Here and below: Some favorite film images by Clark Patrick.

We all know that over the last few years digital photography has grown by leaps and bounds. Digital image quality is getting better almost exponentially and computer editing tools are getting easier and faster for professionals and non-professionals alike.

What I would like to argue, however, is that analog, film-based forms of photography will make a huge comeback in the very near future — in fact, it’s already happening.

In 2007 Kodak conducted a survey of 9,000 professional photographers asking them if they still used film. Over 75% of those surveyed responded with a ‘yes’.

More recently, San Diego-based commercial shooter Robert Benson took a small survey of fellow professional shooters, asking who still uses film and for what purposes. The answers highlight why film is still an important choice for professionals.

In this interview Brian Finke says, “I almost exclusively shoot film … I get the, WOW, reaction when I pull the first Polaroid and everyone on set sees I’m shooting film. I am instantly seen as an art photographer…” I love Bryce Duffy’s explanation of how film differs from digital. He says, “It’s like listening to a vinyl record on a turntable through a Macintosh tube amp through good speakers versus listening to a high quality MP3 on your iPod through a pair of expensive speakers.”

©Clark Patrick

Everybody’s Favorite Crappy Camera

To further understand why film will remain a serious force within the future of the photo industry, take a look at the skyrocketing popularity of the Holga film camera. In the past few years, websites like Lomography have made this camera a must-have for many hip young aspiring artists as well as established shooters reconnecting with their roots.

The Holga is also, arguably, the worst film camera ever made. It is made of cheap plastic, the lens is plastic, it only allows for minimal focusing control, its poor design and construction allows light to leak onto the unexposed film, and it almost requires modification to work. It’s like a little handheld photographic chaos creator. And in this way it epitomizes the best aspect of ‘analog’ imagemaking: You never really know what you’re going to get.

Plus, since the camera is so inexpensive, people also love modifying it and creating their own new cameras to further their own specific creative visions – on film. That whole idea is even at the core of the Lomographic Society’s 10 Golden Rules.

I feel the rise in digital photography has actually inspired many shooters to go back to using film, especially with simple cameras like the Holga. And there will be further digital backlash instigated by younger photographers who reject many aspects of the current digital world. These are the same types of people who will take down their on-line social network profiles, start handwriting letters, and block text messaging from their cell phones (or get ride of them altogether). These artists are the future analog creators. Growing up in a digital world, they have a fresh way to look at what the analog world means.

©Clark Patrick

Give Me Polaroid or Give Me Death

More proof that film still matters can be found in the public’s response to Polaroid’s announcement that it would cancel its instant film lines in 2008. Save Polaroid was formed immediately and there was a massive response on Flickr from photographers all over the world. I personally received at least 10 e-mails from professional photographers the day it was announced.

The Save Polaroid movement was so strong, it inspired The Impossible Project, which lobbied to bring the instant film back. The Impossible Project has now taken over one of Polaroid’s former production plants and is set to release a black-and-white version of instant film within the next month. I’m excited to hear that 8×10 instant film might be back this year as well. You can watch a great video about all of it here. (Dave, I dig that hat and beard combo.)

In case you missed that timeline, Polaroid instant film production was canceled, production plants were disassembled, then they were brought back to life by a very dedicated fan base less than 18 months later. After that, let’s just say I’ve got a lot more faith in the instant film business than I do in the auto industry.

As a little aside, I’d like to remind you all the Fuji did not stop production of their instant film lines when Polaroid did and is still making various lines of instant film.

©Clark Patrick

Art School Kids Grow Up Fast

As a professional you might be yelling at me through your computer something like, “Clark, that’s great that a bunch of hipster kids love playing with a Chinese toy camera and crying about Polaroid cutting off their fun instant pics, but come on, there is no serious market for this type of imagery in the commercial agency environment…” Although that may be true right now for agency work in general — I believe there is potential for its growth in the near future.

Here’s why: I personally know one under-30 commercial shooter who was commissioned for a fairly substantial agency assignment last year using a Holga and/or other types of Lomo cameras, specifically for that ‘look.’ And guess how old the art director was who wanted that ‘look.’ 24.

