Posts Tagged ‘Ryan Pfluger’

Ryan Pfluger Shoots Shea Hembrey for NYT Magazine

December 22, 2011

Ryan Pfluger recently shot Shea Hembrey for The New York Times Magazine. Read the fantastic article, see Shea’s wonderful work and check out Ryan’s images here.

Shea Hembrey - NYT Magazine/Ryan Pfluger

Shea Hembrey - NYT Magazine/Ryan Pfluger____

For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Ryan Pfluger for Marie Claire

November 30, 2011

Marie Claire recently commissioned Ryan Pfluger to shoot Carolyn Everson, VP of Global Marketing Services for Facebook. Check out the article here.

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Ryan Pfluger in Time Magazine

October 20, 2011

Ryan Pfluger was chosen by Time to shoot the students who make up Milwaukee’s Alliance School, the only gay-friendly charter school in the US. Check out Ryan’s beautiful images of the teenagers that attend Alliance as well as a short feature on Ryan’s own experience as documented by LightBox, Time’s photo blog. Check out the full article here.

Ryan Pfluger - TIME Magazine - Alliance School

Ryan Pfluger - TIME Magazine - Alliance School

Ryan Pfluger - TIME Magazine - Alliance School

Ryan Pfluger - TIME Magazine - Alliance School

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Ryan Pfluger Shoots Real Simple’s Lace Fashion Feature

October 18, 2011

Have you taken a look at this month’s Real Simple? In addition to wonderful recipes and content there is a gorgeous fashion feature that Ryan Pfluger shot. Ryan brought his intimate portraits and beautiful moods to a story on lace. Take a look at some of our favorite shots and outtakes below and the rest on stands or online here.

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Ryan Pfluger Shoots for Real Simple Family 2011 Issue

August 22, 2011

Check out the Real Simple Family 2011 issue on stands now – a great issue in time for back to school which features Ryan Pfluger‘s stunning shots of innovative haircuts and styles for kids. The tear-and-take spread features Ryan’s shots and styling by Cozy Friedman, the author of Cozy’s Complete Guide to Girls’ Hair. The portraits bring out the raw emotion and gorgeous personalities of every child – from the flower child to the class clown. See below for the layout and some of our favorite outtakes.

 

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

July 2011 – News

July 28, 2011

July 2011 | NEW WORK

We thought you might like to take a break from those emails (or for the lucky ones, that beach chair) and see some of the work our photographers have shot this last month. We promise, it won’t take too long – then you can be back to the sand, backyards and roof decks to relax. From great summer dishes to coveted beach homes, we’ve got something for everyone.

Kang Kim - Bon Appetit

Kang Kim has us tempted to sneak out of work and fire up the grill with these beautiful shots of various marinades. Kang shot four of the Lee Brothers recipes for the July issue of Bon  Appetit. Inspired by global flavors, the marinated dishes are a perfect match for Kang’s unique aesthetic. Check out some more of Kang’s food work here.

Spencer Jones - Georgia Pacific

Spencer Jones has taken an assignment from Georgia Pacific to shoot their new line of paper towel products and created unexpectedly beautiful, abstract works of art. With precise lighting and careful styling, the images take the product to a new level. We can’t wait to see more of this work.

Ryan Schude

Ryan Schude has recently returned from the latest Phoot Camp in Marfa, Texas. We’re in love with Ryan’s portrait of fellow photographer, Paul Octavious, taken at White Sands, New Mexico. Ryan also captured the beautiful Isabelle Albuquerque of Hecuba during filming for Keith Musil‘s video “Holograms”. Ryan brings his sense of wonder to each image.

Evan Kafka

Evan Kafka has once again created hysterical, emotive images of babies for a recent editorial client. The concept behind the shoot had to do with research showing that there may be a genetic predisposition to crime. Not only was there fabulous talent, but Evan was able to capture those fantastic expressions that keep us laughing. See more of his baby images here.

Trevor Dixon - Philadelphia Magazine

Trevor Dixon shot the beach home of interior designer and architect, Joanne Hudson, for the July issue of Philadelphia Magazine. His crisp and clean shots show the beauty of the house while also revealing the serenity that lies within the home. The ten page spread gave us a glimpse into the beautiful summer life of Hudson and had us daydreaming for a place of our own.

Adam Taylor

Adam Taylor‘s intimate series Flesh and Blood simultaneously shows us the wide-eyed amazement of childhood and the true beauty of the natural world. This is one of our favorite images from the series, a snippet of freedom, relaxation and marvel seen from a child’s point of view. Check out the rest of the series here.

Ryan Pfluger

Ryan Pfluger‘s shot of Bob Mould for New York Magazine gave us an intimate glimpse into the personality of an influential musician and author. Bob Mould, of Husker Du fame, sat with Pfluger in a portrait session in Washington, DC where he opened up and allowed for a great synergy between subject and photographer. Ryan also shot journalist Jose Antonio Vargas for a gripping New York Times Magazine essay where Vargas announces that he is an undocumented immigrant. The article is a fantastic read and a moving call for action.

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Ryan Pfluger – Real Simple July Beauty

July 15, 2011

The Real Simple/Ryan Pfluger combination has been yielding beautiful results and we’re in love with the July issue’s Ponytail guide. Check out the full article here or on stands now and see some of our favorite images below:

Ryan Pfluger Real Simple Ponytail

Ryan Pfluger Real Simple Ponytail

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Ryan Pfluger Shoots Bob Mould for NY Magazine

June 21, 2011

Check out this week’s fantastic New York Magazine Summer issue! Besides great summer tips from the best ice cream to the most relaxing beaches they showcase Ryan Pfluger‘s gorgeous portrait of Bob Mould, former Husker Du front-man and current author.

