Creative Director: Shanti Marlar
Photography & Video Director: Jennifer Laski
Photo Editor: Samantha Xu
Photographer: Joe Pugliese
Heidi: I know the band has a particular aesthetic, did they have any requirements?
Joe: Since this was my third shoot with them, I have sort of gotten to know some of their preferences, but having said that I think they probably prefer to be surprised and maybe like to hear that the photographer has good ideas. It’s hard to know what to expect, which makes it fun and challenging in equal measure.
The band has been heavily photographed, did that fact play into your approach for the shoot? Did you want to do something different that hadn’t been done before, is that even possible?
For sure, they have not only been photographed by all of the top music and portrait photographers over the last decades, but the sheer volume of shoots they have done have made it hard to think that you’re going to wow them with anything that you do. It helped me to not try to mine the archives for inspiration and/or for things to avoid, and just approach it honestly as I would any other shoot. In the end I just wanted to make interesting photos and I wasn’t too hung up on whether it had been done before. I’m not a high concept photographer, and since I started my career in photojournalism, it’s important to me to just build a world they can be in and shoot organically once they are in it rather than have exact compositions and arrangements in mind beforehand.
What made this shoot unique as you’ve got a stellar gallery of subjects.
The most unique thing about shooting U2 is how much I respect their creative output and the fact that Bono especially Continue reading "The Daily Edit – Billboard: Joe Pugliese"
Modern Postcard. Who designed it?
I designed this one. I’ve always left it up to someone else. I was focusing on the advertising market so I included archive (film) and new material (digital) that I thought went together to show off my personality. The logo/name was designed by Jenna Yankun at Jyakun.com who also did the sheep gif on my website. Tell me about the images? Meat Trump comes from my series of faceless people. I wanted to show as much of a person without showing him. Shhh- it’s my uncle Al- the wig was made by Ashley Naegle at the Seattle Opera. I had the setting in my head of a butcher shop, white walls and metal and the grinder with the meat. The meat was on sale at Safeway too so no brainer. The potato chip bag is all about gluttony. Saw it in my head, sketched it, collaborated with an AD to shoot it. Joel is an actor at a theater company here and is fun to shoot with. Cubicle Wall is another collaboration on an image in my head of awkwardness. I like pratfall and comedy but it’s got to be subtle… also I think when I light stuff I default to sitcom lighting. It ain’t supposed to be ‘lit’ so you light an area motivated by reality/practicals/sun and let the talent do their thing. I try not to date myself with lighting or ‘technique’ – remember how cool cross-processing was? not The office spread is an outtake from an ad I shot in Chicago for LeoB. The shot called for an office set full of redundancies. Originally they wanted like 12 and we ended up with near 40. I pitched the af-am twins and it happened! That is one Continue reading "The Daily Promo – Andy Reynolds"
I’ll show you. I hereby deny that gravity exists. Even though the book I just dropped fell, and hit the couch, still, I insist there’s no such thing as gravity. Here’s another. I deny that the Federal Bureau of Investigation is an inherently conservative institution, founded by the famously anti-leftist J. Edgar Hoover. Who cares that he assassinated Black Panthers? And that as recently as 2016, we all thought James Comey was a conservative fascist who ruined Hillary Clinton’s chances of getting elected. Now, these stiff-suited-corn-fed-white-boys are suddenly smoking weed with Jerry Brown? It’s ludicrous. But I didn’t mean to get off on a political rant today. Rather, I was thinking about all the people out there who deny that human activity is changing the Earth’s climate patterns. Theoretically, that should not be a political statement. There is vast empirical evidence supporting the idea that gas emissions trap heat within the planet’s atmosphere, which affects different places in different ways. “An Inconvenient Truth,” a movie now almost 12 years old, predicted an increase in the incidence of extreme weather events. In addition, traditional weather patterns were meant to shift as well. Any sentient person can see that in America alone, we’ve been hit with massive floods, hurricanes, droughts, mudslides, and wildfires. (Hell, we even have man-made earthquakes these days too.) Here in the Rocky Mountains, Colorado, New Mexico, and Utah are having their worst winter in recent memory. There’s almost no snow at all. (Though here at Taos Ski Valley, our new billionaire owner has certainly been willing to pay for man-made snowmaking. Until the water allotment runs out…) It was so warm in December, January and now
Art Director: Mike Novak
Heidi: How difficult was it to reach Tonya?
