Friendship and Cindy Merrill

One of the benefits of living a full and rich life is having long time friends. Cindy and I haven’t seen one another in about ten years. To reconnect a friendship is a treasure that only comes with folks who have lived a life. It was a real treat to met up again. We collaborated on a number of very memorable photo shoots in the past when Cindy was a hair & makeup artist. Now she has started a new business venture called Cindy O’Brien Aesthetics a full service skin care studio in Napa. Plus a new product line of anti aging serum called “The Bomb” She is still very much involve in helping woman achieve their own beauty.

http://www.cindyobrienaesthetics.com/

Here are some photos of Cindy just the other day. The biggest difference this time is she is now in front of the camera as oppose to standing behind it. It's really wonderful to see her in all her glory as a beautiful woman. We met up at a fund raiser for the Napa Valley Symphony. There was a fashion show in which Cindy was a model for. Here is a shot of Cindy standing on the runway just about to do her strut. It was so much fun to she her work it.

Here is one of our more memorable photos that she helped me on back when she was doing hair and makeup. Even back then Cindy had a touch of grace and elegance that help each photo transcend the accustomed.

A very nice shot of the two of us. Good friends.



Nothing Beats the Real Thing


Last week I was in New York City for the national APA board meeting. One of the main reasons for flying out to the East coast is so everybody gets to meet one another in person. What a difference in relationships it makes when you actually meet a person in the flesh. You can experience their mannerisms, charm and other natural charter traits, that one cannot sense over the telephone of keyboard.

This morning I saw a video that had a short interview with Carlein van der Beek. What a revelation to see her speak and gesture. She became a real person to me at that moment. Something more than a fellow artist who works in the same medium. I knew her work. I have read her text, but all that added up to an impression that has been crafted for me by Carlein. Seeing her live, gave me the opportunity, to experience her in a more organic form. Yes it was a video interview, not as good as being there in person, but a step in the right direction, which made Carlein more real to me.

The attached photo is an excellent example of that great energy that happens when people get together. This was an unplanned event. Eight APA board members jammed into a small elevator. Theresa Raffetto took a fast grab shot with her camera. That one shot captured the spirit and comradeship of people being together. Nothing beats the real thing.

Update time for Apple lecture on Feb 7th.

Please note the time for the Apple lecture.
It is 6:30 - 7:30

Come and hear Christian discuss how photography has influenced and shaped his life and everyone else’s who has ever taken a photograph. From baby’s first steps, chance snap shots on vacation to memories of loved ones Christian will show samples of his images that will resonate with fellow photographers.



Presenting at the San Francisco Apple Store

Apple has asked me to present my life in photography. On February 7th. 6:30-7:30 I will be giving a multi-media presentation on living the life of a photographer. From age five up to present time. Everything on how it effects how I view life to how it defines the different aspect on everyday living.

Top photo; Elhadji Mohamed, and how he taught me a valuable lesson on accepting what I must do.
Bottom photo; Clockface Musée d'Osay, how a vacation grab shot can open new visions.

Time & date
February 7th. 6:30-7:30 pm
San Francisco Downtown Apple Store
One Stockton Street
San Francisco, CA. 94108

My photos to be exhibited at San Francisco Apple store

Monday September 27th. 6:00-8:00

Apple Store Downtown San Francisco, CA

One Stockton Street,


There will be a special live event featuring art of the iPhone at the downtown Apple store in San Francisco. This exhibition will feature collective works from a worldwide group of artist using the iPhone as a tool for artistic expression.


Come and join me as I discusses my partnership with a group of artist as they explore the creative possibilities using this exciting new media art form.







Remembering Jim Marshall's Photography


http://www.marshallphoto.com/

I first became aware of Jim Marshall's photographs when I was an impressionable young lad growing up in San Francisco. I did not know of his rock & roll exploits or any other of the soon to be made legendary stories. I only knew of his work and his photography was one of the most influential and inspiring body of work that had a lasting impression. His photography captured something deeper and more personal than some of the other work being published at the time. Plus his final prints were so rich and lush. His images of Miles Davis, Ray Charles and Big Mama Thorton showed what it was like to print rich toned dark skin. A gray scale that just runs so deep into the silver of the print. The true definition of "Black Pearl". But not just considering technique, his empathy to capture Johnny Cash's relationship with June Carter was so spot on. His iconic shot of Janis Joplin sitting alone backstage with a bottle of Southern Comfort in her hand. While at the peak of her creative powers she looks slouched and despondent., That one shot packs a more emotional punch, than a hundred Jim Marshall "F" bombs.