Ryan Pfluger - Bob Mould New York Magazine

Ryan Pfluger - Bob Mould New York Magazine

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Ryan Pfluger for Real Simple Magazine

June 15, 2011

Ryan Pfluger was recently asked to shoot a feature fashion story for Real Simple‘s June issue. The story is a gorgeous, mood-driven guide to mixing and matching prints. Check out the issue on stands now and see below for a few favorites:

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger - Real Simple

Ryan Pfluger Shoots for the Time 100

May 11, 2011

If you’ve been reading the Time 100 you may have noticed Ryan Pfluger was assigned to shoot portraits of many featured luminaries. From the executive producer of PBS’ Masterpiece to the founder of the MIT Poverty Action Lab, this was a perfect job for Ryan to infuse the portraits with his emotive, intimate style. It was a wonderful assignment and an honor to photograph heroes of our day!

Ryan Pfluger - Kathy Giusti

Kathy Giusti, Founder of the Multiple Myeloma Research Foundation - Ryan Pfluger

Ryan Pfluger - Cecile Richards

Cecile Richards, President of Planned Parenthood - Ryan Pfluger

Ryan Pfluger - Rebecca Eaton

Rebecca Eaton, Executive Producer of PBS' Masterpiece - Ryan Pfluger

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Ryan Pfluger Shoots Jillian Michaels for The New York Times Magazine

March 10, 2011

In what is the first of many gorgeous portraits to come, Ryan Pfluger shot Jillian Michaels for “The Talk” section in this week’s issue of The New York Times Magazine. Jillian Michaels, fitness guru extraordinaire, opened up to the Times about yelling, staying away from donuts and her future in syndication. Pfluger captured an intimate, personal side of Michaels – check out the fantastic interview here and see some great outtakes from the shoot below.

Ryan Pfluger Shoots Jillian Michaels for The New York Times Magazine

Jillian Michaels - Ryan Pfluger for The New York Times Magazine

Ryan Pfluger Shoots Jillian Michaels for The New York Times Magazine

Ryan Pfluger - Outtake of Jillian Michaels for The New York Times Magazine

 

Ryan Pfluger Shoots Jillian Michaels for The New York Times Magazine

Ryan Pfluger - Outtake of Jillian Michaels for The New York Times Magazine

 

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

Pfluger and Schude for Time

March 8, 2011

Ryan Pfluger and Ryan Schude have both shot features in February 2011′s Time Magazine! For an article on the Singularity, Schude shot Ray Kurzweil and Aubrey de Grey, two leading scientists focused on aging and technology. The results are stunning!

Ryan Schude's Portrait of Ray Kurzweil Ray Kurzweil at the Orpheum Theater in Boston – Ryan Schude

Ryan Schude's Portrait of Aubrey de Grey
Aubrey de Grey – Ryan Schude

Ryan Pfluger shot Groupon CEO Andrew Mason – a young entrepreneur who has kick-started an incredibly successful website and business model. Pfluger’s portrait is intimate and personal, offering a little-seen look into the face behind such a quickly growing company.

Ryan Pfluger's Portrait of Groupon CEO, Andrew MasonAndrew Mason, Groupon CEO – Ryan Pfluger

Ryan Pfluger's Shot of Groupon HQ

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com

New Work for 2011

February 21, 2011

Happy 2011! It’s hard to believe that two months have passed since I started at Glasshouse – it’s been quite a busy beginning to the new year! I’m thoroughly enjoying being part of the Glasshouse family and I’m looking forward to the coming year. Let’s get right to it, here’s some of our photographers’ new work!

Ryan Schude’s awesome image of Annie Leung, professional Guitar Hero player, was taken for the Guinness World Records 2011 Gamer’s Edition.

Ryan Pfluger’s portraits are always intimate and telling. The image on the left is of indie musician, Glasser, and was recently featured in Spin Magazine.

Trevor Dixon was chosen to shoot Philadelphia Magazine‘s 2011 “Best Restaurants” Issue, and the two images you see here are a result of that shoot. Be sure to check out more of his gorgeous food images here.

Spencer Jones has been working on a personal project, using his background as a still-life photographer to capture the formal beauty and grace of Joffrey Ballet School dancer, Alexander Mays.

Evan Kafka recently photographed John Legend for American Way Magazine. Legend is quickly becoming a favorite subject for Glasshouse photographers.

In addition to all of this new work from our current photographers, it is our great pleasure to announce the addition of another outstanding talent to our roster. Adam Taylor splits his time between living in Australia and New York, and has a very creative way of telling stories through his images. There will be a full post soon to formally announce him and show his work, but I couldn’t contain my excitement! Adam’s work and personality will surely complement our talent and bring a new dimension to Glasshouse. Here is just one of the fantastic images he created for an Olympus campaign. Please check out his work on the Glasshouse site here.

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For more information about any of the Glasshouse photographers or for portfolio requests, please contact

Jai-Lee Egna

Photo Agent, Glasshouse Assignment

212-462-4538 jai-lee@glasshouseassignment.com


John Legend by Ryan Pfluger

November 30, 2010

When Independent UK came to us and Ryan Pfluger to shoot a portrait of John Legend, we both almost fell out of our chairs in happiness (we’re huge fans). Check out the cover below and more images from the shoot!