Film has a potentially big place in the commercial world because those fore-mentioned hipster kids are in art schools all over the country right now and in a few years they will be the art directors and creative directors hiring professional photographers. And they will want to see something else, something interesting to them, including something that isn’t digital. Obviously, digital isn’t going anywhere and will continue to grow and develop as the technology changes, but film is already on its way back.

A New Film Future

One major barrier I’m sure someone would bring up if I didn’t is the processing costs associated with film. In many ways, that was a huge part of film’s downfall in the first place as digital technologies became the cheaper option. My thought on this point is fairly simple. The use of film within the future of our industry will come back as a stylistic choice as opposed to a price-point choice. If a given shooter has a film look, he or she will be able to use film and the client will pay for it.

I also think photographers today can use much less film they did before digital options were available. It is possible to do a whole shoot using only a single sheet of film. Plus, there are always digital tools to back up your film shoots in case that one sheet doesn’t turn out. Part of the reason professional shooters used so much film before digital was because there was no back up. It had to be right on at least one piece of film.

The way I see it, film will come back strong before it even gets a chance to go out of style — just like ’80s fashion. Plus, I’m sure Terry Richardson will be partying with a junky 35mm camera somewhere for the rest of his life. As long as he is kickin’ it, we can all … keep on rockin’ in the film world!

What are your thoughts on the use of film in the professional photo world of the future?

Miki Johnson: How did the idea for the Menuez Archive Projects arise?

Doug Menuez: After Stanford Library acquired my archive they began to preserve, research, and scan the 250,000 images from my Silicon Valley documentary project from the ’80s and ’90s. A few years ago they called and said their budget was cut and asked if I had any ideas for funding.

I was sitting on a couple hundred thousand model-released, timeless lifestyle advertising images that we’d often thought about doing something with, but I was always busy with assignment work. This was the catalyst. I was very lucky to meet an experienced and creative entrepreneur, David Mendez, and together we wrote a business plan around selling high-end stock to this growing niche in advertising. Amazingly, we managed to secure funding from investors despite the down economy.

MJ: Who do you imagine being the primary audience and/or buyers for the archive? What kind of imagery is it providing?

DM: Ad agencies seeking never seen before, intimate, emotionally-compelling moments from everyday life for high-end ad campaigns. We have been getting a lot of calls over the past few years as more big brand campaigns go to stock and creatives seek images that are more special and not so widely seen as what’s offered by the giant houses. We are a boutique and are bringing old fashioned research and service in our collaborations with creatives on their campaigns. You can search our archive easily, but you can also send your layouts and we will custom search and present the results to you.

We are including a lot of my personal documentary work that is released, and we just completed our first shoot in Miami, covering a wide range of stories, including a working mom, an afternoon with a Hispanic family, a teen house party, Parcours daredevils, an older boomer couple traveling, and much more.

What’s exciting is that we researched and found real stories of real lives, just as on any other personal project I do. These stories and images are therefore compelling and authentic, but also model released. We also have a variety of editorial material, some historical, some current, and we are selling limited edition prints of my fine art projects.

From the Menuez Archive Projects' first guest curated gallery, LOVE.

MJ: How does MAP fit in with your larger business plan?

DM: MAP is a huge breakthrough for me in that it allows me to develop all the work I’ve done over the years, and create revenue from material sitting in boxes. That new material from assignments and stock shoots will help me stay relevant and replenish the archive over time.

I have so many projects and images that it’s hard to finish any one thing. MAP will provide a platform to build on for the next phase of my career. That includes continuing to produce documentary projects, films, and books.

MJ: How do you plan to publicize your collection of images? Will they be indexed for online searches, for example?

DM: Yes, the images will be indexed through our own website, PACASEARCH and search engine optimization. We will also be using as many channels as possible to get the word out and are taking ads in Communcation Arts, doing direct mail, email blasts, Facebook and Twitter. But the most important will be our existing clients.

