* between the EVF image and the real- I* life subject; the ﬁnder blacks out longer between shots; and following a fast-moving subject in burst mode '(#& '@;>1!-58#>01>;A>?!;: (4A>? <9 H>5@; '@;>1@588 H'A: #"(#)'"#(!' #"#&&'$ ( #)&'")'#(# requires watching out-of-sync review #&!#&( ' #",(&))&', &, ' #)&+'( %)$!"( *'(#)&+'( ( #" "'(# (!' images onscreen or in the viewﬁnder. #&!#&( '*'(#)&+'(

VIDEO PERFORMANCE Having shot with video-capable live- view D-SLRs, we know their flaws: limited exposure control, short clip lengths, imperfect focusing options and hobbled audio. The E-P1 does shoot high-def video — 1280x720- pixel resolution at 30fps for up to seven minutes per clip — a first in Olympus E-series cameras. And the samples we shot were impressive for a camera this small. But its video mode is really not the main attraction. The GH1 really does fulfill its “hybrid” mission, with AVCHD recording at up to 1920x1280-pixel resolution and clip length limited only by memory-card capacity. Viewed on our 24-inch iMac’s monitor, video was amazingly detailed. The camera also has on-board ste- reo microphones and an input for external audio. Its 28-280mm-equivalent superzoom has a range clearly aimed at video, and its continuous AF and image stabilization are virtually silent, so no operational noise is audible. All that — plus the GH1’s access to interchangeable lenses and good sensitivity in low light — explains why some videographers consider it a serious alternative to bigger, more expensive camcorders.

OUR TAKEAWAY The Olympus E-P1 and Panasonic Lumix DMC-GH1 are impressive, but as first-generation cameras, they leave room for improvement. The superfun Olympus offers amazing image quality in a small package, but we really want an all-purpose viewfinder that zooms along with the lens. The Lumix per- forms better, offers a more D-SLR-like experience and takes video to a new level — but we still prefer a D-SLR for stills of moving subjects. And because the Micro Four Thirds system is still young, there are only eight dedicated lenses for these fraternal twins. Optional adapters allow them to accept full-size Four Thirds optics (with AF restrictions) and 35mm lenses originally designed for Olym- pus OM, Leica M and Leica R cameras (manual focus only). Can a Micro Four Thirds coupled-rangefinder compact be far behind? AP %!###!&#$! &#$ " ' # %! %!# % ' & 82 SKILLS | LIGHT MATTERS LIGHT BRIGADE Why it took four people, more than a dozen strobes and a 175-foot boom to photograph the world’s biggest single-mount telescope BY JOE MCNALLY

Having shot two big National Geo- graphic stories about telescopes over the years, I could reasonably say this on my resume: “Good with large, strange-looking buildings on top of lonely, freezing-cold mountaintops.” Bit of a niche market, but at least my recent shoot of the Large Binocular Telescope on Arizona’s Mount Graham offers a case study in lighting large subjects. And I do mean large. The LBT’s struc- ture is the equivalent of a 22-story building, and it houses the world’s biggest ground-based telescope. The ’scope had “first light” (went operational) in October 2005. The picture I’d been assigned to shoot would be the linchpin of National Geographic’s update on these new, far- sighted telescopes. This was clearly a job for powerful strobes — no puny shoe- mount flash units need apply. Clearly not many photographers need to shoot with dozens of studio strobes Joe McNally’s death-defying view of the Large Binocular Telescope on or to light something of this scale. But there were a lot of really Arizona’s Mount Graham was shot for a National Geographic story on powerful basic elements to putting this shoot together, and they apply to new telescopes, which appears in the magazine’s November issue. jobs large and small. As with any big job, I’d scouted the telescope on an earlier visit, at its defining feature — twin mirrors. That is the crucial step in so I knew what I was getting into. I had identified the best view as every job: Figure out where to put the camera. Everything flows looking straight through the massive open doors of its viewing slit from that, particularly the lighting. Telescopes of this size are incredibly sensitive to light, and thus the viewing slit remains closed until darkness sets in. This was the essential difficulty of the job. I had to prelight all day, without ever being able to test or even see what the effect of my lighting would be from camera position. What’s more, the huge mirrors would be aimed right at me, and the sun would set directly behind the building, which meant the mirrors would be reflecting the fastest-dimming part of the sky. As soon as they went dark, I’d have no more picture. The mirrors would be black holes. We arrived at dawn the day of the shoot with 50-plus cases of gear plus hundreds of pounds of sandbags to steady our lightstands. We applied a time-honored photographic tactic: Don’t light it,

THE SCHEME The success of McNally’s LBT photo depended on hiding his strobes from the camera behind the build- HEAD RADIOTRIGGER ing’s structural elements, as shown in the bird’s-eye view of his setup at WATT SECONDPOWERPACK left. (See key for reference.) WATT SECONDPOWERPACK OP: ©JOE MCNALLY; LIGHTING DIAGRAM: ©NIK SCHULZ LIGHTING DIAGRAM: OP: ©JOE MCNALLY; T