Q&A: Photographers shooting video… continued.

October 20, 2010

Last month we put a question out to producers about what photographers need to know about making their first steps into video/motion. Since last month’s assignment email was such a hit, we’re following it up with an extended version of John Noonan and David Crowther’s response, since they’re just that good. See their full insight below!

As always, I’ve also sprinkled in some new work from Glasshouse Assignment photographers to keep you updated. Thank you so much to John and David for contributing! Enjoy!

- Jacqueline Bovaird, Glasshouse Assignment

Trevor Dixon

John Noonan, Producer, Gravy Productions

As a producer, having worked on commercials and still photography projects, it is easy to see why so many photographers have apprehensions shooting digital video. But, with a few simple guidelines, I feel those fears can be minimized.

Know the basic craft:

If you are going to declare “I shoot video”, then you better have done some of your homework to back that statement up. Never claim to be able to deliver something you know you can’t. Jobs are won and lost in that initial, and sometimes final, pre-bid call. We all have been asked to jump on a creative call minutes after being handed the storyboards. It has been my experience that it is better to re-group after a call then to engage in a conversation you are not prepared for. Most clients can respect that. You have always run your calls with confidence, why change now.

Remember when you first started shooting images on a serious level? If you had a question or didn’t understand the new camera system, you found that answer. If not, you couldn’t shoot. Same goes for shooting video. You need to know the basic concepts about resolution, frame rate, shutter speeds, and post production. This is a skill set you will pick up easily if you have been shooting digitally for the past few years.

Ryan Pfluger

You need to know, and so should your producer, which camera and lighting package will work the best for any given project. There are so many choices out there right now and everyone is gravitating towards the hottest technology. That technology might be, too heavy, too light, not good in low light scenes, too slow, etc. You as a photographer / director should be suggesting to your client which format to shoot and have the perfect reason for choosing it. A good way to show them is to have a sample of actual video you have shot on the different camera systems. It is a small investment that could pay off big.

As a producer I need to know, in a very general sense, what each equipment package will do to a budget. Does the camera need one, two, or three assistants? What impact will HMI compare to tungsten lighting have on a budget. I also need to know about union vs non-union talent and crew and how that could effect the agency and client.

Spencer Jones

Do you need a whole new crew?

Many photographers seem to think they need an entire new crew or even two seprate crews on set. That is true in some cases. But, you need to remember that your reliable 1st assistant or gaffer that has been lighting your sets for the past few years can still light for video projects. You just might need to add a few experienced members to the crew. Having as many familiar faces on set will help tremendously.

Same goes for your digital tech. Many have certified themselves with the mainstream workflows and have seen this emerging market opportunity just as you and your rep have. I have been working wit Pat Blewett at Ambient Digital for many years. He has built quit an amazing work flow and know what it takes to quickly and safely handle all the files that are generated on a split medium production.

Evan Kafka

So now you have a new camera and you have all of about 30 seconds reading the owners manual. As a photographer you are the operator. In some cases, you will have to give up that control and rely on a camera operator. A camera operator is like a pair jeans, they all don’t fit. Build a relationship with one that will take direction well. If they can’t capture your vision, then they are not for you. Also, choose one that knows their place in a meeting or on set. It is human nature to want to present yourself in the best of light, but some operator’s have trouble with crossing lines.

Post production will be a unique experience for most photographers. Building a relationship with an editor is a must and eases pressure when the up and coming art directors start spewing out “I want a flash effect”.


David Crowther, Post Supervisor and Editor, Trousers Inc.

One of the best things you can do when shooting digital video these days is to work backwards from your final product. Knowing what you (or the client) eventually need to end up with will help you with the decisions you’ll need to make before you begin shooting. Here are some basic things to think about.

Where your final product will be seen will dictate many of the variables.  In addition, the desired “look” of the final product will also have an impact. Additionally, how the video will be worked with can influence your choices.

Ryan Schude, in collaboration with Lauren Randolph.

See the glorious big version here.

If your video is only going to be shown on the internet, shooting at a 4k resolution is overkill. Conversely, if the final cut will end up on a screen in a movie theater, standard NTSC video just won’t cut it. By knowing what your final product is going to be you can make an educated decision about not only the resolution you should shoot but also the specific camera that you should use. That said, thinking ahead and “future-proofing” your footage should also be taken into consideration. Just because the client will only be using the footage on the internet now doesn’t mean in six months they’re not going to decide to cut a television spot with the same material. Your best bet is to shoot the highest reasonable resolution that your budget will permit.

Levi Brown

The frame rate you choose can be based on either a creative need or a technical requirement, or both. A 24 frames per second frame rate will give you a more “filmic” look while 30 frames per second will look more like video.  Variations of those frame rates (60, 59.94, 29.97, 30, 24, 23.98) will most likely be dictated by any delivery requirements. Choosing the wrong frame rate can be extremely problematic and possibly a budget-busting issue as frame conversions can be costly. If in doubt, shoot at 24 fps as it is easier to convert 24 to 30 than vice versa.

Finally, knowing what system your editor uses can be helpful when making your shooting decisions. Some formats and frame rates are more difficult to work with on particular editing platforms or, worst case, can be completely incompatible. By working with an editor you know and trust, a production solution can be reached that will suit everyone: you, the client, the project. Just remember to start at the end.

