Autumn Yarn – Gen NEXT Photographer Anita Anti

This photoshoot was made last year in November. All started when we went hiking to the Hudson Highland State Park on one late fall weekend. It was so beautiful that I decided to come back and do the photoshoot there. Around that time I met my model Inna. She lives in Connecticut and drives a car which is an awesome thing for car-less New Yorker. I offered her to travel there while there were still yellow leaves and do something interesting.

Shoot NYC is back, October 25 and 26

We are three weeks away from another Shoot NYC event! Oct 25-26, from 10 AM to 8 PM, industry leaders Hasselblad and broncolor will host the event that brought 2,000 people to NYC last year (and four consecutive years) to the historic Terminal building. This year, some of your favorite speakers are back, alongside some new faces.

The event, originally established in NYC four years ago, has spread internationally. Shoot NYC is an exciting and informative forum based on the premise of building a photographic community. In addition to a wide range of free professional photography seminars, industry leaders broncolor and Hasselblad will help you learn how to harness and integrate the market’s most advanced photographic tools into your business, improving both your photography and your bottom line. Top industry professionals will host workshops and hands-on seminars in an array of subjects, whether you’re interested in fashion, portraiture, commercial, stock or repro.

This event is ideal for professional photographers, photo assistants, advanced students, or any imaging professional that would like to learn about the latest products and techniques being used in the digital capture market.

The new Hasselblad H5D camera will be there and ready for hands-on demonstrations.  Shoot will also feature all the new products from Hasselblad, broncolor, FOBA, Sunbounce and Sun-Sniper, including the broncolor Move 1200 L battery pack, the Sunbounce Bounce-Wall, and the FOBA TURNO medium-sized turntable.

And Shoot NYC will be the first stop for the winning prints of the Hasselblad Masters 2012 gallery show!

The Hasselblad Masters represent photography at its finest; at its most inspired, most communicative, most beautiful. They are young, old, western, eastern, classical, experimental, traditional, modern, and futuristic. They have perhaps but one thing in common: they are masters at conveying an instant, an emotion, with images. Masters of the art and craft that is photography.

Event location: LA VENUE (Terminal Building) – 608 WEST 28TH STREET, NEW YORK, NY 10001












For more information and to register for Shoot NYC, click here.


Seminar Schedule


10:30AM – 12:00PM
Ghada Khunji and Viktoria SorochinskiSponsored by LUCIE

Join New York-based photographers Ghada Khunji and Viktoria Sorochinski in conversation. Both have been recognized by the Lucie Foundation’s sister-effort, International Photography Awards, and will share their projects, discussing their individual approaches to being working photographers.

10:30AM – 12:00PM
Location Lighting Workshop

Join us in viewing some of the iconic and award  winning images Rick Friedman has produced. Hear some of the anecdotal stories from behind the scenes.Rick will show some of his images from his “Location Lighting Workshops™” and demonstrate how the photographs were created, using speedlights, studio strobes and Sunbounce.   Rick Friedman has been a photojournalist for over 30 years.  His work has produced over 75 book and magazine covers and has been in hundred of magazines around the globe.

12:15 PM – 1:45 PM
John HarringtonSponsored by APA National
Licensing, Your Copyright & Negotiations

Before you’ve signed the contract with a client, you’ve had to negotiate fees, and the language that grants them the rights to your creative efforts. Ambiguity in your licensing language a problem? You’ll learn how to implement the Picture Licensing Universal System (PLUS) within your contracts (and metadata) so that everyone is on the same page about what rights were (and were not) granted. Also, a simple 3-step process for registering your copyrights will be shown.
12:15 PM – 1:45 PM
Geek out! 5 Unique Broncolor Tools, 5 Kick-Ass Images

Photographer geeks unite! We all love playing with unique photo tools, and Broncolor has some incredible one-of-a-kind light modifiers that give us specialized and unusual effects. Fashion photographer Lindsay Adler will share some her favorite unusual modifiers, and utilize them to make some high-impact images!