We have also partnered with my agents Stockland Martel to distribute a key selection of images and they have been very helpful getting the word out. Most of my advertising relationships go back years, and it’s nice to have a new resource to bring them to help them do their jobs. Our super-charming and talented sales and marketing director, Christopher Beauchamp, will be reaching out to creatives and art buyers directly to get feedback as we launch the site.

MJ: How many people are dedicated to managing MAP specifically in your studio?

We have built a fantastic team. Dave Mendez, our president, is in charge of operations and will manage our growth. The legendary picture editor Karen Mullarkey (Newsweek, SI, Rolling Stone) is doing the edit with stock industry veteran editor Lindsey Nicholson — an amazing duo.

We have brought back Josh Dick, a talented digital tech, and as I mentioned, Chris is doing sales and marketing. We have an attorney, Matt Riportella-Crose, who is vetting all our releases and usage rights, and we have an assistant editor, Cristina Faramo. Our multi-skilled studio manager Tobias Hutzler holds down the fort.

MJ: Did you create your own stock site or work with an archiving and sales provider? How did you make that decision?

DM: We decided to leverage the leading European stock agency distribution channel and site provider, PictureMaxx, rather than start from scratch. Our core is built on Apple Aperture, which uploads to PictureMaxx. We looked at all the solutions and they offered the broadest package, including CRM and a European network of agencies already participating in their marketplace. We plan on expanding worldwide so that was a key part of the decision.

Another big decision was where and how to scan. We were lucky and have found a fantastic partner in National Geographic. Although a bit more expensive than our original plan to scan in India, the quality is outstanding and being close by allows film to go back and forth by hand.

It’s important to repeat that I am continuing to shoot assignments, so it’s critical that my assignment web site remains vital and relevant. For that we found a fantastic solution, as you know, in liveBooks with our custom site. That has been very rewarding and exciting and we will also keep building on that.

Today archive hosting companies typically provide storage space, online galleries, search and client features, a user-friendly back-end management system, FTP, downloading, and hundreds of other functions that are incredibly useful if properly understood. All of this is usually bundled into a package that might cost roughly USD 50 per month. For a photographer like me, who is constantly moving, I find the service indispensable.

Today the main player in this game seems to be Photoshelter. After transferring my archive to their servers a year ago, I can say with some level of confidence that they provide a superior service, strong customer support, and a huge variety of functions (without trying to do too much, the most important thing in my opinion).

So how exactly do I manage my own archive? When I complete shoots for newspapers, magazines, and corporate clients, I upload the images to my archive, so that I can FTP the images to clients, share the work with friends and family using public light-boxes, display work to potential new clients, and allow regular clients to search for stock images to license. That might sound like a lot of work — and it is. But make no mistake, this hard work pays dividends.

I particularly find the online archive a useful tool when working on longer-term stories or projects, because as work is completed it can be uploaded and shared for client or peer review. For example I recently photographed the construction of one of Shanghai’s tallest buildings. The building owners wanted to see a monthly edit from my shoots, a progress report, as we went. During the more than two years the project lasted, I was able to bring them up to speed with new imagery, as well as service the download needs of their staff in Shanghai and Japan. My archive created a seamless delivery system — no more burning disks, no more Fedex. The online, hosted, and managed archive is here to stay.

A close friend of mine challenged my position on archive hosting by insisting that my agency should take care of all that “back-end” work for me. A lovely idea, but full-service agencies are pretty much a thing of the past. (In my experience anyway; if I’m missing some full-service agencies still out there, please let me know.) The new trend seems to be the fully functioning, independent photographer who manages his or her own pictures.

Although my photographic work is represented by Corbis, they are far from a full-service agency. They don’t have an assignment division and rely on photographers to upload on their own. They don’t scan film, they don’t do captioning and key-wording, and they edit as they see fit. This is all actually a good thing, because it allows them to focus on the most important part of the process, selling my images.