Keep a look out for next month’s Q&A! I am always looking for new voices and new ideas so if you have comments, questions, or if you’d like to participate, please feel free to email me!

This Q&A exists as a monthly email blast and as a post on this blog. If you would like to receive our monthly email, please feel free to contact me and I would be happy to add you to our list!

Jacqueline Bovaird, Assignment Representative

212 – 462 – 4538  •  jacqueline@glasshouseassignment.com

Interpol and Ryan Pfluger

September 16, 2010

Check out Ryan Pfluger’s pictures of Interpol for NOWNESS, which is one of my new favorite sources. You can check out Interpol’s new album as well as see them dressed to the nines in Prada for Ryan. This was such a perfect assignment for Ryan… a mix of portraiture, fashion, and hanging out in Brooklyn… what could be better?

See more of Ryan’s work on our site here!

For more information on Ryan Pfluger, contact yours truely:

Jacqueline Bovaird, Photo Agent

212-462-4538  •  jacqueline@glasshouseassignment.com


OUT, Style Guide and Model Citizen

August 16, 2010

Check out Ryan Pfluger’s images this month’s OUT Magazine. In addition to his monthly Model Citizen installment, Ryan also shot the below image for their Style Guide, The Return of Elegance feature. See both below, along with a behind the scenes video with Ryan and Shawn, this month’s Model Citizen. Nice job Ryan!

Model Citizen, Shawn, posted with vodpod

Q&A: Your fine art vs. commercial career?

July 29, 2010

Q&A: How do you juggle your fine art and your commercial careers?

Lately I’ve seen the lines blurring a little between what is typically considered fine art and commercial photography. Many of the photographers that come to mind as strictly commercial are now having exhibitions and, more prominently, many advertising campaigns have turned towards a fine art aesthetic.

For many photographers, it is almost impossible for a fine art and commercial career to coexist, if only because both require so much time and energy. For this month’s Q&A, I’ve asked four of my favorite people who do this well to share their thoughts and advice on the relationship between the two sides of their work. As always, thank you so much to everyone who contributed!

- Jacqueline Bovaird, Glasshouse Assignment

RYAN PFLUGER

When I started getting really serious about my photography in Grad School, I had a major debate with myself as to whether I’d do editorial/commercial work at all.  I loved my personal work and I didn’t want to compromise myself by doing what other people wanted. I realized over time I didn’t need to change my aesthetic or point of view just because I was doing assignments. My personal and commercial work now work hand and hand with each other. It’s a really wonderful balance. While subject matter may be different, I always feel like the work is one hundred percent me. I think photographers who have their hands in both spectrums have a greater understanding of how to market themselves in the long run as well.

Ryan Pfluger’s work is currently on view at Dorsky Gallery. 1103 45th Avenue, Long Island City, NY.

His next show will be at the East Gallery. 214 Brick Lane, London E1 6SA, UK Bang Boy Bang will be on view from August 6 to August 18, 2010. Viewing ours are Tuesday through Sunday, 1 pm – 7 pm. Private viewing will be held August 5, 7 pm – 10 pm.

GABRIELA HERMAN

Personally, right now this is a fascinating topic as I try to figure out where I fall. Ultimately, my goal with photography is to straddle the fine art and commercial world (more so editorial than advertising), with the focus on a fine art vision to be applied commercially. Many of the photographers who I greatly admire seem to do this; Nadav Kander and Elinor Carucci are two that come to mind. While not often promoted, I do think that many fine art photographers are working more and more commercially, primarily to pay the bills. I’m always disheartened to learn that many fine art photographers I love actually have other jobs and simply cannot make a living solely on their fine art.

At this point in my career though, my fine art and commercial work are not so seamlessly blended together; I have yet to be hired commercially to shoot something based on my fine art. Fine art work for me is very personal work. With my self-portraits for instance, if others happen to enjoy it, great, but ultimately it is for me. I am, however, currently working on a new portrait project that better bridges the gap towards commercial work.

My efforts in getting commercial work are vastly different than in fine art. While landing commercial jobs tends to work based on networking and self promotion, achievements in my fine art work seem to be more about exposure, be it contests, juried shows or portfolio reviews. Most recently, I’ve had the success with my fine art work (four shows this summer!) and have been a bit behind with my efforts on commercial work. I definitely feel a stronger pull in this direction. As someone who has gone to pretty much every photo event in the past few years, I’m starting to notice I’m less motivated to go to industry events such as Adhesive or Resource parties and more inclined to head over to Chelsea or Dumbo for exhibit openings.

Gabriela’s work is currently on exhibition at Kris Graves Projects, in their current group show, Sultry II. You can view the show July 9 to August 14.

Kris Graves Projects, 111 Front St, #224, Brooklyn, NY 11201


RYAN SCHUDE

I try my hardest to maintain the same approach to my commercial work that I use in my fine art. It is easy to get wrapped up in trying to guess what the client wants but I think it’s important to remember that they hired you for what you do. Of course, I want to accommodate the client’s needs into the assignment, so the balance is always an interesting challenge.

Besides working with a client, I have also collaborated with other photographers, art directors, painters, stylists, filmmakers and designers on fine art projects and it has always proven to be a positive experience. The process can be similar to working with a creative team on a commercial assignment and only becomes a struggle if you allow it. Otherwise, the same give and take exists; it is just a matter of being able to simultaneously stick to your natural instinct while taking into consideration the common goal that everyone is working towards.

