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Save the Date: Shoot-NYC

Shoot-NYC, the annual professional forum held by industry leaders broncolor and Hasselblad is back, with exciting new photographic forums and live shooting sets that incorporate the latest photographic technology.

By attending Shoot-NYC, you will learn from top industry professionals. Educational seminars will cover topics that range from reproduction, fashion and commercial photography, to the ever-changing business of photography. Hands-on demonstrations will encompass advanced lighting techniques, as well as pre and post production, cross over lighting (still and video), and video production lighting. In addition, one can take a tour of the gallery of finalists from the Hasselblad Masters Exhibition, which will make its 2011 U.S. debut at Shoot-NYC.  By attending, you will learn how to harness your talents to face the ever-changing photographic business.

The event runs from October 27 to the 28 at the Terminal Building (608 West 28th Street New York, NY 10001 ).

REGISTER HERE

Speakers and forums:

Room 1, 10/27

10:15 – 11:15 – Dave Mathews, “Tools & Tips: Under the Hood”

Image quality and product consistency remain essential for photographic excellence and client satisfaction. Today’s photographer must achieve both. A sustainable digitization effort, combined with beautiful imagery, equates to professional survivability.

This talk features specific tooling and work flow disciplines which help guide and inform quality image formulation, decision making, uniformity of style and distinguishable image product. These useful tips, practical tools and workflow specifics, when applied by determined photographers, not only ensure very high quality of product but often lead to new and repeatable discoveries.

The talk is short and concise, aimed at providing practical and sustainable image quality solutions for the working photographic professional. Creation of high quality files requires more than top-end equipment. Understanding the technology, pursing viable solutions, and discovering insightful diagnostics will help verify and ensure photographers that their files provide the professional results required for multi-use publications and long term archiving.

http://www.theimagecollective.org/

11:30 – 12:30 – August Bradley, “Developing a lighting strategy when shooting for still and motion. “

Moving from a background in still photography studio lighting into dual still/motion production and motion-specific lighting. August will examine productions he has done for fashion and advertising clients that have required both still and motion deliverables (for both web and broadcast uses), and how to efficiently and effectively develop a lighting strategy. He will also give an overview of motion lighting with an emphasis the areas that differ from lighting in the still photography world.

http://www.augustbradley.com/

12:45 – 1:45 – Dan Saelinger, “The Business of Photography”

A New York City based commercial photographer, Dan Saelinger shares his ideas on making it in the industry. Learn everything from Dan while he discusses such points as portfolios, equipment insurance, websites, blogging, representation and making a living at what you love. Dan will explain the fine-tuning of your business by delving into the following points:

– Setting Up Shop: Things to think about before you start shooting

– Promotion: What does and doesn’t work? How to get your work in front of potential clients.

– Representation: How to find a rep: is it needed for you?

– Making a Living: From smart billing to controlling costs – making sure your business is profitable

-Video: Stepping into video and what you need to know before taking that first video assignment

Working with clients such as Nike, Brides, National Geographic, Men’s Journal and many more Dan has had the experiences to understand the best approaches.

http://dansaelinger.com/

2:00 – 3:00 – Beth Taubner,  “The Secrets Behind Creating Powerful Brand Identity”

Beth Taubner is called the “Photo Whisperer” by many of her clients. In this talk, she will unveil the secrets of major American and global brands (some of whom she has worked with) and how their approach to branding applies to you.  Photographers and videographers: you will learn how to think like good brand strategists and express your unique POV in a consistent way using visuals, design and language. Beth will talk about what  it takes to define your brand, and how to apply it to all of your presentation tools, including your portfolio, website and reel.  By creating a strong, coherent and differentiated brand positioning,  you will enter, sustain, and maintain a happier and stronger role in the marketplace.

mercurylab.com

3:15 – 4:15 – Adam Sherwin, Resource Magazine / RETV, “Photography to Videography – Successful Strategies for Marketing New Services”

