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Magazine of The Quarterly rk Chapter rtists | New Yo A ic h p ra g to ho e American P
Fall 2016
Supporting Photographers and the Business of Photography
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www.apany.com
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Keith Barraclough and the Redhead Project By David Byron Rice
Green Roofs: NYC An Interview with Ari Burling By Alexis Popi
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Protecting Your Copyright
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Lisa Saltzman: Upending the Notion of Street Photography
By Richard P. Liebowitz, Esq.
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By Amelia Hennighausen
The APA|NY Proof Sheet is a quarterly magazine, published by the New York Chapter of the American Photographic Artists. Copyright 2016 APA|NY; all rights reserved, collectively and individually. Content, either images or text, may not be copied or reproduced in any form, in whole or in part, without prior written consent from the photographer, writer and APA|NY.
Supporting Photographers and the Business of Photography
About APA|New York APA|NY is the Northeast regional chapter of American Photographic Artists (APA), covering the entire area from Pennsylvania and Ohio up through Maine. As part of the country’s leading non-profit organization for professional photographers, we organize events, negotiate benefits for our members, hold seminars, promote our members’ work, organize photo contests, and much more. Our mission is successful photographers; our goal is to establish, endorse and promote professional practices, standards and ethics in the photographic community as well as provide valuable information on business and operational resources needed by all photographers. We seek to motivate, mentor, educate and inspire in the pursuit of excellence and to speak as one common voice for the rights of creators. APA|NY is a 501(c)6 not-for-profit organization run by and for professional photographers. Our all-volunteer Board works hard to promote, within our creative community, the spirit of mutual cooperation, encouragement, sharing and support. APA, and APA|NY, continue to expand benefits for its members and works to champion the rights of photographers and image-makers worldwide. APA Members include professional photographers, photo assistants, educators, and students. We also welcome professionals engaged in fields associated with photography, advertising, or visual arts but who themselves are not professional photographers. Membership types can be found at http://apanational.org/join.
We welcome you to join and get involved.
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contributing photographers Sue Barr, Keith Barraclough, Ari Burling, Jim Esposito, Shannon Greer, Tyler Matson, Lisa Saltzman contributing writers David Rice, Alexis Popi, Amelia Hennighausen, Richard Liebowitz advertising | email or call for a media kit Dhrumil Desai
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letters to the editor: please email comments and suggestions to proofsheet@apany.com proof sheet design: daniel carmin-romack www.rtwerk.net
APA|NY Board of Directors Michael Seto Co-Chairman Ron Jautz Co-Chairman Bruce Byers Treasurer Scott Nidermaier Social Media Director Alley Maher Assistant Liaison Dhrumil Desai Social Media
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Thank You to our Volunteers
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Bill Bert, Ron Amato, Alan Mahon, Ari Burling, Jennifer Taylor, Nicole Pereira, Sue Barr, Tina Zarbaliev
APA | National APA National Office 5042 Wilshire Blvd, Suite 321, Los Angeles, CA 90036 National Executive Director Juliette Wolf-Robin Membership Representative Jeff Kausch • membership@apanational.org
Letter from the Chairmen This fall issue of proof sheet explores personal work. You photographers out there remember personal work, right? Sure, it’s what we did before we turned professional. When I transitioned from hobbyist photographer to full-time freelancer, a longtime pro told me, “Once you turn pro, you shoot subjects you have no interest in, in a style you abhor, in a place you would never go.” Thanks for the pep talk! We all know there is a nugget of truth to that, that as working professionals we don’t always have full creative control over our work with clients. Most of us struggle towards a point where the Venn diagram of paying jobs to overlap more with what we enjoy doing. Those circles might overlap more or less at various times in our careers. Until then, it is important to set aside time to shoot personal work, the stuff in the “What do I enjoy doing?” circle. Personal work is about having fun, it is about reconnecting with your taproot - that material which inspires you, quickens your soul. Personal work is finding the child inside and letting them out to play. It allows you to unleash whatever creativity might be missing in your day-today work. It’s spending time honing the “What am I good at doing?” circle. Potential clients always want to see a photographer’s personal work. It tells them something about you – personal work speaks to your interests and personality. Displaying personal work can eventually lead to paying work in some cases. Ultimately, personal work is about exercising your true vision, your voice, it develops and hones What am I good at doing? along with What do I enjoy doing? as we continue to aspire towards a creative career that combines those two elements with What will others pay me for? So get out there and shoot!