Of course, that means a lot of the work agencies used to do is now the photographer’s responsibility. While that may be a negative for some, it’s a positive for me, because I get to control the quality, layout, and organization of my own work, and then share it anyway I like. It allows me to have a closer relationship with my editors and — for a young photographer like me who sometimes feels overwhelmed with a rapidly changing industry — this offers a very rare sense of control. Plus I can link to my archive just about everywhere, post public light-boxes online using social media, and fully integrate my Photoshelter archive with my liveBooks website, in the hope that editors and image buyers can find what they are looking for with ease.

On a final note, in my particular situation, having an archive based in the U.S. is a crucial part of my business plan. Because I live behind The Great Fire Wall of China, FTP-ing work out of the country is a nightmare, so it’s best that I only have to do it once. Once I upload to my archive, it’s an easy click of the button to share work with multiple clients. Plus I never have to worry about missing a deadline because it takes 14 minutes to upload one image to a server outside of China!

Mark Gordon, digital tech and founder of G10

Emily Miller: How do you simplify the photographer’s job?

Mark Gordon: Our services boil down to digital capture, from start to finish: pre-production, capture, deliver, and post. Within each of those steps, there’s equipment provided: computers, cameras, vehicles, and printers.

Within pre-production, there’s a dialogue that opens up what the job looks like from the eyes of the photographer. I will make efforts to also have that conversation with the producer. Each has their interpretation of how the job is going to be executed. I offer a package that fits best for the photographer and his/her needs, as well as the producer and their budget.

EM: How does your tagline “Watch Your Back” relate to your work as a digital tech?

MG: It’s basically a willingness to operate within the production, be a part of the team, and look out for the best interest of the photographer. I’m there to be their right hand. I give support so they can focus on the creative process. Providing that support and comfort eases their concerns about the technical side of things.

It’s also asking simple questions: Are you doing verticals or horizontals? And it’s very subtle, simple things presented in a manner that is not alarming. I think the appropriateness of on-set behavior is big. A lot of photographers are not comfortable with an art director interacting with a digital technician, but it happens. The support mechanism is truly to understand where I am and what the expectations are in advance. So when a situation presents itself, there’s an understanding of how that situation is going to be handled.

EM: What do you need to know from the photographer, producer, and client?

MG: Typically, it would start with the producer: Shot count? Are we in the studio or on location? Will there be multiple location changes? If we are on location, what’s the environment? Power supplies? From the photographer, the dialogue is typically getting an idea of how they approach the creative process, and how their approach is going to meet this specific client’s needs.

It starts to build a picture for me to understand how I’m going to plug-in on set. Even down to having the computer close by, having it tethered. We’re shooting the cards, does the client have access to the monitor? Do they want to do a formal present with the client?

It’s discussing a shot before it happens, like a walk-through of the shot. That way I can pick up the process they want to approach the job, facilitate accordingly, and also make it fit within the needs of production and the client.

Editing on location for Sony's image library in Mount Hood, Oregon

EM: How do you customize your gear and process to fit the specific location you’re working in?

MG: A big component is staying abreast of the latest technology. Every morning I have about 20 websites that I visit, to review announcements and product releases. Having relationships with the local manufacturer representatives. Staying in touch with camera assistants nationally, we keep a dialogue open of what’s going on the East Coast, West Coast, New York, Los Angeles, and San Francisco. Each region has their own preferences.

Capture station for a catalogue shoot in Montauk, New York

The G10 packages are constantly being refined and include three options: FAST, FASTER, and FASTEST.

FAST has the highest mobility. It’s a laptop configuration on a tripod and allows the technician to be anywhere very quickly without the weight of a bigger capture station or a tower. It’s a good fit for an editorial or a catalog shoot where there’s a higher volume and more location changes, or a budget need.

FASTER is the capture cart with an iMac or a tower that can be switched out according to the job and whether we’re on location or in the studio. Typically that’s running in dual display. More horsepower with the equipment but also a longer setup and breakdown time.

