Stella Kramer and her team blog the Photo Expo!

It’s that time of year again when the Photo Expo comes to New York. All the eager photo boys and photo girls go running for the Javits Center. For me, the grind of estimates and projects must go on and so I leave you in the very capable, reporting hands of Stella Kramer. Stella and her team will be live blogging from the Expo to give you all news you need to know and reviews of what they see, hear, and learn. Enjoy!!!

Check out Stella Kramer’s blog here and also her additional posts (busy busy!) on the ASMP blog, Sharpen.

Q&A: Photographers shooting video… continued.

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.

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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

YPA Tonight!

Come join us tonight for the second annual benefit auction for the Young Photographers Alliance! Many of the industry’s most acclaimed photographers will have images up for auction and six young photographers will receive their awards. Glasshouse Assignment had a wonderful showing in the auction this year. Our very own Evan Kafka, Ryan Pfluger, Spencer Jones, and Ryan Schude all have prints available and on display!

Come out, see some incredible work, bid on your favorites, and honor these young photographers. See you there!

YPA Benefit Auction

October 12, 2010, 7 pm  – 10 pm

Metropolitan Pavilion, 110 West 19th Street, New York, NY 10011

More info here!

Levi Brown in Oprah Magazine

Check out recent tears from Levi Brown in the October issue of O, The Oprah Magazine! I can’t decide which is my favorite, but it is a toss up between the army of pink figures and the mouse drinking from an IV bag.

See Levi’s portfolios here and here, and feel free to contact me with portfolio requests and project ideas!


Q&A: What photographers need to know about producing video

For many, it seems that the most intimidating aspect of motion/video is the production… How many people do I need? How do I storyboard a project? How much time does each shot take? How many takes is normal?

In order to shed some light on the subject and to hopefully inspire many of you to dip your toes into these waters, I’ve asked some of my favorite producers to share their advice on what photographers need to know when starting out with video.

To also give you your monthly dose of new work from us, I’ve sprinkled in new work from Glasshouse Assignment photographers. As always, thank you so much to all those who contributed to this month’s Q&A!

– Jacqueline Bovaird, Glasshouse Assignment

Ryan Schude

Megan Bienstock, Casting Director/Producer, Remote Control Productions

I find the biggest difference between producing a print shoot versus a video shoot is making sure you are telling the story. Storyboards are a great way to make sure that everyone is on the same page. I always make sure that we can clearly answer the question “Who’s story are we telling?” Once that is defined we can color in all the other pieces of the shoot. All of the crew needs to approach the shoot with that question in their mind so that we tell one cohesive story. Sometimes in print shoots crew can work independently of each other and get the job done when on set. With video it is more of a collective process, both in the pre production and the post production.

Levi Brown

Casey Levine and Monique Perreault, KWC Productions

The three main qualities that photographers need to cultivate when venturing into video is: the ability to plan things out, common sense, and a collaborative spirit.

With photography you can roll a little loose, have things come together at the last moment, and in some cases have unexpected and magical situations happen because of a lack of structure.  With video, you have no choice but to address your workflow before you are on set to make sure you are maximizing time, have a clear idea of what you need and how you are going to get it, and a handle on problems that can arise.

Ryan Pfluger

In our experience, the best video sets are ones that run exactly according to plan.  There is a clear objective and an even clearer plan on how to get to that objective spelled out before anyone steps on set.  With video you are racing against time; if you need to do multiple takes to get something right it eats up at time.  There are more factors in video – imagery, sound, movement – which means more time needed to get it right. There is little time to problem solve. You need to have it figured out beforehand.

On a video set, you have to share the spotlight, so to speak. As a still photographer you can show up solo with a camera and make amazing images. All you really need is light.  With video, the director is only as good as his crew. You need a tight ship to get things done. When photographers start to bridge the gap between photo to video, there is a whole new set of necessary positions (DP’s, gaffers, AD’s) to get used to. It is essential to learn each person’s role is in the overall scheme and how they can help create the best footage in the end.

Spencer Jones

John Noonan, Producer, Gravy Production

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. (stay tuned next month for more on video from John!)

Trevor Dixon

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. (stay tuned next month for more on video from David!)

Evan Kafka

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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

Miha Matei in Living Etc.

If I didn’t live in New York I’d have a much larger apartment, and I’d be able to decorate it with a bit more enthusiasm than I do now. Living Etc. is a decor magazine based in London which serves as a gorgeous window into all those people who don’t live in tiny boxes.