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Red on White
Keith Barraclough and the Redhead Project
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By David Byron Rice
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What’s with the redheads?
Keith Barraclough is well-known photographer with an extensive portfolio of advertising, corporate, and editorial work. But he is best known for the Redhead Project—sets of two or three portraits, the first displaying a redhead wearing white or off-white posed against a white background, followed by an image or two featuring the redhead in self-selected clothing or props— sporting equipment, hairclips, favorite t-shirts, even a mermaid costume. It started on a corporate shoot. “There was a gentleman who came in to get his picture taken and he just had a presence about him that really struck me,” he says. “I didn’t notice the red hair, it was really, really short, but he just had a presence about him.”
Later, while playing with the image in Photoshop, Keith noticed the color of the man’s hair, and his piercing blue eyes.
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Keith shared the photo with a handful of clients, consultants, and reps. They loved it, he says. “They all said to me, this could be something, this could be a Gap ad, or you could put a tie on him and make it an Abercrombie & Fitch ad.” Something clicked, and Keith embarked on a personal voyage—one with a decidedly professional goal.
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“Honestly, he looks like a guy who just got off the boat in 1880 from Ireland and landed on Ellis Island,” Keith says. “He has that look on his face, but he’s wearing a white Oxford cloth shirt, so he’s kind of a mix between the old versus the new.”
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“Photographers love to have a project or a set of photographs they can show to an editorial photo editor or to an advertising client, or to an art buyer or an art director, and they can all look at it and say, ‘I have a job for you,’ he explains.’” The Redhead Project gave Keith his “perfect storm. I can have one portfolio I can show to different kinds of clients and they can all say, ‘I know what I can hire you to do.’” The Redhead Project has just two rules—each model must be a natural redhead (or have been—there are a few gray, white, and bald heads in the collection), and he or she must show up at the shoot with clothing, jewelry, or other props selected to reflect his or her personality or passion. Each shoot takes an hour or an hour and a half, and follows the same pattern. Keith spends the first 15 minutes shooting the model in white on white, counting on the absence of background color to bring out the redhead’s hair, features, and eyes. Asking them about their best or worst days, he aims for a “day-dreamy” shot. The remainder of the shoot, which can take 45 minutes or twice that depending on how many props the redhead brings, is a search for clues to the model’s personality. “When I put both of the images together,” Keith says, “I want the viewer to look at the first image and think, ‘Wow, I wonder who this person is,’ and then look at the next image and think, ‘Oh, I didn’t get that out of that first look. I really didn’t get that that person loves snow and loves dressing up in warm clothes even though she lives in Orlando.’”
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Only a handful of the Redhead Project’s subjects have been professional models. The rest, Keith says, are just “regular, run of the mill, everyday redheads.” He and his wife, who books his shoots, have met many of the models through word of mouth and through Instagram, where he posts many of the pictures. And that’s the whole point, he says. “I wanted to take really nice personality shots of people who are not used to getting their picture taken.” The subjects may bring a suitcase full of clothes or items that are special to them—in one case a fossil collection. “They get really, really excited about it,” Keith says, “and it’s really kind of thrilling to see how important it is to them. It’s not about me. It’s really about pulling out their personality and who they are.” That first redhead, the one with the 1880 just-off-the-boat look, hasn’t made it into the collection, but Keith has since photographed nearly 300 others. He does most of the portraits in his New York studio, but completed many on a spring “redhead roadtrip” kicked off through an Instagram casting call. He and his wife drove the whole way with their dog, mixing 57 redhead shoots with corporate work in Atlanta, Houston, Austin, and Dallas. If seeking out 300 redheads to photograph seems unusual, then Keith Barraclough took an unusual route to a career in photography. The son of a Foreign Service official, he grew up in his mother’s native England. His parents were neither photographers nor artists, and he did not fall in love with photography until college at SUNY Plattsburgh. Plattsburgh had no photography major, and so he majored in art history with a concentration in photography.
