Texas Monthly 40th anniversary issue

I was honored to be commissioned to shoot a portrait of the city of Houston for the 40th anniversary issue of Texas Monthly.  A few weeks ago we flew over the Houston ship channel in a helicopter to capture this image.  The setting sun filtered through the clouds just enough to give us some great light.

Update:  Prints of these are now available.  E-mail us for details.

Below are some other views.

| Permalink

Austin Creative Department

Recently, Will Chau, creative director at GSD&M, asked me to speak at the Austin Creative Department art direction school about my work and the collaborative world of commercial photography.

Afterward, one of his proteges, Jon Coyle, approached me about turning some of his concept sketches into a reality.  I was happy to help, Jon is immensely talented with great visual concepts and he also handled the location acquisition and production management that went into making these happen.

| Permalink

Fair Fare

It’s State Fair season again.  I’ve always been drawn to the colorful and completely unpretentious nature of carnivals – the games, the rides and of course, the food.  Here’s a new series with my take on them: Fair Fare.

| Permalink

Sgt. Michael Reid

Air Force Sergeant Michael Reid and his Mopars.

 

Sweet rides and jet planes.  Photographed on the flight line at Randolph AFB for AutoWeek

 

 

| Permalink

Something different

From a recent production…

| Permalink

South by Southwest

Commission for BBDO / FedEx

| Permalink

Lab work

From a recent commission by the University of Texas

| Permalink

Borderlands

 

| Permalink

Events Calendar

It’s always nice to see work in print and this week a big box of freshly printed Austin Event 2012 calendars came from my friends at Big Weekend.

9-year-old Logan Cogswell

We spent part of the last 11 months planning and shooting scenes around the Austin area that are different from the typical boring stock photos that a ‘city’ calendar would normally have.  Memorable moments include sliding off an ice-covered road in an attempt to photograph an actual wintry scene (this one didn’t pan out), and the metal-art-picnic-table image was made during the hottest part of the hottest day of the year at 112 °F.  The benches were made of steel, there was literal rump roast.  I was sure nobody would actually show up for that, but free beer saved the day once again.

The cool thing about these calendars is that there are hundreds of things already scheduled out for your planning delight, including lesser-known events like the Hairy Man festival.  Why didn’t we shoot that one?  Ah right, it’ll be on your wall for a month…

| Permalink

Video Game Execs

Over the past couple of years, I’ve had the opportunity to photograph several luminaries in the world of gaming.  They’re also corporate executives, and what I like about these shoots is how different they are compared to the usual executive shoot.  This presents some interesting challenges.

Arkane Studios co-directors Raphaël Colantonio and Harvey Smith. Raphaël has a tattoo of the company logo.

I like to have a battleplan.  The more preparation we do beforehand means less time spent fumbling at the shoot.  First, I research the subjects, thank heavens for Google!  Sometimes I learn something about their personalities that I can use in styling the picture, or at the very least, become familiar with their work and have something to talk about.  From this, and from the angle the writer of the story is working from, I start to sketch what I want the image to look like, thinking about colors, compositions, lighting and how to relate it to the subject and the story.

There are always a lot of unknowns that remain when we arrive.  The shoots typically take place on location at the studio, with no pre-shoot scout possible.  Sometimes these studios are very large offices with dozens of people working there with plenty of interesting environments and space, and sometimes (such as Arkane’s above), there’s one room where the President’s desk is next to everyone else’s and we set up in the middle of the chaos, the background stands having only a few inches to spare.  Then there are the subjects – will they have much time?  What will they be wearing? – I haven’t seen a suit yet.  How can we get them to open up?  Will there be a PR person there and in a good mood?  Game company execs have very different backgrounds than the usual executive, which I find usually works in my favor creatively as it brings the important element of spontaneity.  There’s usually less ‘controlling the message’ and practiced smiles going on that gets in the way of making an interesting image.

Less is more, and there is always an a-ha moment where it is as good as it gets and it’s time to stop while we’re ahead; so I don’t shoot that many frames within a set – maybe a few dozen.    After selects are made, I do my own retouching to achieve the final look that completes the story using my own creative vernacular.

Even with all the thinking and planning, I never quite know how it’s going to turn out in the end, but I wouldn’t have it any other way.  So far, so good.

ps:  I’m working on assembling a portfolio of sorts of these, I’ll have them here soon.

| Permalink