2:00PM – 3:00 PM
Bryan O’Neil Hughes
Lightroom 4 and Photoshop CS6 for photographers

Bryan O’Neil Hughes, Senior Product Manager, Photoshop, will take you through the most current, time-saving workflow via Lightroom and Photoshop CS6.  In this presentation, Bryan will show how these two products combined will dramatically accelerate your post-production while delivering control never before available.

2:00PM – 3:00 PM
Ryan Enn Hughes & Arash Moallemi
Building a set step by step

Join Ryan Enn Hughes and Arash Moallemi as they discuss their journey in Photography and Motion Pictures, and demonstrate how to build flexible lit photo set from start to finish.Ryan and Arash will then demonstrate various approaches to building a lit photo set, using both flash and HMI lighting. They will explain how lighting can be used to achieve different aesthetic effects, both with male and female subjects, and how one can quickly alter current lighting set-ups to create multiple looks within a tight timeframe.This is a valuable demonstration for anyone interested in using creative lighting to improve his or her next photo shoot.

3:45PM – 5:15 PM
Alexandra Nikki & Aurelie JezequelResource Magazine
Survival guide for the Crew-less Photographer

With more than thirty years of combined industry experience, photography producer Aurelie Jezequel and prop stylist Alexandra Niki share their “Survival guide for the Crew-less Photographer”. Whether you’re the victim of a small budget, or someone calls in sick at the last minute, avoiding panic and knowing how to compensate for those missing in action can make or break a shoot, not to mention, spare your own sanity. As co-founders of Resource Magazine,  Aurelie and Alex have been serving the photography community at-large with sage advice, inspiring encouragement, and practical tips since 2007. Join them for their Hands-On presentation and surprise guests!

3:45PM – 5:15 PM
David RobinSponsored by Santa Fe Photographic Workshops
Lighting Dramatic Portraits

Award-winning portrait and beauty photographer David Robin, whose clients have included Levi Strauss & Co., Gap, Sony, Coca-Cola, American Express, BMG, Blue Note, and PolyGram Records, explains and demonstrates his techniques for achieving meaningful portraits, covering the gamut of editorial, beauty, advertising, and journalism. In this workshop, David aims to briefly decode the mysteries of portraiture and review techniques, through live demonstration, to help participants consider their own unique voice and style.
5:30PM – 6:00 PM
Lara Jade –
The Business of Photography

With the rise of digital media recognition in today’s industry, every photographer should consider the ways in which online marketing can work within their marketing strategy and stay ahead of the game. In this seminar, I will be referencing my own personal journey, and giving tips on business success, networking and how to expand your business worldwide.


10:30AM – 12:00PM
Peter Stig and Ove Bengtson
A Hasselblad insight on the H5D

Ove Bengtson, Product Manager for the H camera system, and Peter Stig, Director of Professional Camera Products, will give you an insight in the new H5D camera including:
– what’s behind the new H5D design
– what does the photographer gain from this
– functionality of TrueFocus II and Immediate Focus Confirm
– H camera lens system keeps growing: and for a good reason.
– H5D camera configuration, a great tool when working with rental cameras

10:30AM – 12:00PM
Shooting Musicians 101: Basic Creative Lighting Techniques to Shoot Music Artists

If you’re looking to add a little excitement to your portrait photography, there’s nothing like shooting a music artist to get your creative energy running wild.  Most music artists look for photographers that can come up with “outside of the box” ideas and concepts to help them communicate the vision for their music.  You become partners in creating a look that helps them stand out, so it opens up your lighting playground.  Kawai has photographed music artists like Kanye West, Janelle Monae, Little Dragon, The Shys, Snoop Dogg, Ice Cube, Quest Love, Queen Latifah, Melanie Fiona, Common and many more.