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Keith spent his college summers and breaks in Europe, visiting his parents during his father’s subsequent postings in Brussels and Paris. He saw the artwork he was studying firsthand in Europe’s great museums, and photographed the architecture of its cities. “I brought everything back home with me,” he recalls, “and I felt like I was learning something that was really useful.” With his parents’ blessing, Keith launched a career that over more than two decades has taken him from Washington, D.C., to his current location in SoHo. He specializes in studio and environmental portraiture, and counts top advertising, editorial, and corporate firms among his clients. Keith is proud of his ability to collaborate with a wide range of clients—the candids of basketball superstar Stephen Curry taken during a shoot for the TeachersCount program in Oakland suggests that he can get his models to relax and have fun. He’s also got a way with four-legged clients. Animal Planet hired Keith to take “personality shots” at a dog show in Salem, Virginia. “At the time there were 164 or 165 dog breeds registered with the AKC. Our job was to get as many of those breeds as we possibly could in those five days, and we got to140.” The charming canine portraits may have been the inspiration for the Animal Planet tag line “surprisingly human.” But they weren’t easy, Keith says. “Most of the dogs didn’t know how to sit. You’re not allowed to sit in a dog show. They don’t want them to sit, so they don’t train them to sit.” Getting the dogs to look “human”—staring off into the distance or looking directly into the camera—involved lots of motivation, he says. “I got hit with so many different kinds of treats.”
Throughout his many other jobs, the Redhead Project continues. It lives online and in Keith’s portfolio for now, and he’s documenting the shoots on video, but he hopes to see it on a gallery’s walls. “There are no plans for a book,” Keith says, “but I would love to have a photo exhibit one day. I have 11-by-11 inch images in my portfolio, but I would love to put together 11-by-14 or bigger prints that I could show to an art gallery.” In the meantime, the Redhead Project serves its professional purpose, Keith says. “Right now it’s just a portfolio piece so I can show advertising and editorial clients that I can take really nice portraits of everyday people.” And he’s not likely to run out of models soon. “When we started this project, I knew one redhead,” he notes. “And the one redhead I know, I still haven’t photographed yet.” n
Keith Barraclough is a Professional Member of APA and resides in New York, NY. Keith photographs people, athletes, celebrities, executives and animals in studio and on location for advertising, editorial and corporate clients in the United States and around the world.
See more of Keith’s work at www.keithbarraclough.com
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ASSISTANTS Alessandro Casagli 4 years, 1st-3rd Assistant 646 881 4793 • ale@casagli.com www.casagli.com Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location
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Photo by Professional Member Tyler Matson of New York, NY | www.tylermatson.com
Photo by Professional Member Sue Barr of New York, NY | www.suebarr.com
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Green Roofs: NYC
An Interview with Ari Burling By Alexis Popi
1. You are an architectural photographer. What does that mean? Architectural photography tells the story of the built environment. Imagine a completed building. Many people contributed their knowledge and expertise before the structure could open for business. I’m talking about architects, engineers, construction companies, and a host of associated designers, suppliers, and fabricators. These key players want images of the finished construction to market their work to perspective clients, generate publicity, and to use as an editorial display or for advertising purposes.
2. Let’s talk about Green Roofs NYC. What inspired you to take on this project? I stumbled upon the idea while on assignment. We talked about what an architectural photographer is but let’s break it down. A client provides a shot list of what they are interested in capturing. This is what I work from. Generally it is a list of interior and exterior photographs. Specifically it looks like this: The lobby. Trading floor. Workstations. Private offices. Conference rooms. Green roof. Years ago, I was photographing Uniliever in New Jersey and after a many such setups as I just described, we went outside to shoot “the green roof.” At the time I didn’t know what a green roof was. So I asked.