FASTEST is a combination of a few different factors, with two technicians and the capture cart. We have the Sprinter van now, so we’re able to offer an edit bay for client review and/or create an edit bay for the creatives. If there is an improvised shot they’d like to go explore, we’re able to move to the laptop and follow the photographer. We can bounce back and forth to the bay station. Then, from the bay station, be moving files to the edit bay. It’s the best solution, because it facilitates the client, creative, and photographer’s needs simultaneously.

Load-in on location in San Francisco, California

EM: What is your process of capture and color management?

MG: The process starts with identifying the brand and its needs. It’s a combination of a conversation with the creatives and the photographer, regarding look and feel, the direction the photographer wants to go with it, and also an understanding of what has already been done within the brand. Or, if it’s a new campaign, it’s an opportunity to discover what this new look and feel is.

There are layouts for placement within the capture process so we can consider copy, the orientation of the image to the copy, and even the aspect ratio of the page.

We use a combination of a color meter and a color checker and have a very clear understanding of mixed lighting environments so we can go into a scene and come out with the image that’s expected.

A shoot day starts with packing up, getting the look and feel identified, getting the files prepped for placement received. Then there will be a once-through of the day with the producer. Then there’s a conversation with the creative team about the naming convention that meets their internal needs, and then building out the shots.

Moving into the day, we’re getting images in their proper place. Organization is key. Things have to be done on set correctly. We’re now doing preliminary grading, so this goes into the color treatment. With files coming in, we’re now able to apply a preliminary color grading that has the identified look and feel. We drop the images into the overlay and present to the client: This is what your ad will look like.

Behind the capture-cart curtain for an advertising shoot in Lake Tahoe, Nevada

EM: What’s next?

MG: We’re immersing ourselves in how the industry is changing and supporting photographers in their transitions into motion. Basically the motion world is the equivalent transition that photographers have already gone through from film to digital. The motion world is going into a purely digital workflow. We’re able to apply a lot of models that we’ve established within the still process to the motion process. Being able to see new content created and new processes being explored, it’s an exciting time.

G10 Sprinter van on the road for a multi-location production in Oregon

Miki Johnson: How did you get involved with the Betrayed project and why were you interested in being a part of it?

Josh Grossberg: My friend, photographer Robert Caplin, told me about this terrific DSLR that Canon had just released, the Canon 5D Mark II, and how it is going to be a great new tool for filmmakers. So a team was put together including Robert and producer Thomas Xenakis. Our goal was to use the 5D to shoot the first five minutes of a feature-length thriller I had co-written and planned to direct called Disappear.

The project grew from there, at which point I tapped a longtime collaborator, Michael Kier, to help me revamp the script. We co-wrote what became a nine-minute neo-noir short called Betrayed, which utilizes the same characters but serves as a prequel of sorts to the feature.

The purpose of the film is to tell a story unto itself while at the same time attracting equity financing for the full-length version, Disappear. Our approach is similar to the strategy director Courtney Hunt used for her Sundance Award-winning Frozen River.

With a gracious assist from Elisa Pugliese, who produced the film August, Seth Gilliam (from HBO’s The Wire), PJ Sosko, and Cara Buono (The Sopranos) came aboard to play the principle roles — a terrific and talented group of actors — and we went from there.

MJ: What appealed to you about shooting a film using a DSLR as opposed to other cameras?

JG: It saved me money, and the opportunity to utilize a brand new, cutting-edge technology was very exciting. The compactness of the 5D, its remarkable cinematic quality, and the fact that it would quickly establish itself as a direct competitor to the Red was another huge draw. And the fact that I would be collaborating with close friends was like icing on the cake.

Steadicam operator Guy Rhodes prior to filming a fight scene in Brooklyn.

MJ: Did shooting with a DSLR significantly change the way you thought about directing the film?

JG: Absolutely! Before the 5D, I took a rather dim view to digital filmmaking, mainly because I had yet to see a camera — the Red included — that I thought truly lived up to the persistence of vision that comes with celluloid and that didn’t make me aware of the fact that I was looking at pixels. While you’re still dealing with electronic image processors and mega-pixels with the 5D, the results blew me away, particularly in what the DSLR could achieve in low-light situations. The wide latitude it gives filmmakers allows us to do, for instance, magic-hour filming without having to rent expensive HMIs and other cumbersome equipment to get the exposure.