Ryan Schude’s fine art work is currently represented by Galerie 64Bis, Avenue de New York, 75016 Paris. For more information, contact Aurelie Didier at aurelie.didier@64bis.com. For commercial inquiries, contact Jacqueline Bovaird at Glasshouse Assignment at jacqueline@glasshouseassignment.com.

STEPHEN MALLON

The relationship between your commercial work and your fine art is a marriage. I was promoting separate bodies of work for years and thinking of what needed to be done commercially. Helena Buzzeo, who was the senior VP of art buying at McCann, looked at my book and told me that she couldn’t show it to Exxon without a guy holding a wrench in their hand. I resisted shooting people with the industrial landscapes for about a year for a couple of different reasons, and then realized that I needed to do what she said.

My commercial and fine art work have been feeding each other well lately. My recycling project paved the way to the commission of flight 1549, which became an exhibition to be shown in four different states over two years. American Reclamation, a fine art project about the recycling industry in the fifty states, caught the attention of creative director Ed Han, who then hired me for a project for Maytag. I need to do both to stay in balance; photography has always been a passion for me so to keep it from becoming a job I need to keep personal projects and shoots going. Galleries and collectors used to have a problem with a working artist but I think that stigma is dying. Just take a look at the roster of photographers at Clamp art!

The presentation is a bit different when showing work to a gallery versus a commercial client because you are selling specific images and projects to be exhibited. With clients while you are showing your previous work to show them that you can do what they want/ need. When you go to a gallery you should show them a show, not so tightly edited that they don’t have control, but tight enough to see what the project is. My advice is to bring edited bodies of work (15-20 images) in collections that are consistent. I am a New York artist so galleries and photographers outside of New York might disagree with this, but here people are very easily confused and want to know what you do. For both commercial and fine art, when they can put a post it on your head stated “he’s good with junk,” it’s easier for them to know what to do with you.

You can see Stephen’s show, Next Stop Atlantic, at the Front Room Gallery this fall. The show will run from September 10 to October 3. Opening reception will be Friday, September 10, 7 pm – 9 pm. Front Room Gallery viewing hours are Friday through Sunday, 1-6 and by appointment.

Front Room Gallery, 147 Roebling Street, Brooklyn NY 11211

Ryan Pfluger: New Website, Work, and News!

July 7, 2010

If you’re a Ryan Pfluger fan then today is your day. If you’re not a Ryan Pfluger fan then… well… I just don’t get you.

Check out Ryan’s new website with new images sprinkled throughout: New website with new work!

We just can’t get enough. We’ll also be at Ryan’s group show, Archipelago, at the Dorsky Gallery. He will be showing work from his series Men I’ve Met… including these two:

Opening: Sunday, July 11, 2010  2:00 pm – 4:00 pm

Dorsky Gallery Curatorial Programs

1103 45th Avenue, Long Island City, NY

New work from our photographers!

June 30, 2010

For this month’s dose of blog/email blast, we thought we’d momentarily step back from the Q&A and take a minute to focus on some of the new work from our photographers. I’ve also asked each contributing photographer to tell us a little about each of the shoots. Check out our newest work below and see what they had to say!

TREVOR DIXON

The shoot was for Philadelphia Magazine’s annual “Best of the Shore” issue, which came out in June. This was actually shot last year, so that we could have people at the Jersey Shore. Starting at the northern end at Asbury Park, we had five days to slowly work our way down the coast, ending up in Cape May. Usually, my work is very predetermined and calculated so it was refreshing to shoot this documentary style and we were able to take risks. We had some scheduled stops along the way, but over all it was really nice to shoot in such an unstructured way. (see Trevor’s portfolio here)

EVAN KAFKA

These images were taken for Smart Money at my studio, Some Studio. For the shot with the money in the man’s mouth, we worked with Joe Duer, represented by Click, to illustrate a story called “”Real Insider Buying: The more a portfolio manager invests in a fund, the better – for you.” John Jordan from Ford Models was nice enough to have a dollar sign stamped on his forehead for a cover try we did for a story about the cost of a midlife crisis, which is the current issue.

Both concepts were thought up by Sue Ng, Art Director at Smart Money, who also provided the props. Katrina Borgstrom was our makeup artist on both as well. While I was of course hoping the dollar sign shot would make the cover, I can’t complain because I am really happy with how both of the images came out. (See Evan’s portfolio here)

LEVI BROWN

This shoot was for a New York Magazine article about the staggering popularity of Uniqlo. The hardest thing about this shoot was figuring out how to organize the colors in an ascending, non-linear fashion. I really enjoy this type of project because it incorporates two of my favorite things: building and organizing. (See Levi’s portfolio here)

RYAN PFLUGER

I’ve recently been revisiting and rescanning past work from my ongoing project, Men I’ve Met, in preparation for my group show I’m having at the Dorsky Gallery this July.  I have been photographing men in various states of undress for the past five years. Each photograph is a fragment of a relationship that may or may not exist. The intimacy between me and the subject blurs whether these are friends, lovers or strangers. It started with a photograph of myself. I’m not sure if these two will make the cut for the show in July, but they’re in the running. (See Ryan’s portfolio here)

SPENCER JONES

These were shot for Parenting, a client I shoot for regularly. The shot list for this type of shoot is usually pretty extensive, but their team and ours are very well organized, which helps to keep things stress-free. I usually plan to shoot models in the morning, usually babies and toddlers, and still life in the afternoon. For this spread, we were photographing model-making kits. Some kits had specific instructions, but the shot on the left was supposed to be more free form and creative for kids, with unlimited options. Since the client is based out of town, we had to take a risk and build something, hoping that it would mesh with their vision. Luckily, the shoot turned out great. You never know what skills will be called upon in this business, so each job is challenging and diverse. (See Spencer’s portfolio here)