Check out Miha Matei’s image in their Inspiration Gallery on page 139! See more of Miha’s interiors here!

Can’t get enough of Miha?

Jacqueline Bovaird, Photo Agent

212-462-4538 •  jacqueline@glasshouseassignment.com

Spencer Jones and the New York Times Store

Glasshouse Assignment photographer Spencer Jones recently teamed up with the New York Times Store to photograph many of their new products, including a new series of really fun crossword dishware. Maybe I’m just a sucker for my Sunday crossword puzzle ritual, but I’m loving the sense of humor in these. Check out the images below and keep a look out for more from Spencer and the New York Times Store!

If you have any questions about Spencer Jones or portfolio requests, contact photo agent Jacqueline Bovaird.

212-462-4538  •  jacqueline@glasshouseassignment.com

Interpol and Ryan Pfluger

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


NY PhotoGroup Salon

Come by the SoHo Photo Gallery tonight and check out another installment of the NY PhotoGroup Salon, where a few photographers have been selected to present and discuss their work. Tonight the presenters include our very own Evan Kafka, so come by and say hello!

Sam Mendes, photographed by Evan Kafka

SoHo Photo Gallery

15 White Street

New York, NY 10013

$10 charge at door

Evan Kafka in Forbes

Who doesn’t love really big cameras? Evan Kafka recently photographed the formidable 20×24 Land Camera, which produces Polaroid prints almost two feet square. The images in Forbes are on the newsstands now.

See the full story about the camera, gorgeously outfitted with Evan’s photos, here. Nice job Evan!

For portfolio reviews and questions regarding Evan Kafka, contact:

Jacqueline Bovaird

212-462-4538  jacqueline@glasshouseassignment.com

Q&A: End Of Summer Recommendations

As the summer winds down, it’s a great time to catch up on all that relaxation that you’ve been meaning to get to since May. For this month’s Q&A, we’ve decided to catch up with our photographers as well as help you kick back with some of their favorite sources. We’ve asked each one to send over a few recommendations and let us know what they’ve been interested in lately. We’re hoping to stray from the obvious here and give you a little something you may not have seen before.

We hope you enjoy and have a great finale to your summer!

-Jacqueline Bovaird, Glasshouse Assignment

MIHA MATEI

Q: What have you been interested in lately?

A: I have been interested in all things food and design. About a year ago, we moved into a new house, so I’m always looking for new decorating ideas. I’ve also been shooting a lot more interiors lately; so keeping up with interior design has been part of my research.

Miha’s Recommendations:

Amadea Bailey, painter. I recently met Amadea Bailey and instantly fell in love with her work. Her paintings are full of rich colors and texture, the same qualities that draw me to photography. (see Miha’s photo of Amadea above)

LivingEtc. Magazine. I have been buying this magazine every month for a few years now. It offers stylish and modern tips on interior design and living and gorgeous photographs!

HGTV’s Design Star. Emily Henderson is a prop stylist who I’ve worked with and is one of the contestants. She styled my shoot for Tia’s Bakery about a year ago and I’ve loved her aesthetic every since. She has a great design inspiration blog where she posts highlights from the show as well as a refreshing take on design.

Donna Hay and Jamie Oliver magazines. The two have contrasting styles but they both offer an abundance visual reference. Jamie Oliver has a blog that I love to visit and Donna Hay has a general store in Sydney’s Woollahra specializing in home wares that I love and wish was here in the States.

(see Miha’s interiors and food portfolios here)

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TREVOR DIXON

Q: What have you been interested in lately?

A: I’ve been spending a lot of time (and money) looking at photography books on Photoeye.com.  It’s great resource for collecting signed, limited edition and obscure photo books. I have ton and love having all this amazing work in my office. In our digital world, I find it increasingly satisfying to hold something unique and labored over. They also host a rare book auction and a gallery section.

Trevor’s Recommendations:

iPhone 4’s face time feature. I’ve been doing lots of traveling for work and this allows me to check in with my wife and son when I’m on the road. I can use the phone to show them my hotel, where we are working, etc.

Kin Subscription Series photo books. Number #2 just came out and features two of my favorites Todd Hido and Alec Soth. They only produced 800 of them and they are really cool.

Work of Art: The Next Great Artist. A really interesting “reality” show on Bravo where young artists compete for a big solo show.  Reminds me of my harsh art school crits and the host China Chow is easy on the eyes.