Fashion Editor: Eden Dawn
Writer: Margaret Seiler
Photographer: Holly Andres
Margaret: There are a lot of fake sites and fan sites for Tonya Harding that claim to be official, but I found one that seemed like it might actually be connected to her, and had been emailing a contact I found there every few months for more than a year. I wanted to talk to her about growing up in Portland and her life today, not rehash “the incident.” I had read and seen plenty of interviews with her and knew her responses on that tended to sound kind of canned and repetitive. With the movie coming out at the end of 2017, we were finally cleared to set up an interview in October. Since we were all in such close proximity we made arrangements to watch her skate at her regular rink just over the river, with an interview and photo shoot to follow at a nearby country club.
Why did you choose Holly?
We hired local talent Holly Andres, who has made a career out of telling complex emotional stories through her photography. We photographed Tonya Harding in the club members’ private wine room.
How did the styling direction unfold?
Her manager suggested our style editor, Eden Dawn, just take Tonya shopping at the mall for something to wear. But Eden and I wanted her to look like a movie star. I could remember seeing images of her on TV when I was a skating-obsessed kid (well before “the incident”), and it had often seemed like people had gone out of their way to get unflattering shots or to cast her as a certain type of character. There are people who view her as a Continue reading "The Daily Edit – Portland Monthly: Holly Andres"
Anthony Wright who is the owner of Aw Litho a printing firm which specializes in high end offset printing. He’s been doing this for 10 years and is a master of his craft. http://www.awlitho.com/ Who designed it?
I was blessed to have Heidi Volpe layout and design the promo. She has the wonderful ability to see clarity in chaos combined with an admirable amount of patience. It took me quite a while to choose which images to show. It was great to have an objective pair of eyes of a good editor to select, organize and paginate. She saw connections and relationships in feeling, light, color, mood, textures, and tone in my photographs. Heidi is currently the design director of Vogue India. https://heidivolpe.com/ I would prefer to be out taking pictures, it can be difficult for me to sit still at computer culling and editing images. What really helped me with the initial image selection was printing 8 x10s and taping to them my office wall. Seeing the images every day, reminded me that sometimes the most dramatic image wasn’t necessary the picture which lingered in the mind. Tell me about the images?
The photographs in my promotional magazine are a mix of terrains, in the human face and landscapes. The portraits are from commissions, magazine, advertising and personal work with subjects ranging from pro athletes, cowgirls in Florida to an 80-year-old hiker and everything in between. The landscapes were taken in the Highlands of Scotland, rainforests in Olympic National Park and along the rocky Pacific coast, from Carmel to Vancouver Island. It’s funny that my approach or method to each was vastly different, yet the images each have a connecting thread running through them. With landscape photography it’s up at dawn, Continue reading "The Daily Promo – Jeffery Salter"
(Where I’m from.) It never happens. But lately, my home state has crept back into the dark recesses of my consciousness. It began recently enough, when I found myself reading Benjamin Franklin’s autobiography. My son, Theo, was writing his first term paper, and chose Franklin as his subject. I saw the book sitting there, and picked it up out of curiosity, more than anything else. When I read that old Ben first landed in New Jersey at Amboy, not 10 miles from where I grew up, it definitely piqued my curiosity. The book was a bit of a tease, if I’m being honest, because as fascinating as it was to be inside Franklin’s mind, he died writing it, before he got anywhere near the Revolutionary War. The man spent pages and pages describing a system for removing dust from the streets of Philadelphia, but never thought to speed it up so we could hear what he thought of George Washington, or the Revolution in general? Mind-melding with Ben Franklin, straight out of the 18th-century, reminded me of the feeling I had walking the Monmouth Battlefield, or going on school field trips when I was young, and being told that Washington had slept there. At the moment, I’m deep into binge watching an AMC show about the Revolutionary War, with the awkward title of “Turn: Washington’s Spies.” (Seriously, for all the money these people make, nobody thought to come up with a better title?) The show is exceptional, so you certainly have my recommendation to watch it yourself, but it’s also been feeding the odd homesickness as well. (As an aside, the show gives good evidence that the New Jersey/Long Island Island rivalry goes back to the old days,
Art Director: Jim Newitt
Heidi: What was different about this course that was a challenge for you to photograph?