3. For anyone who isn’t already aware, can you explain what a green roof is? A green roof is a roof that has been covered by a waterproof membrane, soil, or planting medium, and… plants. Why would someone construct one of these? This is the interesting part. Cities experience elevated local temperatures in contrast to those in surrounding rural areas. It is a phenomenon called the “urban heat island” effect. Building materials absorb solar radiation throughout the day. At night the stored energy radiates outwards, decreasing air quality by increasing production of pollutants such as ozone. When it rains in New York City, there is a problem beneath our feet— the sewer. It is old. It is inefficient. An influx of stormwater can overwhelm the system. When this happens, pipes called Combined Sewer Overflows discharge raw sewage, industrial waste, oil, and garbage into the harbor and local waterways. This is why green roofs, a centuries-old technology, are now finding widespread application throughout the city— they help mitigate these man-made disasters. Plants and soil are also natural insulators. Whether they are absorbing the sun’s rays, triggering photosynthesis and improving air quality, or absorbing and holding rainwater longer and, therefore, easing the volume of water entering the sewer, green roofs positively impact the ecological wellbeing of New York City. The ecological mission of Green Roofs NYC is tantamount, but the project really took off when I started exploring the diversity of their design and application. 4. Can you elaborate on that?
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There are so many ways to categorize a green roof. Some green roofs are being designed and implemented on a grand scale by multinational architect and engineering firms. Others are erected on individual residential properties by their owners. There are also many green roof design firms out there. I’ve developed working relationships with a lot of those companies—business is booming for them. Everybody wants a green roof!
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You can also find green roofs on hotels, restaurants, public utilities, corporate spaces, residential buildings, museums, libraries, convention centers, rooftop farms—the list goes on and on with new roofs being built and applications being tested all the time. For instance, there are also things such as blue roofs and white roofs. Blue roofs don’t have a growing medium or soil, but “trays” built to hold water that slowly siphons off. A white roof is literally that: a roof painted white to reflect sunlight. 5. You photographed and arranged Green Roofs NYC chronologically by season. Why? Green roofs are a (semi) permanent addition to the evolving landscape of New York City. Yes, the buildings they adorn could be taken down or the green roof removed. But the idea is for them to last and endure, and in permanence they are functional year-round. So I sought to portray them in a way that would convey the passage of time. 6. What are you intending to do with this body of work? Do you have any goals in mind?
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Museums. Galleries. But ultimately I’m most interested in the historical record. Green roofs are a new phenomenon and are transforming the skyline of New York City. It’s a pleasure to be able to document this evolution.
7. What is your timeline for shooting this project? This is one of those projects that might never end. Photographing the skyline of New York City hasn’t lost its appeal to me. 8. Aside from the educational aspects to this project, what excites you the most about this body of work? How do you hope it might be perceived? Green Roofs NYC is a New York project. I’ve devoted some years now to shooting it and have documented more than 100 rooftops throughout the five boroughs. As a New York photographer, that puts me in a group with some of the greats who have also trained their lenses on a changing city. Dedicated artisans, all. 9. How has shooting this project affected your professional life? Have you faced any major challenges thus far? The first and immediate hurdle to shooting Green Roofs NYC was access. Many of these locations are private and not accessible by the public. As an architectural photographer, I am constantly dealing with this issue. You have to find out who designed the green roof, who built it, who installed it, who insures it, who maintains it. It seems like a lot of red tape to navigate, but nothing a little charm and initiative can’t overcome!
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What I discovered while shooting this project and trying to gain access to various locations was that Green Roofs NYC was a great marketing vehicle. The more people I approached and described my project, the more professional contacts I generated, which has and continues to lead to more assignment work. For the bulk of my career, I’ve been an “architectural photographer.” Green Roofs NYC is generating a new and even more specialized client list.
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10. Buildings and interior spaces can be quite imposing depending on their intention, design, and use. How do you know when a shot you’ve taken is perfect? Ah, perfection. How… to… obtain… perfection? For me, it’s all about process— and three elements: Composition. Light. Motion. Every time I take a shot, I run through these three things in order to put together that “perfect” image. Composition is the most intuitive for me, even though it’s really just geometry and the breaking apart of a three-dimensional space into ratios and forms. I was terrible in geometry in school (shout out to that D- in 10th grade!), but after two decades it has become intuitive. After a while, you know what works. Then, light. One of my favorite aspects of architectural photography is the luxury of waiting. Wait. Look around. Gaze at the sky. Weather is the variable that can make the ordinary sublime.