12:15 PM – 1:45 PM
Bryan O’Neil Hughes
Photoshop CS6 for photographers

Bryan O’Neil Hughes, Senior Product Manager, Photoshop will take you through a tour of Photoshop CS6’s tools made just for photographers and retouchers.  The enhancements shown will save time, add polish and bring a new level to your photography.

12:15 PM – 1:45 PM
Lindsay Adler
1 Modifier, 5 Ways: The Beauty Dish

A beauty dish is an amazing tool for creating a variety of lighting solutions for portrait, beauty and fashion photography. This one modifier can be utilized to create drastically different effects. Fashion photographer Lindsay Adler will show you the beauty dish used 5 ways for 5 great images!
2:00PM – 3:00 PM
How to Distill your Brand, Expand, and Opening New markets

Frequently photographers reach a point in their careers where they are strongly interested in vastly increasing their reach and the markets they would like to work in. Every market has its own needs and expectations, and can require a different approach. For example, regional or British marketing or advertising might be more cerebral, or sentimental. Different segments of the US advertising or editorial market have specific conventions and needs as well. You must know how to tailor your message and materials to new markets while staying true to your brand. “One size fits all” simply does not work.This interactive talk will help you to identify your brand, and to learn how to analyze new markets in order to create successful marketing messages and campaigns that will bring you more attention and work.

2:00PM – 3:00 PM
Lighting and the Dramatic Portrait

The difference between an ordinary photograph and a truly striking portrait lies in the photographer’s ability to pierce the obvious and reveal the intimate nature of the subject. The play of available angles, light and shadow, soft shapes and hard lines are tools to create not just a photo, but a work of art. In this demonstration, you will add these tools to your camera bag. Michael will explain his techniques for creating light and shadow and will demonstrate how he creates his stylistic and dramatic images. He will explain his specialty lighting, and show you the setups he used to create the striking signature looks for this new work. The last few minutes of this seminar will be a Q&A.
3:45PM – 5:15 PM
Photo Career Bootcamp: Guerrilla Marketing & Strategies for the Photographer on a Budget

For those of you with big marketing budgets, this seminar isn’t for you! But if you’re a bootstrapping photographer that wants the secrets to marketing without a budget – keep reading. Grab your notebook and spend a power-hour with Kawai, learning quick, easy and FREE ways to market and grow your creative business. Get excited and get ready to turbo boost your marketing strategies and increase your bottom line.

3:45PM – 5:15 PM
Andre Rowe
Six Must Have Light Shapers and Why

Andre Rowe will share a few examples of the creative uses of many of the available broncolor light shaping modifiers. He will provide a demonstration showing a comparison in the midst of a live shoot for the audience to see. We will explore what makes the PARA 88 a must have tool in your lighting system as well as play with other lightshapers that you may not of given strong attention to. Andre will also address questions and invite audience participation. Andre is fashion and commercial photographer based out of Miami.He travels the country not only for work, but also for the purpose of educational seminars.


Alaska BIG jump shoot with Matchstick Productions and Scott Markewitz

I recently joined Matchstick Productions and a crew of 5 of the best freestyle park skiers in the world for a late season film and photo session on a custom made jump at Alyeska Ski Resort in Girdwood. The park crew at Alyeska had spent almost 2 weeks building the jump with snowcats, chain saws, shovels and a lot of manpower to create one of the biggest and most aesthetic looking jumps I’ve seen. The weather is unpredictable and often cloudy in Alaska, but one day after we arrived the sun broke out and we were able to shoot the 4 days that followed.

Because the days are long and we wanted to shoot in the late afternoon light, we loaded the lift at around 5pm to start shooting around 7, which still gave us almost 3 hours of great light to work with. It was a little strange to wait all day to go up on the mountain after it’s normally closed, but it was well worth it.