It also saved us time and freed up the performances of the actors who practically forgot there was this little camera capturing their every line and move. Seeing it projected onscreen in High Def, the quality was just fantastic, especially given this was a no-budget production. The idea that now independent filmmakers can go out and shoot movies with the production aesthetics of a big budget Hollywood feature is truly revolutionary and tears down the wall between expensive A-list productions and indie features.

Of course, at the end of the day, while the technology is wonderful, it’s still subservient to the story — so you better have a good one. I’m happy with the results of Betrayed. It feels like a puzzle picture to me like Memento and Michael Clayton, movies that take you for a thrill ride and leave you coming back for more. I want to figure out the nuances, kinda like my favorite films. And seeing the performances by Seth and PJ in particular, I hope people will really enjoy it.

Director Joshua Grossberg (center) works on site with producer/editor Thomas Xanakis, right, and Jody Bradshaw, assistant script supervisor.

MJ: What was the greatest challenge shooting this project? Would you do anything different knowing what you do now about the process?

JG: Because we were working with a technology that was relatively unproven on the film front, figuring out the workflow was an issue. And the fact that we were shooting in 30P meant that we would have to later sync sound, which was recorded separately. Perhaps the biggest challenge was maintaining focus during dolly shots and push ins/push outs.

On the post-production front, since very few people, if any, had used the 5D before, editing proved to be a challenge because we had to find an intermediate format, otherwise the raw files were too big for Final Cut Pro to handle. We ended up relying on Pro Res for both the editing and the output and the folks at Post Logic did a great job working with us to ensure quality control.

MJ: I hear you have some meetings lined up at Sundance, etc. to talk about funding for a full-length version. Can you talk a little about that process? What are this film’s selling points?

JG: Until you’re more established, the process is simply: Do whatever it takes to get your film in the hands of decision makers. I’m excited about all the possibilities Sundance brings. I’ll be talking to a host of film executives as well as investors — some of them are major studios looking to develop Betrayed as a feature, others are indies. We’ll be going to Cannes in May as well. But the goal is to cobble together the remainder of the financing and roll cameras on the feature sometime this summer or early fall.

Aside from being one of the first filmmakers to shoot a feature exclusively on the 5D, in our view the other big selling point that we maintained throughout the creative process is the manipulation of words in the script. Every line spoken by an actor is duplicitous by design, since they are intended to be interpreted in more than one way. The double entendres are part of the puzzle and audiences will hopefully have as much fun figuring it out as we had writing it. Nothing is as it seems. Hopefully Betrayed will give people a flavor of what’s to come in the full-length, Disappear.

MJ: Any other important things you learned through working on this film?

JG: This may sound cliche but it’s undeniably true. If you believe in something strongly enough, don’t give up your vision. There will always be times when you wonder why the hell you got into this crazy business, but keep your head down, stick to your guns, and the rest, as they say, is gravy.

After two years of research by members Richard Anderson and Peter Krogh, ASMP announced the launch of its dpBestflow.org website at FotoWeekDC earlier this week. Shorthand for “Digital Photography Best Practices and Workflow,” the website, part of the three-tier project that includes a book and a traveling seminar series, aims to offer definitive guidelines for digital photography best practices and workflow.

Forbes Media announced yesterday that it has acquired digital magazine FlipGloss and its Digital Glossy Insert photo publishing platform. Launched about 8 months ago, FlipGloss combines search engine capabilities with the experience of flipping through photo content of a magazine, and users can click on objects in the photos to find out where to purchase an item or even be led to an advertiser’s website.

Wes Anderson’s new movie, Fantastic Mr. Fox, which opens in selected theaters today, is a stop-motion picture shot entirely using a Nikon D3 – over 600,000 stills that generate 18.5 terrabytes of data. According to movie review website IMDb, the beautifully art-directed adaptation of the Roald Dahl classic used Nikon D3 because it “offers a significantly higher resolution than even that of full High Definition.” Wired.com has a great “Making of” the movie here.