Adam Sherwin of Resource Magazine will share valuable tips on how practicing photographers can utilize the recent advances in DSLR video technology to successfully expand their services to clients, as well as avoid how to avoid common mistakes in marketing yourself with video. Topics include optimizing content in social networks, maintaining quality control over your work, and placement strategies for getting your work noticed.

http://www.resourcemagonline.com/

http://resourcetelevision.com/

4:30 – 5:30 – Ryan Enn Hughes and Arash Moallemi, “Between Videography and Photography – Working Seamlessly in Multiple Mediums”

Ryan and Arash will discuss in detail their experiences of incorporating film production into their photography practices, the in- and-outs of budgeting simultaneous photo/film production costs, and walk you through the funding process of a larger motion creative. Learn about the technical, budgetary, and practical considerations faced when creating ground breaking works such as C Walk, Bugs! and Fish!

http://www.ryanennhughes.com

http://iamphoto.ca/

Room 2, 10/27, PRACTICALS:

10:15 – 11:45 – John Pannozzo, ColorByte Software, “Mastering the Art of Studio Printing”

Color management is one of the steepest hurdles to face for a majority of individuals and studios attempting to retain creative and qualitative control in the output of their photographic work. John Pannozzo, President of Colorbyte Software, will cover every aspect of mastering your printing workflow – from printer choices to color profile creation, from selection of paper types to new printing technologies. This is a valuable seminar for anyone seeking to keep their printing in house while maximizing the efficiency of the process and reducing waste in proofing.

http://www.colorbytesoftware.com/

12:00 – 1:30 – Andre Rowe, “The perfect marriage of both lighting and exposure”

A crash course on the perfect marriage of both lighting and exposure. Face challenging lighting situations on location with the confidence of understanding. Never again question your ability to get the best results each and every time.

– Visualizing Light

– Calculating exposures in easy/complex lighting situations

– Establishing proper lighting / subject placement

– Choosing the right lighting & modifiers for the job

– Understanding lighting ratios

– Blending strobe lighting with ambient light

http://www.andrerowephotography.com/

1:45 – 3:15 – Lindsay Adler, “Shoot in Action”

Beauty Shoot: This will be an editorial shoot, where you can watch a beauty shoot in-action.

Fashion Bridal:  How to add techniques of fashion photography to your portrait and wedding images. Will have bride and groom couple to demo lighting and poses; on location.

http://www.lindsayadlerphotography.com/

3:30 – 5:00 – Scott Markewitz, “Freeze Frame – Outdoor Action Photography Fundamentals”

In recent years, artificial light has become more and more prominent in outdoor sports and lifestyle photography. When used well, the addition of strobes can create powerful, dramatic action images. To capture this look, photographers go to great pains to transport lighting gear into almost any location and setup imaginable. Many photographers using this equipment outdoors don’t really understand the capabilities of their gear, or how to get the most out of it. In this seminar, outdoor photography specialist Scott Markewitz will discuss the basics of lighting the outdoors and evolution of using strobes and artificial lighting in outdoor photography. Scott will cover the types of equipment needed to achieve powerful results, the use artificial lighting in a controlled manner to achieve the results and the look you’re after and how to create some very distinct looks with specific lighting setups and various shaping tools. All told, Markewitz will leave you with an understanding of the sports you’re shooting and the knowledge and timing it takes to capture images that get published.

http://www.scottmarkewitz.com/

Room 1, 10/28

10:15 – 11:15 – Robert Levine, “American Photographic Artists Understanding the Issues of Copyright Law in an Age of ‘Free’ Media”

Sponsored by APA

For the past decade since Napster shook up the music business, we have been hearing about the conflict between big media companies and young people who love the Internet. In my book, “Free Ride,” I show that what we’re really seeing is a conflict be- tween two groups of companies: the creators – companies that produce and fund culture, and the technology start-ups that want to distribute their work without paying for it. I will review the methods by which licensing affects photographers in today’s media markets, and discuss methods for photographers to protect their interests.

http://freeridethebook.wordpress.com/pic-and-bio

11:30 – 12:30 – Bob Heiss, Sandler Training, “Talking Tools of the Photo Trade – Converting Prospects into Sales”