I took the Broncolor Mobil 2 battery powered strobe system with me on this shoot. It was the first time I had used the Mobil 2 system, and was instantly impressed with it. The packs are extremely well built and easy to handle, the controls are well designed and laid out, and they have plenty of power for most location uses. At first glance, the small, compact Mobil flash heads seem like they wouldn’t be able to put out enough light for outdoor action photography, but they performed beautifully. Even shooting at near full power, the flash durations were very short, freezing the action nicely, and the recycle time was fast for a battery operated pack. Everything about the overall design and attention to detail has been well thought out – things like the placement of the carrying handle, the quick and easy flash head connectors, the simple and straightforward charging plug, and the option of having symmetrical or 2 asymmetrical choices for light output make this system quick to set up and easy to use, without the quirks and connection issues that other battery operated systems can have.

For this shot of Colby West, I used two Mobil 2 packs with one head attached to each. Because there were 4 motion cameras shooting the jump in addition to me, I had to set up my lighting equipment out of sight of any of the camera angles, which only gave me one option of where to put the strobes – on the backside the jump. I would have liked to have more flexibility in arranging the lights, but this setup still gave me enough space to spread the heads out far enough to light the skier evenly in mid-air without interfering with any camera angles. I used … reflectors on the heads on 8 ft stands pointing up to the point in the sky where the skier would be at the apex of his jump.

Because the packs had to be hidden behind the jump, the built in RF system would not transmit through the jump, so to get around this, I placed a pocket wizard in a small hole on the corner of the jump that was wired to the pack. If you look closely in this photo, you can see the small black transceiver and wire running down on the corner of the jump. I adjusted the power output on the strobes to be about 1 ½ stops brighter than the ambient light, and we were ready to get the shot.

I talked with Colby for a few minutes about what trick he was going to do and what was going to look the best so I could plan my timing for the shot. That’s really the key to getting these kinds of shots. When you’re shooting action with strobes, you only get one chance to get the shot, so you need to know what the athlete is going to do and when he’ll hit the best part of the trick to get the timing just right. If you shoot too early or too late, the shot doesn’t look right.

Colby hit the jump 6 or 7 times before it got too dark and everyone involved with the shoot needed to get down the mountain. Luckily we had snowmobiles and lots of helpers, because skiing down the mountain at 10:30 at night with heavy loads of gear can definitely be a challenge.

Foto Care shares Tips on Renting Photography Equipment

Today, we’re interviewing Fred Blake, Business Partner and Manager of Foto care Rentals. Fred, having been in the photo industry for many years, has a particularly broad knowledge base incorporating both the shooting, manufacturing and retail sides of the photo industry. Fred has been with Foto Care for fifteen years.

First off, why would a photographer consider renting equipment?

Many reasons:

For the professional, if they’re in need of a product they may not currently own, or perhaps a piece may be too expensive for them to purchase at that time; this is where we can help out. Other times, we may have a photographer that’s called to do a very particular type of job where they may only need specific equipment once.

For passionate amateurs, renting allows them to take various gear out for test-drives to see what works for them. While at the same time, it gives them access to a broader range of gear when special occasions like vacations, weddings, births or graduations come up.

Most of the time it’s more economical, technology moves faster than the time it takes some equipment to pay for itself (especially digital and hybrid video cameras)

How do I choose a good Rental Facility?

Honestly, price shouldn’t be the primary consideration. Most rental houses are in the same ballpark. For us, we pride ourselves on working with our customers based on their budget restrictions or working within the specific budget for the project at hand.

Proximity and accessibility should be factored in as well. There may be times where on site training on a product may be the best way to learn.  Most importantly, a facility’s breadth and depth of its equipment is the leading reason as to where one should rent. Can a facility support what it rents? Can a facility suggest the best tools for the job? At Foto Care, this is what we pride ourselves on.

Talk to us about your staff’s knowledge:

Our staff has been with us an average of eight years, with some having been here for decades. The fact that we’re all passionate techies makes this not seem like work. We go out of our way to test drive every piece of equipment. It’s amazing how eager everyone is to get to know the hardware as soon as it comes in.  Plus, part of our job is to be able to troubleshoot with our customers over the phone so we all need to understand the ins and out of each piece of gear we rent.