AMERICANPHOTOMAG.COM | NOV/DEC 2009

light around it. The lighting grid had #"(#)'"#(!' #"#&&'$ ( #)&'")'#(# to define the ’scope’s massive form #&!#&( ' #",(&))&', &, ' #)&+'( %)$!"( *'(#)&+'( ( #" "'(# (!' #&!#&( '*'(#)&+'( inside this spaceship. The lights also had to be hidden. One of the really easy things to figure was the power setting on all the packs. Full! As you can see from the diagram (opposite, bottom left), much of the light is tucked behind the telescope. There were several pairs of strobes, each positioned so that their light would radiate around the mirrors. Each light %%$$*%#("!'+ on the right had to have an equivalent light on the left to create symmetri- ''# #%!"%! cal highlights. This gaggle of strobes became the main light, if you will. ')! ) # $'" !(%$ #) Then we set up a pair of big packs $#$! )(! +')# and heads under each mirror. This was ()$# ( #!. !+!$ a mistake. I tried to visualize where ($% () ) $##&*! ).#) '"' !.!$,$() !(%$ #) they would be from my camera posi- $#$! )(! +'!!)%$,'.$* tion, but I misjudged. Ditto some of the #"$'! )/$')* )# front lights. When I got into the bucket #.$"%) ) +*# )($#)"' ) and went up into space, I could see half !(%$ #)$#$! )(')'! my lights. Sheesh. !%'$! '*# )(.$*#'!.$#) The front-facing strobes on the +.$*' "($"%) ) + camera side of the telescope were, in LM:KMBG@ effect, fill lights — and they were the hardest to manage. I had to hide :M some from the camera behind the center post of the building. As you can see, !' * a couple of low girders are white hot, !' * and I made the decision to just let that !' * go. Thankfully the blowout is right in !' * the middle of an area that’s bright to !' * begin with and calls attention to the ’scopes. (That’s what I told my editors (+ !') — wink, wink.) Mount Graham is just shy of 11,000 " (& #"# ' -%(&#" feet, and when the crane is maxed 50 *))* $ !(( '" out it has a wind tolerance of only 25 50:< )()#( ,!% '* #)% 4066< )"'!!(, ) ! $+' mph, so I was really rocking and roll- 40 !*-''. #( ing up there. And when the huge doors behind the mirrors were opened, twin funnels of air pushed the whole bucket up and backward. 60 *))* $ !(( 4 '#$$'( I did some fast talking on the radio, 60:< )()#( 40#$$) " (& &$#"'#"# '& and my crew did some fast moving on 5066< )"'!! 40)$7 $!$' !)'( -%(&#"'"& , , ) ! $+' 40 !*-''. #( !% &"##'%%+"& the ground. Half the lights had to be repositioned, and I had to use my LCD to make judgment calls on the power of the packs. (They say not to do that, ( ''(!$ "& -,,-., don’t they?) Not long ago I'd have been 1= ($#$" !!.%' ()'$, !!!!$,.$* up there with a flash meter! )$')%'$(( $#!! ) #'(*!)( Once we got a usable frame, I called 1=443+$!)*# )%!*( #)$#.()#'$*($!($ ) 1)( '*!'>()*)) (.! )!#)8933 it quits and got lowered. We had to * #*"'$;3)433#'.! #) " pack up and go fast, because we were $7($#()!($$"(, )93,))"$! #!"% 1= *))* $ !(#)' ')'$*)"', ) driving the whole deal to California for )(452(.#$' #!*.#$)'>( #?' the next stop on our celestial tour. We #) +) #)* !) #%$)$(!+$')'$* )( took the trucks down the switchbacks $%#>()()*))$# 1%(945

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BLACK SEA WRECK Rafal Milach’s forbidden photo of a polluted harbor BY SARAH KINBAR

Rafal Milach’s Black Sea of Concrete was just named the grand grassy hills close by. I don’t say my image tells the whole truth prize winner of Photography.Book.Now, a juried, Blurb-sponsored or that the entire coast looks like this, because it doesn’t. But my competition for self-published photo books. Taken from Milach’s photo does tell a real story. I don’t believe that this picture can book, this photo of a polluted harbor, entitled “Fishing Harbor/ bring about global change, but if it makes at least a few people Ilichovsk,” was shot in Ilichovsk, Ukraine, not far from Odessa. think before throwing away their trash or old fridge by the sea or “The location was one of my last ones, and I went there because anywhere else, I will consider it a success.” AP I needed a portrait of ﬁshermen to complete the book,” says Milach. “When I arrived at the spot early in the morning, the harbor gate was open because of the harbor-crew shift change. I got CLOSE-UP: RAFAL MILACH lucky: Just behind the gate I found this rotten, half-sunken ship. I Studied at: The Academy of Fine Arts in Katowice, had shot only a few frames when the harbor guard came and told Poland; the Institute of Creative Photography in Opava, me that it’s forbidden to shoot there. I knew this would happen, Czech Republic Appeared in: Time, Newsweek, GQ but I already had a frame. This image has become an icon of the Awards: World Press Photo, Pictures of the Year Ukrainian Black Sea coast for me, in terms of how a place can be International OP TO BOTTOM: ©RAFAL MILACH/SPUTNIK PHOTOS/ALTEMUS; ©MAREK SZCZEPANSKI PHOTOS/ALTEMUS; MILACH/SPUTNIK ©RAFAL BOTTOM: OP TO

transformed by man. Of course, there is a beautiful landscape with Website: rafalmilach.com T

AMERICANPHOTOMAG.COM | NOV/DEC 2009 In this family, everyone is photogenic.

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