One of his most remarkable photographs is of Miles Davis sitting on a stool in the corner in a boxing ring. Shirtless and his arms are outstretched, Miles has totally surrendered himself to Jim. What a accomplishment! If you know the personality of Mile Davis, you would know that this image it truly unique in capturing Miles Davis. Normally taciturn and defensive, Miles trusted Jim so much as to let him into this small moment inside the proverbial boxing match of a photo shoot. Go ahead and search the internet and look for a more accessible photo of Miles Davis! I haven't found one yet. That was the genius of Jim Marshall.


Jim's photography was the total package. Great content backed up by excellent technique.

The Future of Books




Last week Miki Johnson Social Media Editor for livebooks.com spoke at the APASF Creative Professional Apple event about the future of books. She covered many different topics and examples of new forms of books appearing on the scene. I was a most intrigued by an interactive book where a viewer can participate alongside President Obama’s career while in office book. All the books she mentioned had some form of connection with social media, which makes sense, that’s Miki’s specialty. She did bring up a very important insight about the anticipated need to own and hold a photography book in one’s hand. Something tangible, something fixed in time.

Almost all photographers would like to see their work published in some kind of book form. It’s a sense of permanence of one’s work. Ink on paper. With the introduction of the Ipad and other electronic base publishing is there any real permanence to a photograph if it is only published in electronic form? Or will our photographs come under the same usage agreement as advertising parlance “Period of use; two years. Seen by millions, then forgotten.”

The other day I was in my garage searching for some odd item when I came across a first edition book published by Aperture The Americas by Robert Frank. My wife bought this book years ago and packed away for safekeeping. What a pleasant surprise. I sat down and went through the book and then went on EBay to figure out it’s worth. Not that I am selling it, but I wanted to know its monetary value. I placed the book along side my other photography books of note. Irving Penn’s Passage, Albert Watson’s Cyclops, John Szarkowski’s Looking at Photographs, to name a few. It’s a comfortable feeling knowing where I can pull inspiration at any time. I do this almost every time I’m about to do a photography shoot of consequence. Spreading out a photography book on my lap and absorbing its contents is one of life’s pleasures. I have friends who have a room full of books just for this reason. I think we call them libraries.

I don’t know what the future may lay for photography books. The newer publishing of book prospects sound exciting, but I hope it is an additive process, where we can still keep the bounded beauty with that smell of paper, varnish and ink. I like books edited with intelligence and a singular voice. There has been a lot of talk about opening up publishing to the masses. Letting them create content and changing it at moments notice. Sounds like blogging to me. Think of the new style of books as blogs. A few will be note worthy, but most will be forgettable. Unfortunately the most relevant topic will be hammered down to the bottom of the page and eventfully delegated to “older post” heading. Will someone be able to accidentally come across it in his or her garage thirty years from now?

Accounting for Photographers



APA stands for Advertising Photographers of America. Advertising is commerce and commerce means business. Being a member of APA means you made a serious commitment to being a commercial photographer, therefore it is imperative you run your business end of photography with the same integrity as your creative part. Unless you have a business partner who takes care of the money matters, the final responsibility rest on your shoulders. Having a firm grasp on the fundamentals of bookkeeping is important in this business as with any other enterprise. Even more so with commercial photography! Depending on the scale of a photo shoot, a photographer can be responsible with hundreds of thousand of dollars in over a short period of time. Along with general overhead, keeping track of shoot expenses just compounds the importance of good fundamental book keeping practices.

This coming week APASF will be presenting “Navigating Your Finances For Success” photo accounting 101. At 7:00 pm on February 4th at Dogpatch Studios, finance & accounting consultant, Petra Duffoo will be speaking to commercial photographers on setting up fundamental accounting practices for the photographer. Last year’s event was a sold out success that was very informative and a kick in the pants. Last year’s attendees came away with a much better understanding of setting up QuickBooks and the importance of consistency in book keeping. We have asked her back for an encore lecture.

There is no mystery to good book keeping; there is mystery in fear. The fear of revealing the truth on one’s business affairs. I have heard the same concerns from business people in all industries. Knowing the truth on the financial health of their company and facing the decisions on dealing with it. Photographers are no different. I must confess it is easy to rationalize why photographers don’t practice sound business sense. You have heard some of these expressions before.


“It something I love to do, how can I charge for it?”


“I got to bid in low, if not, I won’t get the job.”


“It’s OK, I’m on the computer all the time anyway.”


“This business runs hot and cold, it’s impossible to keep a consistent cash flow.”


“I’m artist! I’m not expected to have good business sense!”