Finally: motion. Now that the first two elements are in place, what can you add to the frame that will activate the composition? This step is crucial, because motion illustrates functionality. It’s also a lot of fun because it lets you play director. I add a lot of moving objects as best I can—people, cars, airplanes—into the frame. Whatever occurs naturally. Clients love when you show their product in use. Put these three elements together and you’ve created a perfect image. 11. What makes an ideal architectural shoot for you? Positive energy. I love working with people who are on board with the process and recognize that an architectural shoot is all problem solving, usually a very long day, and incredibly detail driven. For the most part, I meet people who are as nuts as I am. 12. What types of built environments inspire you the most? A particular assignment you’ve shot in the past? One you’d aspire to shoot in the future? Architecture is heady stuff. ANY assignment has many levels of cerebral information to process and often clients’ jobs present you with an interesting cross-section of civilization. For instance, I could go from shooting low-income, large-volume public housing to a multimillion-dollar private residence. Then: a hospital, followed by a hotel, followed by a prison. Next: a flagship retail space, followed by a stadium, followed by me crawling down into the pump apparatus of one of the dry docks in the Brooklyn Navy Yard. (Different shoes are needed for that last one.) What do I aspire to? To keep shooting. To be relevant. The act of being a photographer and being involved is where it’s at. n
Philip Johnson wrote that architecture exists only in time. It is not the design of space nor the massing or organizing of volumes. The main point is what he called “procession” — the experience of moving through a building. Photographing this idea is the central concept in Ari Burling’s work. As an architectural photographer, he creates compositions populated with people and artifacts, both in rest and in motion, to inspire a deeper understanding of the built environment.
See more of Ari’s work at www.ariburling.com 917.914.1742
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Ari@Ariburling.com
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Ari Burling documents achievements in architecture, design, and engineering in a comprehensive range of building types, interior spaces, and technologies. His work is commissioned by a broad range of clients, from architecture and engineering firms to interior designers and historic preservationists.
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Protecting Your Copyright in the Age of Social Media By Richard P. Liebowitz, Esq.
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The advent of social media has presented professional photographers with unique challenges and opportunities to protect and promote their work. As a long-term New York Press Photographers Association (NYPPA) member and avid photographer I have encountered the joys of sharing my work with the world and disappointment of finding my images on other people’s pages, altered beyond recognition through the use of filters and edits. Copyright law, typically a step behind technological innovations, has been struggling to adapt to this new method of being a photographer in today’s interconnected world. Since our firm is in the unique position of representing professional photographers and photojournalists, we have a singularly intimate view of the possibilities, promise and abuse social media has wrought upon our clients. But let’s backtrack a bit and start with a little exposition of the issues. It used to be that to publish one’s work required an effort and commitment. After spending years on the road with my mentor, Bruce Cotler, President of the NYPPA, I managed to accrue a body of work that I thought was worthy of sharing with the world. Apprentice! Lessons Learned on the Frontlines of Life, was published in 2006 when Facebook was in its infancy. Facebook and progeny have altered the manner in which photography is collected, crafted and displayed in the most profound ways. The real power of social media, however, lies in the person-
al connections it fosters. Companies, for example, have tapped this resource early and have secured a powerful presence across all social media platforms. They have advertised events, sales, promotional items, coupons via their social media tentacles to reach a target audience. They have sought “likes”, “shares”, “pins”, “reposts” and other forms of acquiescence in an attempt to show a loyal following, a faithful consumer with disposable income and obviously disposable time. How does this effect a photographer’s copyright? Well, in our practice we confront these abuses daily. For example, a photographer posts his work on a social media site. It is unregistered and 3 months have passed since its publication. It has no watermark, no copyright notation, no gutter credit – nothing that would identify the photographer as the copyright holder. Except for the fact that it comes from the photographer’s page. The image spreads like wildfire across the internet, posted and reposted without anyone ever contacting the photographer to get permission, much less licensing it properly. The photographer turns to us, in hopes of curtailing the mass infringement and getting restitution for the harm to the market of the photograph. A wrong must be corrected: one cannot right-click, copy and paste another person’s work, without permission or attribution. Social media is not exempt, but rather is on the frontlines.