The Intelligent Investor by Benjamin Graham. Written in 1949, it is the one book every investor must read and I am slightly obsessed with the craziness of the market.

The Hold Steady’s new album Heaven is Whenever. Craig Finn’s lyrics are amazing and hilarious…always puts me in a good mood.

(see Trevor’s interiors and still life portfolios here)

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SPENCER JONES

Q: What have you been interested in lately?

A: Motion / video and Design …. how to produce it, shoot it, and who’s doing it. Film and video have always been an interest of mine. I have a few personal projects that I’m working on now. I’m starting to see still life shooters take their 5D and shoot motion and, of course, it seems like the next phase of photography. I’m starting to get requests from clients to shoot both stills and motion for their web sites. As a photographer, the next wave for the future is to be able to do everything.

Spencer’s Recommendations:

Craig Cutler’s Forks. Craig Cutler, a still life photographer, is a good example of someone who has made the move into motion. Even though he has produced commercial jobs using motion I particularly like this personal projects.

Motionographer. A great source of inspiration.

Tipping Point: How Little Things Make a Big Difference and Outliers: The Story of Success by Malcolm Gladwell. I’m currently reading The Tipping Point. In this book he finds examples of when an idea, trend, or social behavior crosses a threshold, and tips from being obscure to spreading to the main stream. I have a fascination with why things work out the way they do. Malcolm Gladwell’s perspective is one I find intriguing. In Outliers, Gladwell illustrates examples throughout history of events that occurred to lead groups of individuals in a direction that created a niche, which turned into main stream success.

Frog Design and their blog, Design Mind. As one of the leading design firms of global innovation, I’m interested in how their creative process is both art and science.

(See Spencer’s portfolios here and here)

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RYAN SCHUDE

Q: What have you been interested in lately?

A: Unfortunately, my reading time has been vastly monopolized by playing scrabble on my phone, sad but true. So, here is more of an all-time list.

Ryan’s Recommendations:

My Uncle Oswald by Roald Dahl. Uncle Oswald is one of the greatest characters you will ever read about. My greatest ambition as a photographer before I die is to create a specific vision inspired from this book.

Raise High the Roof Beam, Carpenters and Seymour: An Introduction by J.D. Salinger. Even if you’ve already read everything else he’s written and maybe this one too, it still deserves a second go round.

Atlas Shrugged by Ayn Rand. A bit of a chore, but worth it much more for the story itself than the philosophy surrounding it.

A Heartbreaking Work of Staggering Genius by Dave Eggers. The humor and honesty relayed in the title carries itself throughout the entire book. Inspiring on many levels including when you look at what he’s accomplished since this debut.

Cannery Row by John Steinbeck. Definitely a must. Quick and easy read, funny and heart warming with classic Americana visuals throughout.

(See Ryan Schude’s portfolios here and here, as well as his lomography portfolio)

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EVAN KAFKA

(photos from a recent Kids With Candy collaboration, see the full story here!)

A: The new baby at home is taking most of my time. Family is what I’ve been into lately.

Evan’s Recommendations:

The New York Times. I read the analog paper every morning.  There is so much in there I want to read each day but many times I can barely get past the section fronts. It’s hard to read any other paper or news magazine, they just don’t compare. I especially like the business section. It’s fascinating.

Tech/Review sites. I am a gear head.  I can’t help it, that’s what I’m interested in.  I read dpreview.com, luminouslandscape.com, diglloyd.com, reidreviews.com, and macperformanceguide.com.

Jonathan Saunder’s blog, I Like to Tell Stories. I try to follow my friend Jonathan Saunder’s blog, I think he’s a great photographer and this way I can see what he’s up to now that he’s in TX.

Superfreakonomics: Global Cooling, Patriotic Prostitutes, and Why Suicide Bombers Should Buy Life Insurance by Steven Levitt. I read about one book every 2 years.  The last one was Superfreakonomics, which was very interesting. There is no time for books.

WFMU. When I am in my studio working, I almost always stream WFMU.  It’s a local station out of Jersey City but the signal is week so I listen online, wfmu.org.  I have listened to it pretty regularly for about 15 years.  I have a pretty eclectic taste in music and that’s what they play. I am also really into my friend Ian Svenonius’ latest band right now, Chain and the Gang.  He is amazing. Watch a live version of Reparations on YouTube, so cool.

(See Evan Kafka’s portraits, animals, corporate, and baby portfolios here)

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To end things, here are a few of my own recommendations!