Google has cut the price for extra storage on its photo sharing site Picasa to about one eighth of what it used to cost. For $5 a year, now you can have 20GB photo storage on the site. “Since most people have less than 10GB of photos, chances are you can now save all your memories online for a year for the cost of a triple mocha,” according to the official Google Photos Blog.

The Players

Producer Susan Shaughnessy

Client: AstraZeneca
Product: Crestor
Agencies: Digitas Health and
Saatchi & Saatchi Healthcare Communications Group
Photographer: Jayne Wexler
Artist Rep: Kevin Schochat
Producer: Susan Shaughnessy/SKS Productions
Location: Los Angeles
Total people on set: 30

1. Making the Call

The ad agency had three photographers in mind for the shoot, and the photographer Jayne Wexler was considered a favorite. The agency called her directly, and Jayne called her rep, Kevin Schochat. Together they talked about the concept, dates, and availability. Next, Jayne and Kevin considered which producer they wanted. Usually, the photographer or the rep has a relationship with a producer. Sometimes the ad agency has a relationship with a producer, and they will recommend one. In this case, Jayne decided she wanted to work with me.

2. Crafting the Estimate

Campaign layout

"Then and Now" concept

There were three bids submitted for this job, and the estimating process took more than a week, including several rounds of back-and-forth with the agency. We were trying to meet the agency budget, but we were the only team estimating traveling expenses, so our costs were higher. The agency was very fair and understood our numbers, but it took time to get the estimate and photographer approved.

I typically work with my favorite program, Excel, for bids, as does the rep. I turn my document into a custom-designed PDF, so it looks like a neatly presented document with my logo and client info on it. Excel allows you to make changes quickly and frequently, which is so useful when estimating and making revisions.

3. Getting Approval

During the estimating process, I have a crew in mind. Typically they are on hold from the beginning, especially the stylists. Once the agency awards the whole job and the money, then I book. I review the costs, rates, and expectations with each person, to confirm we are all clear. Sometimes the rates, expenses, and layouts have altered during the estimating process, so it’s essential to clarify at this point.

In this case, the casting and location line items were approved first, and then days later the rest of the job was approved. We began right away with a creative call between the photographer, agency, and myself to review layouts, casting specs, and location needs. I hired Eastside Studios in L.A. to cast, and I began researching locations with my coordinators.

Then stylists, photographer, producer, and agency have creative calls. These calls solidify the wardrobe direction and the prop needs. From there I can build a firm schedule, and manage expectations and deliverables for the team. As soon as the job is approved, the rep and I submit a request for the advance, to receive the appropriate percentage of the expenses up front. This money will get the job rolling and secure locations, studios, and all immediate out-of-pocket expenses.

4. Building the Crew

Wardrobe stylist Gillean McLeod, wardrobe assistant Lauren Burns, and photographer Jayne Wexler

When assembling a crew, I consider the photographer, the project and style, the budget, and the personalities that fit with the requests. It’s also important to have crew members who can work closely together to support each other. The wardrobe stylist and prop stylist know each other, work together often, and were able to help each other styling vintage clothing and props.

With Crestor, because everything was being shot in L.A., I suggested and hired the crew for Jayne. Jayne brought her first assistant, Piero Ribelli, with her, but I introduced Jayne to Mark Gordon, digital tech, along with Ubaldo Holguin and Joe Klecker, who were local photo assistants we used in L.A. Based on temperament, professionalism, and personality, I knew they would fit great with this team.

Having team members who know each other and work well together adds another layer of efficiency. Photographers often get in a groove with certain stylists, and definitely photo assistants and digital techs.

Often the crews stay the same, but sometimes we’ll add or lose somebody because of availability. Like Jayne in New York, we’ll have almost the same crew every time we work with her. For every photographer I work with, I specifically craft a crew that seems appropriate for them, based on their personalities, needs, styles, how fast paced they are, and what they expect in terms of styling.