Among the infringers will inevitably be a company that thinks infringement is the highest form of flattery. Our clients disagree and are rarely flattered about being ripped off. The infringing companies will dangle future projects that will never come to pass, because they have already shown to be untrustworthy and unethical. They will taut their circulation and stellar reputation, without realizing or caring about how much worse this makes the infringement. They used it on their website, on a national broadcast, or on a product on the shelves of hundreds of stores nationwide, or on their own social media platform for the purposes of advertising, promoting or marketing. Their attorneys will claim a series of inapplicable defenses to see which one will stick: fair use, thumbnail, imbedded links. One attorney even argued that if his client used #edits on Instagram, it somehow vitiates all responsibility. It doesn’t, though it makes the infringement knowing and intentional and hence willful, bumping up the statutory damage range up to $150,000. Here is what you can do to prevent copyright infringement and be in the optimal position when it inevitably happens. There’s no delicate way to say this: COPYRIGHT YOUR WORK. If $55 for a lifetime plus
70 years of protection for up to 750 images (taken in one calendar year) seems too expensive for you, we have different definitions of value. If your images are time sensitive, we recommend registering every 3 months to ensure that you will be eligible for statutory damages. Also, embed your images with copyright management information as well as having either a watermark, a copyright notation or a gutter credit. This step is critical in making the infringement also eligible for a DMCA §1202 claim that prohibits removing, altering or falsifying copyright management information. It costs nothing to do this, while a violation of the DMCA §1202 can result in damages up to $25,000. Finally, if you are using a no-fee licensing regime, such as Creative Commons, please be aware of different kind of licenses available based on purpose, attribution, edits and other factors. For better or worse, social media is not going away anytime soon. We have to be better prepared to benefit from the opportunities it offers and to cure the ills it facilitates. By registering timely and having copyright management information on your images, you can continue to harness the power of our interconnected future, to exhibit work, promote ideas and innovation, to inspire and be inspired. n
Richard P. Liebowitz, Esq., a former award-winning photojournalist turned attorney, focuses on intellectual property and copyright law. As a fellow photographer and member of both APA and the New York Press Photographer’s Association, Richard helps artists around the world resolve their intellectual property infringements and protect their work on a contingency basis; he is passionate about photography, photographer’s rights and helping the creative community. If you have questions, please contact Richard and his Team at Liebowitz Law Firm, PLLC for a free consultation. 516.233.1660 rl@liebowitzlawfirm.com proof sheet
www.liebowitzlawfirm.com
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www.productionparadise.com
www.rayographix.com
www.resourcemagonline.com
www.sohosoleil.com
www.thinktankphoto.com
www.yodelist.com
www.zipcar.com
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www.iheartmrktg.com
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Lisa Saltzman: Upending the Notion of Street Photography
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Fall 2016
By Amelia Hennighausen
“My eyes are always open,” states Lisa Saltzman, when I ask how she finds her locations. That seems simple enough, until you view her full catalogue. “I do try to focus on one particular project…to build a body of work,” she adds.
Fall 2016
Saltzman’s City Anonymity series http://www.lisasaltzmanphoto.com/abstract/ shows living human forms that are distorted, but are in no way grotesque. They are reminiscent of the sculptures of the Swiss artist Alberto Giacometti. They were all taken in New York, but could have been taken anywhere.
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Saltzman’s work is hard to categorize. “Fine art, highly conceptualized street photography” doesn’t quite roll off the tongue. It is likely as hard to pin down, as are her myriad of influences. “I grew up in a family who loved art, and at a young age I was exposed to, and immersed in, art. It had a profound effect on me. Sculpture in particular.”
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All her photographs are constructed in camera—she barely uses any post-production software, yet manages to get such surreal results. Her skills lend themselves to her style, which in turn reinforces her concept of “a memory never fully known.”
In her series Daydreaming, http://www.lisasaltzmanphoto.com/daydreaming/ the portrait paintings of Gerhard Richter come to mind. Yet even with the varied artists that influenced her, Saltzman’s style remains all her own.