Sponsored by ASMPNY

Do you want to learn how to uncover a prospect’s budget? Do you feel like you’re at a disadvantage when negotiating? Do you ever hear, “I’m interested, but call me after the holidays?” or “This is great, I just need to run it by my boss/editor/wife/business partner?” but you never hear back from the prospect? Let’s face it, photographers need a roadmap to navigate the highways and byways of the current market. Sandler gives photographers a complete system for handling the sales process and uncovering a prospect’s real motives for buying. This course will combine classroom learning, role-playing, negotiation, and individual troubleshooting using YOUR real world examples. Sponsored by ASMPNY

http://www.robertheiss.sandler.com/

12:45 – 1:45 – Kawai Matthews, “Guerilla Marketing 101: Quick, Cheap & Easy Ways to Grow Your Photo Business”

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 me, 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.

airphilosophy.com

2:00 – 3:00 – Lindsay Adler, “Top Ten Best Practices for Social Networking”

Social networking is a powerful tool for reaching your target audience and building an online reputation. Today business growth

is not just ‘word of mouth’, but also ‘word of mouse’. This presentation will focus on the top ten best practices for social networking. You will learn what you can do online to efficiently and effectively leverage social media for business growth. We will cover topics like utilizing analytics, search engine optimization, developing a schedule, and becoming a resource for your target audience.

http://www.lindsayadlerphotography.com/

3:15 – 4:15 – John Engstrom, Scheimpflug Digital, “Set Mastery Tips and Techniques of Photo Production for Digital Technicians”

John Engstrom is one of the most sought after “get it done” guys in the industry, and he’s got the client list (and scars) to prove it.  He’s shot with Peter Beard in the wilds of Botswana, and was favorite assistant to legendary photographers David LaChapelle and Patrick Demarchelier. John will talk about his wildest experiences on production sets around the world, and will deliver a wealth of valuable information to current and aspiring digital techs, covering everything from rigging carts for digital capture to working with large crews.

theflug.com

4:30 – 5:30 – Lois Greenfield, “Her work and her career”

Lois Greenfield has created innovative and iconic images for most of the major contemporary dance companies. Her unique approach to photographing the human form in motion has radically redefined the genre, and influenced a generation of photographers.

In this seminar I will discuss the multifaceted nature of my photographic career . My beginnings as a photojournalist and travel photographer inadvertently led to my specializing in dance photography. Little did I realize this would lead to shooting fashion, athletes, and musicians in my studio. Directing TV commercials was a natural outgrowth of shooting advertising campaigns.

Working both with and without reps, I learned how to “get the job” and negotiate contracts for all these varied projects. I adopt an effective, flexible pricing strategy which includes adapting to the reality of the market in these challenging times.

http://www.loisgreenfield.com

Room 2, 10/28: PRACTICALS

10:15 – 11:45 – Andy Ryan, “Using Cutting Edge Technology to Advance Your Architectural Photography”

Photographer Andy Ryan shares his tips and techniques to help you create the best architectural images. Andy has traveled the world shooting some of the most demanding architectural projects. Join him as he shares his vast experience to help you gain a better insight into how new technology can help in creating the finest architectural images.

http://www.andyryan.com

12:00 – 1:30 – Rick Friedman, “Portable Lighting Techniques for On-Location Lighting”

Learn about portable lighting techniques that have enabled Rick Friedman to capture his on-location, award-winning imagery around the world. One of the key things that he will share in a “very hands-on way” is how to better control your lighting. This dynamic, intensive, interactive seminar is designed for portrait, wedding, corporate and event photographers, photojournalists and serious amateurs who want to improve their knowledge of illumination and light. If you attend Rick’s class, you can plan on leaving feeling empowered to capture great images no matter what lighting situation you come up against!

http://rickfriedman.com/bio.html

1:45 – 3:15 – Bryan Hughes, “Uncovering the ‘Hidden Gems’ of Adobe Photoshop”