Believe me, I am a much better artist when I don’t have to worry about my bank balance. Knowing where I stand financially helps me make better decisions artistically. Petra Duffoo will present accounting for photographers in a pleasant and easy to understand manner. You won’t feel like you are swallowing medicine, or being brow beaten. You may actually walk away feeling inspired! Having balance in life, both artistically and financially is what we strive for. We photographers do continuing education to keep abreast of the latest trends and technology. It’s just as important to keep current with the latest tax laws. You won’t be a well-balanced person if you are leaning to heavily in one area over the other. Now is the time to invest in a little left-brain activity.

Everyone has an opinion on editing

"Editing never ends!" Norman Maslov laments. It's an ongoing process, always a "constant" in the creative life of an artist.

All photographers edit their work, by some means. It can be from the very beginning of raising the camera up to their eye and deciding where to point it, to what to leave out of the frame, when to press the shutter, or even when to stop. It comes down to controlling what you want to say with your photograph. It could be a collaborative process, with an art director, representative, or trusted friend.

Every person edits with his or her own personal agenda. The photographer will edit their take with the personal eye of a photographer. The art director/picture editor will edit with their eye toward the concept or story. A rep will edit from the standpoint of marketing the artist. Everyone looking at the same session, everyone has a different opinion.

Mark Holhtusen mentioned, that with his very complex CGI photography work, it's the models expressions that he first starts to build his multi-layered composites from.

Maslov states, "An emerging photographer needs to edit their work much more tightly. At the beginning of their career, just to get people to look at your work and be remembered, they should have a narrower focus. Either it is style or thematic. This way they can establish themselves for one thing. Then later on when they become better known, they can stretch out in different directions."

Connie Wood, Senior Art Director at Charles Schwab, has worked on a number of library photo shoots, talks about how she goes through the process.

During a shoot we follow a scenario list throughout the day and as we work through the various scenarios we tag all the images shot with a naming convention that maps to the scenario list. Each scenario gets a folder which helps keep all editing contained to the objective of fulfilling on each scenario we set out to capture. Of course throughout the process of editing we always find hidden gems/unexpected moments, which capture a scene or an emotion better than anything we could have possibly staged. These are the shots I look for when I edit and I add them to the final batch of selects and try to sell them to the larger group in the final approval process. Generally many of those shots make it into the final batch.

I do like to see everything from the shoot. I do not expect the photographer to edit the shoot. I do however greatly appreciate it when the photographer recommends a set of selects from the shoot--his/her favorites. Generally I honor these selects and add them to the final set presented for publishing.

Generally my first impressions/instincts are the final published images. Often I can already see the final selects while on set. Seeing these shots as they happen often is the cue to move on to the next scenario.

Most people agree it's advantageous to have another person take a look at the edit. It's amazing what a set of "Fresh Eyes" can pick up sometimes. Plus most creative people agree it's their first impression that still holds up after reviewing the whole lot. I think we have all been in a portfolio presentation with an art director who flips through a book in rapid succession and knows instantly if it is a yes or no. That art director is editing your work right there in front of you. It's their first impression they are judging your work on.

Opinions vary as to what stays and what goes. Maslov remembers one time when one of his photographers, Sue Tallon, shot a personal series called "Ikea Food" a departure from clean classic appetizing food photography. At first Norman didn't think it would be a good fit on his website. Sue posted them on her site and received calls from art directors to shoot similar style work because of the high concept behind the photos. She was hired to photograph subject matter that replicated the look and feel of her images. Norman realized that there are AD's out who will be looking at some food photography from the conceptual point of view.

Personally I find it very intriguing to view photographers contact sheets and edit. In the past few years there have been great exhibitions of Diane Arbus and Robert Frank's work at the SFMOMA. At both of those shows, some of their contact sheets where displayed. I was able to see how Diane approached her subjects and get her shot. You can almost see her slow approach and capture of the person. While Robert Frank's contact sheets displayed a shooting style of quick one shot and scram approach. Then Frank would select that one shot from what seems as a random capture. You read their histories and you start to understand their personalities, you then see it in their edits. Imagine if Diane Arbus edited Robert Frank's work and visa versa?

What New Lab Meant to Us




Being the newest managing editor of the San Francisco APA chapter "Advertising Photographers of America" I had to come up with story ideas. This is the first story to be published and it is on the local E6 processing lab "New Lab." They closed their doors in May after 29 years serving the photography community with great service and friendship. I asked a number of photographers to submit their thoughts about New Lab. Below is the artical.

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New Lab closed its doors last month. Its closing marked the end of an era here in the San Francisco photography community. The lab basically processed film, but what it meant to the community was more than that.

When I moved to San Francisco from New York City back in 1989 my experiences with E6 labs were typical of most New York photographers. We had all our film delivered by messengers and our communication was a short direct telephone call to an anonymous voice just giving processing instructions. Arriving in San Francisco I was informed of the two E6 labs in town that the majority of professional photographers patronized: Chromeworks and New Lab. I selected New Lab because they were on Cleveland alley, and closer to my studio at the time.