RYAN SCHUDE

These were for an assignment on This is a Photo Blog called “My other passion.” The idea was just to make her hair look big and crazy. I had just put up this vintage, textured wallpaper and shopped for the dresses based on what would compliment it. Since we couldn’t decide which dress to use, we shot three different looks instead and mixed in different props. The final photos definitely came out better than I expected. Close up portraits like these are not what I normally do, but this project has inspired me to explore that type of photo more. (See Ryan’s portfolio here)

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For portfolio requests and questions about any of our Glasshouse Assignment photographers, contact our photo agent:

Jacqueline Bovaird

212 . 462 . 4538  jacqueline@glasshouseassignment.com

This week in the world of NY photo…

June 15, 2010

This week is jam-packed with photo goodness… will you be there?

LE BOOK, CONNECTIONS / PRODUCTIONS

Connections (Tuesday and Wednesday), Productions (Thursday and Friday), 12-9 pm, by invitation only.

The Puck Building, 295 Lafayette St (Corner of Houston)

If you haven’t heard of Le Book’s yearly trade show then you must be living in a deep dark hole. Connections will focus on making introductions between buyers and photographers/agents. Productions is new this year, and will be overflowing will all things having to do with getting your shoot done, and done well. Not sure what to expect since it is their first year with Productions, but I’m sure Le Book will do it right considering the intense level of promotions they’ve been putting out.

HEART FOR HAITI,

Wednesday 6-10 pm, open to the public

Aperture Gallery, 547 W 27th St., 4th Floor, New York, NY

HeArt for Haiti is definitely not to be missed. HeArt Art Productions has rallied the troops and put together an amazing benefit auction. All proceeds will go towards Doctors Without Borders’ relief efforts in Haiti. Not only is it  a good cause, but there is some pretty amazing art to be had as well. Two of our very own photographers, Evan Kafka and Ryan Pfluger, have donated prints (see below). You can bid online here until Thursday, but the viewing will be at Aperture on Wednesday from 6-10. After party is at Juliet Supperclub, if you’re still around.

Included in the show…

Evan Kafka


Evan Kafka

Ryan Pfluger

SPLASHLIGHT @ SKYLIGHT STUDIOS SUMMER KICKOFF

Thursday, 7-10, RSVP

Skylight West, 500 W 36th St, Rooftop, New York, NY

Skylight Studios West is throwing a summer rooftop party, which promises a good time, especially when you see their views.

See you there!

Ryan Pfluger for Vogue.com

June 3, 2010

Check out Ryan Pfluger’s new image of Hannelore Knuts on Vogue.com! I’m loving the color palette here and how it’s working with her clothes and skin tone… as always, nice job Ryan! See the one they used below, as well as some of our other favorites from the shoot.

Don’t forget to check out Ryan’s other work on our site, particularly his new celebrity gallery!

For more portfolio requests or more info on Ryan Pfluger, feel free to contact his rep.

Jacqueline Bovaird  |  Glasshouse Assignment

212 462 4538  |  jacqueline@glasshouseassignment.com

Ryan Pfluger, Model Citizen for OUT

May 18, 2010

Check out Ryan Pfluger’s latest installment of Model Citizen for OUT. I’m a particular fan of the lean below. As always, nice job Ryan!

See more of Ryan’s work on our site and on his wonderful blog!

For more portfolio requests or more info on Ryan Pfluger, feel free to contact his rep.

Jacqueline Bovaird  |  Glasshouse Assignment

212 462 4538  |  jacqueline@glasshouseassignment.com

Ryan Pfluger shoots Marc Jacobs for TIME

May 4, 2010

We’re very happy to announce that Ryan Pfluger shot for the new issue of TIME Magazine! For their “100 Most Influential People” issue, Ryan shot Marc Jacobs in his home. The image they chose is so intimate, meditative, and quiet, which is a side of Mr. Jacobs we rarely see. See the tears below as well as one of our other favorites from the shoot. Nice job Ryan!

Here are two more from the shoot we like:

For more portfolio requests or more info on Ryan Pfluger, feel free to contact his rep.

Jacqueline Bovaird  |  Glasshouse Assignment

212 462 4538  |  jacqueline@glasshouseassignment.com

Q&A: Networking

April 22, 2010

Networking: The good, the bad, and the inevitably awkward.

The term “networking” makes me cringe a bit and I’m not sure why, especially since I go out and do just that most nights after work. I never put much energy into meeting new people until I became a photo agent. When I began, I realized very quickly that this industry sits on a fragile infrastructure of friendships and personal relationships. I started going to any and every event I could and slowly started to meet people. Once I made a few connections, it no longer felt like I was working and I looked forward to meeting up with this new group of friends. My advice is not see people as a business connection, because that becomes transparent quickly. Instead, think of networking as meeting people within your industry who inevitably share the same interests. These people have the same stresses you do each day and maybe they’ve found solutions you haven’t thought of. For me, knowing other reps has kept me sane on more than one occasion.

For this month’s Q&A, I thought I’d get people’s reactions to networking. We’re not talking about social networking here, but rather the good ol’ fashioned meet and greet. Almost everyone acknowledges the inevitable awkwardness, but also accepts the value of fostering a supportive community. Most of the people below I’ve met at events and, over time, have become good friends of mine.