Photo Editor: Grant Ellis
Photographer: Tom Shaw
Tom: The biggest challenge with this course was the Wind and the light. The course, and this particular hole, is quite exposed so you get your share of wind and rain. I love this kind of wild weather though – it feels good to spend a day walking in it. Did you purposely choose to shoot more end of day?
Yes I did. I tend to plan these shoot around and evening and a morning – this gives me two chances at getting the best light. I was lucky as an old school friend lived within yards of the course so I stayed with him and had a very short walk to the course. What type of direction did you get from the magazine?
They explained about the detail of the course and pretty much gave me free reign to shoot it in all its elements – from wide DPS views to the fine detail such as the cut grass. Because Summer in Scotland the late evening light lasts so long (almost until 10pm), I had plenty of time to really walk the hole and see all the details. When you are approaching such a legendary course which is heavily photographed, is your process any different?
I don’t really do much research – I’m not the biggest golf fan, but I am a fan of the landscape in which it sits, so I won’t look at other pictures, as I need to see how and where the light is, and I want to see it with fresh eyes. I enjoyed your sporting landscape gallery, would you say these image fall into that category or does there need to Continue reading "The Daily Edit – Golfer’s Journal: Tom Shaw"
PS Print in Oakland CA
https://www.psprint.com Who designed it?
Me! I used InDesign and retouched the photos myself as well. I actually love the process of editing and laying out the images and find it a nice way to process through the year’s work. I also find it interesting to make visual connections with spreads and the sequencing of images. Tell me about the images?
They are a collection of my favorite images from editorial, commercial and personal work from the past year. Some images were taken from an upcoming cookbook I did with Mark Bittman (Clarkson Potter, 2018), some from a personal photo series about people’s comfort food (which I’ve been working on for the past 5 years) and some from commercial shoots. Even though it was tempting to add more photos, especially portraits, I tried to limit myself to mostly still life and food so the portraits didn’t appear too random. I also like to send out the kind of images I like to take so people think of me for these kinds of shoots. And I like food and still life A LOT :) How many did you make?
I typically do a smaller run and this was just 200 booklets. I send to a select group of my favorite creative directors, photo directors, photo editors and other people whose work inspires me such as chefs, restaurateurs and artists. I really want to target the people whose call for a collaborative project would make me excited. How many times a year do you send out promos?
Typically I put together a book or booklet at the end of the year for an annual summary of my favorite work from that year. I often also send out limited edition prints to Continue reading "The Daily Promo – Aya Brackett"
Director of Photography: Tara Guertin
Art Director: Jason Seldon
Assistant Photo Editor: Rachel McCord
Photographer: Dina Litovsky
Heidi: How do you approach travel stories?
Dina: I always like to do a fair amount of research beforehand. That involves reading up about its culture, people and landmarks. A useful place to start is past travel articles, which are also great for initial photo research. Looking at previous images of a city both gives me an idea of what to expect as well as what to avoid. It’s fun to be seduced by certain things when at a new location – everything seems exciting – but then it’s very easy to unwittingly repeat existing images of an over-photographed place/landmark.
Once on location, I like to have a first day where I walk around the city only with an iPhone, getting a feel for the city and making quick images of locations where I’d like to come back to.
In certain cultures locals are leery of being photographer, how do you deal with this?
Learning the rules of that culture and respecting them. Even if there is no big language barrier, I like having a local guide who can help me navigate the intricacies of unspoken street rules.
How many days was your shoot.
Do you give yourself an extra day to fill in any gaps or round out the full narrative?
I try to do that as much as possible with each assignment. I always start editing my work after the first couple of days, during which I allow myself to shoot on instinct. After that, I approach the shoot with more intent, filling in the gaps daily and fleshing out the story.