If your October 2014 issue of Digital Photo Pro hasn’t arrived yet, you might want to pick one up at a newsstand before they all sell out. With this on the cover, it’s likely to become a collector’s edition: Editor Christopher Robinson and writer Mark Edward Harris (also a talented photographer) did a terrific job on the article. I couldn’t be more thrilled. It’s an eight-page profile with nine images, and they used their editing witchcraft to make me sound intelligent and substantive. Mark and I spoke so many months ago, he could have written anything, and I would just figure, yeah, I probably said that. You can see the entire piece online here. Their terrific layouts are below and beautifully printed at your local defunct newsstand.
Category Archives: honors and recognition
It’s awards season in the photography world, when we all congratulate each other on our fine work and resent those who won awards that should have been ours. Reminds me of a (not very funny) joke:
Q: How many photographers does it take to screw in a lightbulb?
A: Five. One to screw it in. Four to stand around and say, “I could have done that.”
I’m proud to say that some of last year’s work has won awards:
American Photography 29: Three images (here, here and here) — including two from my Night Cars series — were chosen to be part of the permanent American Photography archive online. Out of 9,000 images submitted, only 185 received this honor.
2013 Applied Arts Photography & Illustration Awards: My Lost Boat image (see the website and blog) is a winner in the self-promotion category. Appearing soon in the May/June 2013 Photography & Illustration Awards issue.
2012 One Eyeland Photography Awards: The Lost Boat image won a silver medal in the self-promotion category. Plus you get this snazzy certificate:
Giant prints, around 32″ x 40″. Photographed entirely at night (not dusk, not the magic hour, but night), by streetlight, on 4″ x 5″ film. Exposures range from 4 minutes to an hour. An ongoing series.
Prints are 20″ x 20″. Like the trees, photographed entirely by streetlight at night (not sunset or twilight, but night). Exposures range from two to 40 minutes, all on medium-format film. An ongoing series.
Big 40″ x 32″ print. A Metro-rail overpass, photographed on expired Polaroid film with an ancient Polaroid 110A Land Camera. Part of my Night Polaroids series.
Prints are 16″ x 16″ (with a panoramic at 32″ x 16″). Photographed by helicopter on September 29, 2012, during the 405-freeway closure of Carmageddon II. All on medium-format and panoramic film.
Prints are 17″ x 22″. An extremely eco-friendly home in the Hollywood hills, designed by architect Beth Holden and photographed originally for Angeleno Interiors magazine.
About 150 people turned out to see my Urban Archaeology exhibition last Saturday. It was a crazy evening topping off a crazy week, and I didn’t shoot a single photo of the opening. Got some crappy iPhone photos from my awesome brother, who had the presence of mind to think that someone should document this. That’s me, in the grey shirt in the middle, probably talking about the perils of shooting long exposures in residential neighborhoods at night (security guards, police, dog poo, rain).
Get out those credit cards, people.
Note for future shows: Place the cocktail bar inside the gallery rather than out back; it’s where everyone hangs out.
Thanks to the brilliant people at New Theme gallery for making it a success. Complete image catalog in the next blog post.
It ain’t baseball, but it is the major leagues. Like probably every photographer out there, I shoot personal work and figure that, someday, when art historians are poring over my images and deciphering their meanings, there will be some kind of gallery retrospective showing a career’s worth of brilliant art produced silently and invisibly for years.
Well, brilliant or not, it’s time to stop being invisible. I’m having a major solo show, Urban Archaeology, at the New Theme gallery next Saturday, February 2.
The show is indeed a compilation of several years of work, all documenting various facets of Los Angeles, including Night Trees (all on 4×5 film) …
Night Cars (all on medium-format film) …
Night City (all on Polaroid) …
And my imagery of the work of New Theme Architecture, which is bringing new forms to Los Angeles architecture:
OK — time to get back to scanning and dust-spotting. It’s glamorous, the life of a photographer.
The American Society of Media Photographers recently released their new book, The ASMP Guide to New Markets in Photography, and I’m proud to say that I’m profiled in Part III, “Case Studies for the New Economy.” This final section of the book features selected photographers and what they’ve done to adapt to a changing photographic world.
There’s a lovely three-page feature on changes I’ve made — increasing the production value in my testing and my editorial shoots (to create advertising-level portfolio images), creating unique personal projects to separate myself from the crowd, focusing on relationships with clients and potential clients, and using my imagination and concepts to distinguish my work (lots of people can light a portrait well; not everyone has ideas and imagination and an offbeat point of view).