Photoshop is the premiere program for photographic editing, and in this industry it is imperative to keep up with new and interesting approaches. As the senior product manager for Adobe Photoshop, Bryan knows the tricks of the trade. In his talk, Bryan will provide tips and instructions on how to navigate the program, as well as an in-depth review at some overlooked and underplayed techniques for manipulating and molding images. For anyone who wants to learn how to hone their skills, from the sharpen tool to puppet warp, this is something you don’t want to miss.

http://www.photoshop.com/people/bryan

3:30 – 5:00 – Kawai Matthews, “Shooting Stars!: How to Shoot Actor Headshots”

Learn how to shoot headshots for actors in the entertainment industry.  With a huge local population of aspiring and established talent, photographers can earn extra money or even start a business shooting headshots for entertainers.  The key is knowing how to shoot them and shoot them well, taking into consideration the industry standards.  In this workshop, you will learn how to use studio lighting, quick tricks with reflectors, posing your actor, tips to getting personality shots, flattering angles, wardrobe do’s & dont’s, commercial vs. theatrical looks, what agents and casting directors want and much more.  This is a hands-on workshop!  Be prepared with your cameras, as we will be shooting live.

airphilosophy.com

REGISTER HERE

An Interview with broncolor Featured Photographer Elias Wessel

We caught up with Elias Wessel on a shoot this week.  Here’s what he had to say:

CK: How did you become a photographer?  Describe your career development?

EW: I would have to say that graffiti was the catalyst for my love of art. At the age of 16 meeting Sigmar Polke at his huge retrospective in Bonn, Germany made me even more interested in fine arts. Following that, I started to draw and then  had paintings exhibited about 2 years later.   Also during that time, my best friend, who I had a crush on, moved to London.    Our only source of communication was through mail. I wanted my mails to look good and make her feel special on top of what I wrote to her.   I created my own envelopes by cutting out my favorite pictures out of hundreds of magazines.   I collected thousands of tearsheets and still remember vividly pictures by David La Chapelle,  Guy Bourdin,  Jeff Koons and others who caught my breath.   Since then I have always wanted to be able to re-create these wonderful feelings that those pictures gave me and started to draw pictures and take photographs of everything I loved.

CK:  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?

EW:  What incredibly changed me and my work was the break up after 8 years with my former personal and professional friend and partner in 2008.   I had to start all over and ask myself what makes me unique as a photographer.   I figured the only possible answer can be:  Myself!   Beginning with my “Falling Up” story my work tells so much about me and that what makes it special.   However I am very often asked how I consider myself as a photographer and my style. There’s no straight answer which feels totally adequate to me.   You can say it is the way I play with time and freeze a moment or a motion.   V magazine recently published a selection of my work and wrote “When time stops, your pose had better be fierce”.   You can mention the saturated colors or the sort of magical realism.   It can be cheeky happiness,  subliminal concepts,  beauty or sensitiveness.   It always depends on the content of the story I am working on.   Those who know me can say it may be my personal experiences which are always somehow reflected in my photographs. I would say as everything changes and develops in life all this can change and develop from picture to picture as well.   There are moments every day which make me and my work more and more sophisticated.   You just have to be aware of them.

CK: How do you learn your techniques?

EW: Working at advertising agencies, design bureaus as well as assistant, production and studio manager made me understand the different parties who are involved in the process of creating photographs.   I know about their expectations, their thinking, their needs, their fears and about the whole process from the point of view of all participating sides.   Studying with a huge focus on theory helped me to achieve a general idea about any field of the arts, a basic knowledge about anything which deals with art, visual communication and its reception.   It can be a deep source for new ideas. Schooling didn’t really teach me about the technical side of photography or lighting.   That is something I learned by assisting and working in the fields of photography but even more by realizing one personal project after another.   It taught me how to create, communicate and realize ideas. And it can give you the time to experiment and to develop.   A while ago I met David La Chapelle here in New York and I remember how he reminded me how fortunate I can be of being able to do my own thing.   Even if it is not without a struggle.   Studying also taught me to get up and motivate myself every single day to work on my ideas because nobody really cared about what I did.   It can be dangerous depending of what kind of character you are but it also can teach you confidence in what you do and that you are the only one who is responsible for anything you do.