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There is also little pre-production involved, beyond Saltzman’s scouting the city she walks about. Her subjects are random city travellers, and all photos are taken on the city streets. Her locations, she explains, “Are 100% found. I wander around. I’m everywhere. I look.” The location of her street photography is at once vital for her to produce the work, and completely irrelevant once the work is produced. There is no hint of knowing person, time or place.
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One constant thread in Saltzman’s work is anonymity. Along with the “City” series, her In Transit http://www.lisasaltzmanphoto.com/ in-transit/ series shows the “every man/woman” as unrecognizable persons, busy on their way to somewhere else. In relation to her subjects, Saltzman states, “For me, the very fact of this unknowability is a source of bittersweet wonder.”
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Her noir work, also shown here, are all taken at night and use the ambient light of the situation, which is either muted or blown out—in camera. In the noir work, she illuminates the subjects instead of the negative space surrounding them (see above links). These divergent styles really aren’t opposing each other. When asked if this was a conscious decision, Saltzman finds, “They compliment each other.”
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The Translucent http://www.lisasaltzmanphoto.com/translucent/ series is in color, but anonymity remains present. “I love color— robust, vibrant color,” Saltzman expounds. The influence of Saul Leiter’s photos taken on the street, in the rain, echo in her work. Yet again, there is not one style of Saltzman that can easily define her projects. When asked if Saltzman “thinks in black and white,” she gives a thoughtful pause and answers, “it’s an amalgam.” She shoots in color, but while editing her work, “knows immediately which images will lend themselves successfully to black and white.” n
Lisa Saltzman, born and raised in New York, comes from a family of art collectors whose love and passion for art has strongly influenced her photography. She studied extensively at Christies and ICP, concentrating on Impressionist paintings, figure studies and abstract art. In addition to her award-winning fine art work, Lisa has been producing conceptual pieces for commercial and editorial use. To see more of Lisa’s work, please go to www.lisasaltzmanphoto.com. proof sheet
Lisa may be reached at: info@lisasaltzmanphoto.com
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S TUDIO REN TAL S
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Studio Name
Neighborhood
website
Member Discount
2Stopsbrighter
Chelsea
www.2stopsbrighter.com
10%
20/20 Kre8tivHauS StuDiOs
Chelsea
www.2020studio.nyc
10%-15%
Hudson River Studios
Union City, NJ
www.hudsonriverstudios.com
varies
Creer Studio
Philedelphia
www.creerstudio.com
no
30th Street Studios
Chelsea
www.30thstreetstudios.com
10%
42ndphotostudio
Midtown West
www.42ndphotostudio.com
10%
1887 Townhouse
UWS
www.1887townhouse.com
10%
Bathhouse Studios
E. Village
www.bathhousestudios.com
10%
Capsule Studio
Union Square
www.capsulestudio.com
10%
Gary’s Lofts
Garment District
www.garysloft.com
10%
Loft 402
Williamsburg
www.loft402.com
$50 off
Michelson studio I
W. Village
www.michelsonstudio.com
10%
Michelson studio II
Middletown, NY
www.michelsonstudio2.com
10%
MWildsStudio
Chelsea
www.MWildsStudio.com
$15/hr
Photo and Video Studio
Little Italy/Chinatown
www.123bowery.com
5%-11%
Shade Studio NYC
Midtown
www.shadestudionyc.com
10%
Splashlight
SoHo/Tribeca
www.splashlight.com
varies
Ten Ton Studio
Brooklyn
tentonstudio.com
10%
Urdaneta Photography
Lancaster City, PA
www.urdaneta.net
15%
Alchemical Studios
Greenwich Village
www.atlnyc.com
no
CAMART Studio Rental
Chelsea
www.camart.com
no
LightSpace Studio rental
Williamsburg
www.lightspace.tv
no
NEO STUDIOS
NOHO
www.neostudionyc.com
no
Parlay Studios
Journal Square
www.parlaystudios.com
no
Ramscale Studio
W. Village
www.ramscale.com
no
Roger SallS Photography
Stratford, CT
www.rogersallsphotos.com
no
Photo by Professional Member Jim Esposito of Caldwell, New Jersey | www.jephoto.com
PARTING SHOT
Photograph by Professional Member Shannon Greer • www.shannongreer.com • Brooklyn, NY • 546.379.4499