The Photographic Dictionary. A tumblr page where people submit photographs to illustrate words. It is always interesting to me 

Cronopios y Famos by Julio Cortazar. I read this a while ago, but keep going back to this book for a short story or two.

After Photography by Fred Ritchin. Any time I’m feeling in a rut and need to kick start my brain, this definitely does the trick. (also check out the blog)

The Art of Happiness: A Handbook for Living by His Holiness the Dalai Lama and Howard Cutler. When living in New York ends up being overwhelming, a glass of wine and few chapters of this is all I need to mellow out and refocus on what’s important. It’s not easy to balance this philosophy and my neurotic nature, but I’m working on it!

The Sartorialist. Run by writer/photographer/style icon Scott Schuman. What’s better than looking at beautiful people in their natural habitat? I’m totally hooked.

PS1’s Summer Warm Up Parties. With only a few left before we move into fall, make sure to check out this outdoor dance/art scene on Saturdays through September 4th.

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Have a great end of the summer and, as always, feel free to contact me with any questions/comments/portfolio requests!

Jacqueline Bovaird, Photo Agent

212-462-4538  jacqueline@glasshouseassignment.com

You’re the best, Feature Shoot

Feature Shoot has been one of my go-to blogs for quite some time. Alison Zavos, the person behind it all, was a contributor to our Q&A last year and even featured Ryan Pfluger on her blog way back in August of 2008.

If you check out today’s post, you will see a sampling of Evan Kafka’s new animal portraits are featured! We’re proud to be included and we must say, Alison has superb taste in photography.

Check out the post here! Don’t forget to check out Evan’s full animal portfolio as well.

OUT, Style Guide and Model Citizen

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!

Vodpod videos no longer available.

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

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

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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.

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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

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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.

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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

Evan Kafka, Next to Normal Round 2

Every once in a while the perfect client and the perfect project comes along…. and then if you’re really lucky, they come back for round two!

In February 2009, Evan Kafka originally shot the cast of the Broadway hit Next to Normal. Now that the cast is evolving a bit, we were asked to shoot them again. The images are used in their promotion and also on the doors of the Booth Theater on 45th St. If you haven’t had a chance to see the images installed in person, I highly recommend it… they’re very impressive and printed beautifully. Everyone was wonderful to work with and the shoot went off without a hitch! Thank you so much to Moira Finney and the great people over at Serino Coyne, as well as the new cast of Next to Normal!

When the new images went up on the doors yesterday, Evan ran over to check them out. See the installation shots below, as well as some samples of the final products. Congrats Evan!! These are gorgeous!

Jason Danieley

Jason Danieley and Evan Kafka

Kyle Dean Massey

Marin Mazzie

Jason Danieley

Meghann Fahy

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For more information of Evan Kafka or for portfolio requests, contact

Jacqueline Bovaird

Photo Agent, Glasshouse Assignment

212.462.4538  jacqueline@glasshouseassignment.com


Miha Matei’s Interiors Featured

Desire to Inspire, an interior design blog, recently features some of Miha Matei’s photography. Check it out here, and see some more work below!

Ryan Pfluger: New Website, Work, and News!

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

Behind the Scenes with Ryan Schude

I love behind the scenes videos from photo shoots.. but doesn’t everyone? I’m not sure why they’re so fun to watch, but count me in as an addict.

Our photographer Ryan Schude is constantly being asked how he shot his images. His large scale productions are a technical feat, especially when you’re trying to keep things light-hearted and fun. Ryan was recently featured on Scott Kelby’s blog about the process behind one of his images, and was great enough to provide lots of insight. He even serves up a lighting diagram to help you all sort it out.

Here’s the final image and a behind the scenes footage, which I promise you’ll watch more than once:


Vodpod videos no longer available.

(Click image to see it larger)

Check out lighting diagrams and Ryan’s post on Scott Kelby’s blog!

New work from our photographers!

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

Which promos do you keep?

Promotions are tricky. Do you save money and send a relatively inexpensive postcard to a big mailing list? Or do you do a fancy promotion that people will certainly keep, but you can only afford to send it to a small list of potential clients? For what it’s worth, I believe in trying to accomplish a bit of both, but that’s just me.

After a big postcard mailing, Miha Matei and I discussed doing something special and personal for her closest regular clients. In a recent PDN article, Ilona Siller, Art Buyer at Draft FCB, was asked to recall her favorite promotions she’d received from photographers. Ilona brought up a Miha’s winter promotion, so we thought we’d share it with you here!