The images from our Glasshouse Assignment photographers are all a sneak peek of projects to be released soon, to stay tuned for some very exciting updates! As always, thank you so much to everyone who contributed and is helping to move this Q&A series along.

- Jacqueline Bovaird, Glasshouse Assignment

EVAN KAFKA, PHOTOGRAPHER, GLASSHOUSE ASSIGNMENT

Many of the events in your town will be populated by the same people and it becomes sort of like a clique. That can be very helpful in getting work, if you’re lucky.  At the bigger events, it can be hard to meet people. I guess perseverance pays off eventually and you may make a meaningful connection. It also depends on your personality. I like parties and I think I am good with people, but I’m not the most extroverted. There are certain people who can really work a party. That is a gift that, if not too obnoxious, can go a long way.

ELISE DAHER, ART BUYER

I am terrible at networking. I’ve always been a bit shy (no one believes me when I say this, but for the record, I am shy!), and I have a really hard time approaching people that I don’t know. I do find that industry parties such as Adhesive, which encourage name-tag wearing (and alcohol consumption) make networking for people such as myself a lot easier.

Ultimately, I do find that face-to-face meet ‘n greets, whether it be meeting with a photographer and looking at portfolios together, or mixers like Adhesive/Resource parties, are invaluable. Putting a face to the name always helps me keep people at top of mind (or have them keep me top of mind) other than the few of you who, for whatever reason, my brain can’t seem to remember. You know who you are and I’m sorry!) And walking into a room where everyone greets you like you’re Norm in “Cheers” is a nice feeling.

JANESSA MARKGRAF, PHOTO AGENT, MARNIE ROSE AGENCY

Personally I love networking. As far as I’m concerned, adding another notch to your metaphorical belt of contacts is never a bad thing. It’s important, if not a key, to a successful career in such a fickle industry. Of course it goes without saying, it is far more beneficial to someone new to the industry and/or looking for work, as opposed to one who already has a successful established career.

In my case it was and continues to be beneficial. Having moved to New York just over two years ago as a photo assistant from Minneapolis with a mere two connections in NYC, if it hadn’t been for me attending industry events like they were going out of style, collecting business cards, following up with new contacts and maintaining those relationships I don’t think I would have accomplished nearly as much as I have in such a short period of time. Although, I do feel being an extrovert with a very charismatic personality is helpful and puts me at an advantage.

As an agent, it is now part of my job to network on behalf of the agency, both promoting the talent we represent and creating awareness of the agency itself. I find people in the industry are very good about sharing information and resources, so although you might not receive a job directly from your networking efforts, it doesn’t mean you shouldn’t bother doing it. You never know when you might exchange information with the right person at the right time. It’s all about timing and who you know right? Or at least that’s what I was always told.

RYAN SCHUDE, PHOTOGRAPHER, GLASSHOUSE ASSIGNMENT

Meeting people is how we interact as humans. It is inevitable and happens naturally most of the time. It becomes awkward and painful, when it is a forced situation like when someone introduces two people and says, “you’re both from Chicago, now talk about it!” Or when I am on the phone with my Dad and in front of my Mother he says, “You wanna talk to your mother?” Well, maybe I did but I now I really have to don’t I? It seems most jobs I get and most jobs other photographers I’ve talk to are from people they know personally.

Other ways to build this relationship is through a local photo community. If one is not available, create one. Here we meet with different groups of photographers a couple of times a month and always try and include other industry people who have interest in looking at photos. Slideluck Potshow has a good model I’ve tried to use on a smaller level as well. Throw a dinner party at home that is super casual where there are photos projected on a wall or bring it to a restaurant or bar. If nothing else you can get inspired by looking at new work with a few friends, but it also opens up the possibility of a less rigid environment than a formal “networking” meeting.

DANIELLA NILVA-CUNNINGHAM, PHOTO EDITOR

I believe networking is extremely important.  In this age of electronics, everything is becoming less personal. Gone are the days of face-to-face to meetings. Most of us are far too busy to meet with most of the people we need or want to network with.  There are only so many hours in the day.  More and more we are being asked to do the jobs of two or more people. It becomes harder and harder to get in front of your clients.  We hire people over the phone and more so via email.  Sometimes networking is fun and sometimes it’s extremely painful, however, I force myself to do it.  In the age of this economy we can no longer count on the fact that our jobs will be here tomorrow, let alone the clients we work with.  We need to do our best to keep up with the ever-changing face of media and technology by educating ourselves and networking with our peers

You need to constantly network to meet new clients, learn from others, collaborate and bottom line–survive.

To answer your question about community, first and foremost produce great work. Make the time to network. Get out from behind your blackberries, your iPhones and your computer and go out and meet people. Join organizations, Get involved with your community, get referrals, go to events, lectures, seminars, join a listserve on the topics that interest you. Educate yourself every day and stand out from the crowd, otherwise, you are just another phone call or email in the daily barrage of communications that we all receive every day – all of which is too much to handle as it is.

In summary, I can’t tell you much I have learned, how many great people I have met or the long lasting friendships I have gained out of networking, and the icing on the cake is the jobs I have gotten because of it.

AUDRIE LAWRENCE, PHOTO AGENT, REDUX

I love meeting new people. My interest in the world of photography and being among those in the industry led me to my current job as an agent. The socializing aspect is never really awkward or painful for me though, breaking out and meeting totally new people when I go to events is sometimes a challenge because it’s so easy to stay with in the circle of people I know.

