Producing and shooting an editorial assignment
I often get asked about how I work, so here’s a look at how I produced and shot a low budget editorial assignment. The approach is similar to one I’ve used for some corporate assignments.
I often get asked about how I work, so here’s a look at how I produced and shot a low budget editorial assignment. The approach is similar to one I’ve used for some corporate assignments.
I was finding some shortcomings in the photos I had been taking for the restaurant reviews in the NY Times (don’t tell my editor, OK?) so I revised my methods and gear a bit for
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 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.
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
I like music. OK, I really like music. It’s embedded in me somehow. I usually wake up with a tune in my head, a fact to which my wife will attest. And I like to