The local community did not embrace the concept of messengering film like it did in New York, I had to drive to the lab and actually drop it off and pick it up. Slowly, I started reviewing clip tests and asked the advice from some of knowledgeable people behind the desk. They were great.

Then New Lab moved to Bryant Street and had ample parking! More and more photographers and assistants started to linger and chit chat. We all became more familiar with Wendy, Paul, DanO, Lynn, Bill, Hugh, and Brian. New Lab had become the town square for photographers -- a place to unexpectedly bump into an old friend, or an assistant's opportunity to meet a new photographer. And for many years, they New Lab generously provided office space for both the APA and ASMP, in exchange for newsletter ads. They became a regional hub.

My friend Tom McAfee remembers going to the lab being one of the most pleasant parts of his day. "I know going to the lab was the highlight of (my dog) Sam's day -- he would somehow know and actually sulk if I went without him -- but who could argue with being fed treats by the likes of Wendy, etc.? They were always cutting the edge, and willing to share what they knew. A really, really great business model."

For Hector Herrera it was his first job in the photography world. "I really learned about professional photography. It was always an experience to look at the work of the best photographers, not only in the bay area but from all over the country,"

Richard Morgenstein aptly described some typical experiences many photographers have encountered at New Lab.

As I sit here in my digital dungeon, having just spent the past 3 hours retouching corporate portraits (NOT outsourced to India or Peru or Hungary), I am pretty sure that the closing of the New Lab marks the end of a photographic era.

While writing this, I am reminded of how much I miss from the film era. I especially miss the editorial portraiture world prior to the dot com bust. At the time, we knew we were having fun and making money, but only in retrospect is it clear what we have lost.

The death of the New Lab caps this loss. In San Francisco, there were basically two E-6 labs that catered to the professional, and the New Lab is the last to close. To say that they "processed our film" minimizes their importance to the photographic community.

I used both labs at times (remember cross-processing?), but due to the size and the physical layout of the New Lab, it was the easier place to socialize. I do not need to list the professional reasons that we used the New Lab, long considered one of the finest labs in the world. But instead I want to talk about having a place to meet other photographers, to see their work, to get and give advice, and generally to help build a community.

The average editorial shoot could take three trips to the New Lab (drop film for a snip test, come back to check the snips, and make one last trip to edit the film, package it and ship it off via Fed Ex). Since many of us were shooting upwards of 175 assignments a year, there were plenty of people to connect with at any of these stops.

This sense of community led directly to the formation of Editorial Photographers (EP) and its groundbreaking contractual deals with Business Week and Forbes Magazines. Many special circumstances allowed photographers to come together cooperatively in San Francisco, but without the New Lab as a catalyst, these things might never have happened. With the closing of the New Lab, we are reminded of our community's loss in the post-film world.

This is a belated but heartfelt thanks to the New Lab and, its employees and founders. We appreciate all of the support over the years. You will be missed, but never forgotten.

And finally Hunter Freeman felt comfortable enough to show his devilish charm in his remarks about the end of the New Lab era.

They were just the best film lab I've ever dealt with, including my six years in Manhattan.

Wonderful people to work with, always looking for perfection in what they did, and always ready to go the extra mile to help on any project. A hub of the photo community, you could always count on seeing other photographers there.

I played an April Fool's trick on them one time. I told them I was shooting a very important job, with very little time to shoot and test. I sent one sheet over to them for a super rush test, making sure that they would call me to give their opinion on the exposure - I had no time to go see for myself! :-) They called with horrible news, and said that there was "nothing on the film." I was shocked! :-) I asked if there was absolutely nothing on the film at all, "Not even a speck of anything, anywhere?" They dutifully checked again while I was on the phone, and said there was something small in one corner of the 8x10. I said, "Get a loupe and see what it is." That's when they realized what I'd done: In very small white type, in one corner of the 8x10, were the words "April Fool's!" They swore they would get me for that, though they never did get any payback - they were just too nice.

Super people, great service, great processing. New Lab was the best.

Personally, I remember one story about my trust in New Lab: while shooting a catalog in Arizona, a strange man came up to me and offered to process my E6 at a great price. I was suspicious, partly because he was wearing a black leather jacket and loafers in the middle of the dessert, but I just couldn't bear to have anyone else but New Lab touch my film. I simply didn't want to miss the secure feeling of coming home to a safe and friendly place, knowing there were people who cared just as much as we do about our film. New Lab was a community, a shared sense of professionalism; and it didn't have to be barked out loud for the whole world to hear. For those of us who walked though the doors, we knew we were entering a special place.