I think networking is very important. It could mean face time with someone that you may want to show your work to that may not be responding to your emails or calls. It’s also a great way to find new, talented people who can become a resource.

In my short time as an agent I have had the pleasure of meeting wonderful people through networking events. Some of these people have become invaluable to my daily dealings and, more importantly, good friends. They are the first people I call when I need an underwater housing, a stylist in Detroit, or advice on a new client. Without these people I would be lost.

I love the sense of community and support that exists.  If you love photography, networking with people that have that interest is also fun.  Being around your peers, supporting artists new and established is a great way to keep the industry moving forward.  Networking events whether it be parties, exhibitions, or trade shows are all good sources of keeping you abreast of what’s happening in the world of photo and hopefully inspire.

MIHA MATEI,  PHOTOGRAPHER, GLASSHOUSE ASSIGNMENT

I’ve found that networking is an important part of having a freelance business, especially in the photography world. It’s often who you know that can help your career along. I personally love going out and meeting new people, even if it doesn’t lead to a job. It reminds me that there’s life on the other side of the camera!

I would have never gotten my first cookbook if I hadn’t made calls to restaurant owners to go in and meet with them. You can’t sit back and wait for work to come to you. You have to show passion for the business, otherwise it will not sustain you. It’s also nice for art directors/art buyers to meet who they are going to hire face to face so they can trust and have confidence that they are not just hiring talent, but also a competent and likable person.

As part of my networking, I recently joined Savor The Success, a networking group for women entrepreneurs who meet once a month to discuss how they can improve their businesses. Most of them need lifestyle and product photography for their business, which allows me a great opportunity to meet new clients in a different setting. It’s such a great opportunity to connect with them and, even if we don’t end up working together, it’s great to talk with other strong women and learn different business skills.

TONY GALE, PHOTOGRAPHER

I firmly believe that the more people you know the better, so of course networking is extremely important. We are in an industry that is fundamentally about the relationships you have with other people. You never know who you will meet, or who they might know that can help you or answer a question or even refer you for a job. It is equally important to be forthcoming with information and help as well.

It can be difficult and awkward to network, especially if it feels forced or disingenuous. When you go to an event, everyone is there to have some good conversation and maybe meet some new people, so almost everyone is in the same boat. If you can find someone you know, ask them to introduce you around and it snowballs. The more people you meet the more you will meet at the next event. By the same token if I meet someone new who could benefit from meeting someone else there I know, I will always try and introduce them. It works both ways.

I was initially very intimidated by going to industry events where I felt forced trying to network and meet people. But people are interesting; they all have something to say. Find what is interesting and find the connection with the other person. You can always go up to the person standing alone and talk to them; they are just as intimidated and nervous as you.

A simple shortcut to networking is to get involved with one of the creative trade organizations, (APA, ASMP, SPD, ADC, ASPP etc). They all need volunteers and you will meet a lot of people in a very short time, and maybe even do so good. I joined the ASMPNY steering committee shortly after moving to NYC, and have been on the APANY board for the last several years. The number of people who I have met as a result is staggering.

Facebook is also a tremendously powerful tool. Everyone you meet can be potentially added as a friend on Facebook, then you have one more connection. You will both be much more likely to remember each other the next time, and it builds like crazy.

RYAN PFLUGER, PHOTOGRAPHER, GLASSHOUSE ASSIGNMENT

For me networking has always been a love/hate relationship.  I love meeting new people, and I think putting a face to a photographers work is incredibly important. Especially for someone like me, the face-to-face interaction really helps people form a closer bond to my work.  Some of the best clients I work with are through cultivated relationships over time.  That being said, the initial process can be completely terrifying and stressful.  I never have liked the idea of having to try and sell myself to someone.  Everyone approaches networking differently, but for me it’s just like making new friends.  Sometimes you hit it off, and sometimes you don’t.  While it is very important, a lot of times you just have to realize your work speaks for itself.  If that’s not enough, maybe it’s not the right client for you.  In the end, loving what you do and expressing that to clients is really all you can do.  The rest just falls into place how it will.

TOM McWILLIAM, PHOTOGRAPHER

Networking. Without it we don’t exist as a civilization. Imagine what the Island of Manhattan would be like if we didn’t, begrudgingly, talk to each other about what we want to do. What an anthill it would be!

As a visual content provider in a world of continuous flux, networking can reach the decision maker who will give us a national ad campaign. Other worthwhile opportunities and alliances benefit from networking; a gallery show or public service campaign come to mind. In a world where our craft and our means of expression are always plugged in, turned on networking in technical and legal areas is a necessity.

You can of course spend a lot of time accomplishing nothing but feeding the insatiable social beast and its “friends” through networking, but sometimes even social networking moments can be a crystal ball. This type of networking recently saved me pain and embarrassment.  The interpersonal skills and professionalism of a person I was thinking about hiring/referring as a team member on an important campaign was recently put to a test at a networking event.  As a result of their behavior that day I don’t regret my decision to not invite them on a two-week trip to a far away place where English is the third language and there was only one flight per week to anywhere other than where I/they landed.

Keep a look out for next month’s question and email blast!!If you have any ideas, comments, or if you’d like to participate in our monthly email Q&A, please don’t hesitate to contact me, Jacqueline Bovaird. I am always looking for new voices to add to this evolving discussion.
212 . 462 . 4538   |  jacqueline@glasshouseassignment.com


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