All of us have our particular areas of expertise but everyone seems to have jumped on the video bandwagon in a big way. We are becoming video hybrid experts. Things have been moving so fast that keeping up is critical. Video is just exploding. We’re adding microphones, special lighting and lenses that we’ve never had before based on demand and interest.

Talk to us more about the depth of equipment you offer?

Having the newest/latest equipment available for our customers is critical. And not just one or two either. Our depth of equipment and inventory (usually having 10 or more of something) is key. For example: We have more then 90 broncolor powerpacks; more than anyone in the country.

Foto Care has built a reputation on Outstanding Customer Service. How does that apply to Rentals?

It’s always been important, I remember one time Avedon Studios called from India with a problem:  They were shooting the Dalai Lhama in 8 x 10 format with very limited time restrictions so every piece of film needed to be usable. With exposures all over the map, they needed to process the film by inspection so we ended up finding them night vision equipment to help them process their film.

These days, some of our newer customers will call to discuss various lighting scenarios they are considering and ask for our recommendations. Helping problem solve with them is one of the highlights of our day. In fact, often we’ll set up lights here at our facility to show them a particular setup. Fortunately, our facility is quite large and allows us to show a variety of setups to our customers. The time investment for us is important because this is their job at stake, and we see ourselves as a trusted partner in their business. And this doesn’t just apply to the working professional. We want all of our customers to be comfortable with the gear they rent from us. That’s why they keep coming back.

What can a customer do to ensure they get the best results?

1. Call orders in advance:

Most errors are made when under pressure. If this is unavoidable, check your equipment before you leave. Ten minuets at the counter can save you two hours in set.

2. Ask questions:

We’re not just handing out a box with no support. We expect our customers to ask us questions. In fact, we encourage it. We’d rather help answer all your questions when you’re placing an order or when you pick it up as opposed to when you are out on location or back in your studio. And b all means, keep asking questions until you are comfortable and satisfied. In photography there is more than one way to achieve most goals.

What do you recommend for customers consistently ordering over the phone?

If you start an order over the phone, get the name of the rental technician. This way, if you call to follow up with questions, there is continuity by dealing with the same person. We also except orders via email. Really, its whatever works best for you as a customer.

When picking up an order, what should customers know and do?

Go through your equipment. Look at it. We try to pack orders as accurately as possible but there can be misunderstandings. Sometimes funny ones:  Someone the other day asked for a “Gary Coleman” C-Stand. Huh? Hadn’t heard that one before. What they wanted was a short 20” C-stand versus a 40” stand. With all the slang in our industry, it’s easy to misunderstand what folks are sometimes looking for.

What are some of the things to keep an eye out for?

Clean, maintained equipment, especially clean sensors. It’s a matter of pride with us. You can tell a lot about a rental facility by how clean and well maintained their inventory is.

Anything else people need to know?

All rental houses in NYC require deposits, valid identification, and, in some cases, proof of insurance. It’s a very good idea for photographers to have insurance. This not only protects the photographer but the rental department can take a reduced security deposit for the value of the deductible.

Is there anything else you want customers to know?

Foto Care constantly offers seminars and lectures for continuing education of our customers so check our website and sign-up for the Foto Care Newsletter which comes out twice  month.  And get out and shoot.

An Interview with broncolor Featured Photograper Chris O’Connell

o How did you become a photographer? Describe your career development?

I have been into shooting photos since I was 12 years old, my dad was really into it on an amateur level and gave me his old Mamiya Sekor and I started shooting my friends skateboarding. I didn’t really think I could make a living at it, so I went to Business School and majored in Computer Information Systems. I moved to Colorado after school and ended up shooting my friends doing cool stuff: Ice Climbing, Rock Climbing, Kayaking, Skiing, Snowboarding, etc. I then got a job with the local newspaper, the Vail Daily, that was my first full time photo job. After that things in the editorial world started rolling and within a year or two, the commercial clients starting coming because they liked my work in the Magazines.

o More specifically, was there one or more life changing moments that helped you move to the next level and become the photographer that you are now? Perhaps a big break, a perfect mentor, a movie, a mystical moment?