CK:  Who are your photo heroes? Or who has inspired your career?

EW:  There are so many.   It wouldn’t make sense to drop names.   Most of all I´m inspired by the reason why I´m doing this. I want to experience a feeling, that goes into bowels.   But I also want to create a transcendency so that this feeling reaches the viewer.   I also find very interesting the intersection between fashion and fine art photography and how to merge those genres. Typical fashion images focus on beauty and clothing as their central elements.   To me it is not fashion itself but the image that suppose to fascinate the viewer.   I believe that this is what appeals to clients who really care about being exclusive. At the end it all comes to the feeling you get from the picture you are looking at, not just the picture of the product.

CK: What is the worst part about doing what you do?

EW: If I could I would be out there taking pictures everyday. A huge part of photography deals with everything else than creating and taking pictures.

CK: What is the best part?

EW: All my works you see in this story have given me the most satisfaction because there are a lot of photographs that don’t make it. Every picture I’ve taken is from the past but it is the ones in the future that I’m looking forward to taking most.

Learning from the Pro

EW:  What are we going to shoot today?

“Falling Up”. A personal project which will be exhibited in New York and also be published as editorial. Falling is something involuntarily. Something threatening you get forced to.   In contrast “Up” is a synonym for success.   This aporia results out of the two contrary moving directions: Down = falling and Up = Up.   A conflict which was indissoluble at that current period of my life.   “Falling” as well as “Up” relate to my very private and professional areas of life which were strongly linked over 9 years.   “Falling Up” is based on personal experiences, thoughts, symbols and metaphors. Analogies to “Mary Poppins”, “Rumpelstiltskin” and the “Shock Headed Peter” finally allow to express my emotions as well as making a statement about the current art and fashion industry.  “Falling Up” is a modern fairy tale out of my personal past, present and future.

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

EW: It’s probably the same answer I gave when asking me how I learned my techniques. To sum it up in one word I would have to say it’s experience.

CK: What tools are you using to make this image?

EW:  503 CW Hasselblad with a Leaf Aptus II – 7 with lenses from 25mm to 150mm. SBI ParaFb 170, Pulsoflex 80×80, Verso A4 and A2, beauty dish and P70 reflector, 2 Pulso heads, Ringflash P, the sun, clouds as well as my heart and my brain.

CK: Why did you choose these tools?

EW: “Falling Up” was shot on location in Long Island City, New York with a great mix out of different set ups including day and night shots. So being flexible without sacrificing quality and to be able to control every situation on set
was my first priority.   I took advantage of the para 170 using it as a soft filling light. With the heads and reflectors I was able to adapt to every single situation, setting highlights, focus on different parts of the scene. The Verso allowed me to add crunch and a little magic at the best possible speed.

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

EW: I worked with pretty much all available lighting and camera equipment and used everything from 35mm to large format cameras – film and digital.   I’m in the lucky position that I got into photography by using film and digital equipment at the same time. The experience of working in the dark room, processing my own films, making my own contact sheets and prints help me to understand what happens in digital photography and post production. Same with the lighting gear.   I always like to test all equipment which might be of any interest.   Currently I prefer working with the 503CW Hasselblad and the Leaf Aptus II always in combination with broncolor lights.   It just works for me and gives me the consistency and flexibility I need. The decision of the equipment I use as well as the decision of shooting in studio or on location depends on the pictures I have in mind. Not the other way around. The cooperation with Bron Imaging Group is based on how I use my lighting which plays a big role in my work and gives it it’s consistency.   No matter if I have a huge set up of lights or just a bare bulb in combination with available light. It always defines the look of my pictures and bron recognizes this.   But this cooperation is more than that.   The guys from bron are part of my team, part of my photo-family and they care about my work and about photography just as much as I do.   That is what really matters to me.

ELIAS WESSEL
VISUAL ARTIST / PHOTOGRAPHER
www.eliaswessel.com