Miha selected delicious organic dark hot chocolate and the perfect mug, big enough to hold with two hands but not so huge to be heavy. After adding in a few tasteful postcards and a personal note, Miha wrapped them all up in natural, textured packaging and sent them off! See the promo below and read more on Miha’s blog here!

Here is a look at the promo:

Tim Lincecum by Ryan Schude

Check out the recent cover by Ryan Schude for San Francisco Magazine! He shot Giants pitcher Tim Lincecum, it seems everyone involved had a great time! Nice job Ryan!

Click here to see more from Ryan Schude and check out his blog!

For portfolio requests or questions regarding Ryan Schude or any of our Glasshouse Assignment photographers, contact:

Jacqueline Bovaird, Photo Agent

212.462.4538 / jacqueline@glasshouseassignment.com

This week in the world of NY photo…

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.

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See you there!

Trevor Dixon in Philadelphia Mag

First of all, I deeply apologize for the lack of posts. You see, the wonderful thing about having great, hardworking photographers is that they keep you very very busy! No excuses though… I vow to serve you better (as soon as I can catch my breath).

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For now, check out Trevor Dixon’s summery images in Philadelphia Magazine. I love them so much, in fact, that I made a separate portfolio from some of them. Check it out on our site here.

For more portfolio requests or more info on Trevor Dixon, feel free to contact us.

Jacqueline Bovaird  |  Photo Agent  |  Glasshouse Assignment

212 462 4538  |  jacqueline@glasshouseassignment.com

Ryan Pfluger for Vogue.com

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

New Photographers, New Site Updates

I’m taking a break from the Q&A to accounce  some very exciting things are happening here at Glasshouse Assignment. The biggest news is that two new photographers have joined our tight-knit family!! While I know some of you have been hearing the whispers, I couldn’t be more thrilled to officially announce that Levi Brown and Trevor Dixon are on board with us. We have also overhauled our site to make it more user-friendly and the portfolio sections more robust. Read on to learn more about Levi and Trevor and check out their images below.

While there are new images in every single photographer’s portfolio, we’ve added big sections to a few of them. You will see we’ve heeded the overwhelming demand to include more babies and animals from Evan Kafka. Ryan Pfluger’s celebrity images have been pulled apart into their own, gorgeous section as well. Also, we have a whole new look from Ryan Schude in his lomography, which shows a different side to his vision and compliments the work you’ve seen beautifully.

We hope you find the changes to the site just as exciting as we do. To Levi Brown and Trevor Dixon, welcome to our Glasshouse family! We are oh so happy to have you.

– Jacqueline Bovaird, Glasshouse Assignment

LEVI BROWN

Because of his witty charm and unique ability to illustrate any concept, Levi Brown has become the go-to photographer for conceptual still life. That being said, Levi can’t only be considered a photographer. Since he builds most of what is in his images, we see him as one part photographer and one part sculptor, with a dash of mad scientist thrown in. His work is just as much about the process and problem solving, as it is the final image.

Levi’s editorial clients run the gamut from Bon Appétit and Real Simple, to Women’s Health and Field and Stream. If you’ve heard his name, it’s because it’s everywhere these days. Levi was one of this year’s PDN 30 New and Emerging Photographers to Watch and PDN Photo Annual, and also has an image selected for American Photography 26. Check out his portfolio here, though we warn that you may never see gum the same way again.

See more from Levi on our site here.

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TREVOR DIXON

The reaction to his work is always the same, “I want that!” Whether you want to live in his interiors, cuddle up in sweaters for Anthropologie, or bask in the dreamy light of his newest beachy series…we all want what Trevor’s got.

Trevor Dixon has the very rare ability to shoot interiors, product, and lifestyle with a consistent style and taste level. A few months ago, he sent me a small book promo of his work. I didn’t even get through all its pages before I called his studio to see more. Trevor’s easy-going personality is just the kind we like to have around and his clients, some of which he has kept loyal for twenty years, sing his praises to anyone who will listen. We couldn’t be prouder to add him to our team.

See more from Trevor on our site here.

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Want to see more? Of course you do. Actually, we’re counting on it.

For portfolio requests and any questions about Glasshouse Assignment or our photographers, feel free to contact me any time.

Jacqueline Bovaird, Glasshouse Assignment

212 462 4538  jacqueline@glasshouseassignment.com

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