I have always worked really hard on the business end of things, delivering on time, providing logistical support and whatever else I can do to make my clients life easier. I think that was how I got my break in editorial work in the early years, was because I took it upon myself to write articles as well, which saved all the magazines money, because they could send one person on a trip instead of two. That led to my first Staff position of Senior Photographer at Snowboarder Magazine in the late 90s.

o How do you learn your techniques?

I am a firm believer in learning by doing, being out in the field and pushing it and learning by trial and error. That cost me a lot of money in film back in the day, but now with digital it doesn’t get any easier. I have taken some workshops over the years to learn more about the processing elements. I recommend D-65 to everyone.

Chris OConnell Shoots the First 1/500th Shutter Wireless Synced Flash Sequence Morph Photo from b film on Vimeo.

o Who are your photo heroes? Or who has inspired your career?

I’ve always been into Sante D’Orazio, I think it was that shot of Stephanie Seymour back in the day. I like Cartier-Bresson, Steven Klein and anyone who shoots action or snowsports. People who inspired my career are the people that listened to me and took time out to give me advice as I was developing, guys like Peter Freed, Jack Affleck, TR Youngstrom and Kevin Zacher.
I like anything with a vagabound type looseness to it, that’s kinda my style, I like a lot of the photography in Vice Magazine.

o What is the worst part about doing what you do?

Avalanches are a huge factor when I am shooting snow, I have had quite few friends lost in accidents and avalanches. It weighs on me a lot when conditions are bad in areas I am in, I spent a month in Interior British Columbia during their worst avalanche cycle ever this year and had a couple close calls, it was a relief to get on the plane home.

The travel can be tough, not necessarily the act of traveling, but the ‘bag wrestling’ as we jokingly refer to it. On any given trip, I have three to four 70lb bags/boxes checked and some seriously heavy carry on. It’s more than one person can handle, so that can be tough, especially if I am traveling without an assistant. I am a location specialist and must pack everything I need, as many locations I go to don’t have the support of a big photo house anywhere near by, so backup gear is a must.

I should also say that the act of packing all that gear really sucks.

o What is the best part?

The Travel. I have seen the so much in the world. I have been to Lebanon, Japan, Indonesia, China, New Zealand, Alaska, Chile, and all over Europe. I am always going somewhere new, whether it’s here in North America or abroad, it’s rare I don’t go to at least a few new countries every year. The people I have met over the years and experiences I have had are priceless.

· Learning from the Pro

o What are we going to shoot today?

The first ever 1/500th Shutter Speed Remote Synced Flash Sequence Morph

o How did you learn how to do what you are about to show us?

I got the idea from my friend Chase Jarvis, he was in New Zealand when I was there shooting this type of sequence, he was running a tethered sync and shooting at 250th. The wheels started turning and I decided that I wanted to try taking that idea to the next level.

o What tools are you using to make this image?

Broncolor Scoro A4S and A2S, Canon Mark IV, Zeiss and Canon Lenses, Pocket Wizard TT5, Honda EU series generators

o Why did you choose these tools?

These were the only tools I could use to do something like this.

o What features of the equipment that you use make it easier to do your job?

The Scoro packs allowed me to monitor my flash duration on the digital readout and they recycle fast enough to shoot a 24 frame sequence at 8fps. The TT5 Wizards allowed me to sync at 1/500th wirelessly with their new hypersync settings which are adjustable by plugging into your laptop.

o Did you use competing products in the past? What made you change?

I have shot Elinchrom and Profoto in the past. The Scoro packs are super adjustable, user friendly and produce great light with banger recycle speeds and solid flash durations.