Corporate, advertising and editorial photography
I was asked to shoot a new restaurant for the local paper, and thought the experience would offer some insight both for photographers new to the restaurant photography scene and photo editors as well. (OK,
I have always done a lot of street photography, starting in my late teens and continuing on to the present. My earliest photographic hero was (of course) Henri Cartier-Bresson, and he remains one of my
Location portraits are a specialty of mine, but as I was covering the Architectural Digest Home Show recently, I came across a frequent problem: how to deal with making interesting portraits in places where you
I photograph corporate, non-profit and other events, and most of them are pretty basic flash-on-camera. The choice is often my clients’, rather than mine: they’re used to seeing smiley people lit from the front, and
I like making author portraits. I read a lot. I write some. I like spending time with smart people, and if they’re wide-ranging Renaissance types, so much the better. So when I recently had the
There I was, happily working my weight down to where I want it, when Karen Seiger at Sirene Media Works and Markets of New York City asked me to shoot the New York Chocolate Show.
At this point some of the tour group started to flag. (There were a number of attendees from undisclosed suburban locations, possibly unused to city walking. Or maybe it was the eating that tired them.
This post falls more in the “meaning of life” category than photography, but there you are. I’d been hoping to take part in Calvin Trillin’s Come Hungry tour—part of the New Yorker Festival—for years; but
As a people photographer, my ideal is to spend some time with the people I’m shooting, even for something as basic as a headshot. Why bother? My take is that a headshot is often the
Remember those “What did on my summer vacation” essays you had to write in school? No matter how much fun you had, how many places you went, how much time you spent exploring, enjoying, writing