5. Scouting Locations

On location: The painter's studio

For Crestor, we had a big assignment in a short time frame. We needed an authentic painter’s studio, a park that looked like it might have the Eiffel Tower in the background (to be handled in post), and options on a French café and cobblestone street. All in L.A.

Scouting the painter’s studio was tough. We needed a studio space that was authentic, but more of a hobbyist painter versus a professional painter. The space needed to be big enough to hold a crew of 30 people, and it could not be too messy or too high-end. We also needed daylight, so we needed windows. We ended up at a real painter’s studio, but cleaned it up, pared it back, then propped it to our taste. We commissioned real paintings that were made to feel not too professional, but pleasing to many.

Since this job required me to work from N.Y. during pre-production, I needed solid production coordinators and scouts on the ground in L.A. Nima Ghedami is one person who can make things happen faster than anyone else I know in L.A. He helped by calling scouts and friends, and found painter’s studios for us to review online.

Michael McClellan scouted and permitted Griffith Park for us, handling the paperwork and fees. He also scouted various other parks and painter’s studios. We also needed to find options for a French café. Michael and Nima scouted the café for us, but the idea was finally killed, and we stuck with two days on location and one day in the studio, shooting on white at Pier 59 Studios.

I do a lot of the research for location scouting, but ultimately I send someone like Michael to take pictures and upload to a website that allows the photographer, agency, and me to simultaneously review the locations.

Logistically, shooting on location in L.A. can be very easy, but sometimes you need a site rep, you need appropriate insurance, you need money up front, and the contracts can be very detailed. On Crestor, the paperwork was fairly straight forward; we negotiated directly with the painter’s studio, and Michael handled the park permit. With the painter studio’s, I made sure that the building was aware of the shoot by passing out flyers ahead of time, making sure our electrical needs were in line with the studio requirements, and ensuring we had parking nearby. We also made sure all the equipment, catering, and props could fit in the elevator

6. Casting Talent

For this project, which was based on a previous T.V. shoot, we had to capture the concept of “Then and Now” — meaning we had to hire the talent for the primary roles, then find teens to represent those people 30 years ago.

We cast during two days with casting director Doug Mangskau at Eastside Studios. He provided links to the talent each morning for the agency, photographer, and me to review. Each day we made our selects and commented on what we felt was missing. We also added a link of comp cards for the agency to review, which added to the in-person casting days. Eventually, we made selects for the painter, the younger version of the painter, and the younger version of the couple at the park with the Eiffel Tower in the background.

7. Styling and Props

Wardrobe selection

Prop options

Because the concept involved a “Then and Now” theme, we needed to prop and style talent and locations that looked contemporary, and another with a vintage look. There was a lot involved to coordinate themes, colors, and believability. The props that conveyed “then” included vintage bags, cameras, and maps. The hair and makeup stylist brought in a mustache and wigs. The wardrobe was all rented from from vintage stores. It was very believable. The props for the painter’s studio included: custom paintings, easels, paints, paint brushes, boxes, and used clothing from actual painters.

8. Transport and Amenities

Good maps, planned parking, and orchestrated transport are essential for a smooth shoot. In the production book (details include: the call sheet – client/agency/crew/vendors names and phone numbers; hour-by-hour pre-pro and shoot schedule, locations/maps/directions, talent and wardrobe specs, weather, sunrise and sunset times, nearby conveniences – Starbucks, Target, FedEx, and favorite restaurants), I try to provide as much info as possible. The coordinators also help by handing out maps, setting up signage, and emailing maps and directions ahead of time.

L.A. can be tricky in terms of traffic. Scheduling early drives against traffic can work to a producer’s benefit. Being able to get online from wherever you are seems to be required these days – the agency essentially wants access to all of their work back at the office, and often we need to email samples of the photos to people who couldn’t make it to set. Also, having a digital tech who can take the photo and place it in a layout for agency preview is a real need.

The importance of good food and coffee also cannot be underestimated. Neither can: a clean bathroom, helpful assistants, efficient cleanup of garbage, flexibility, understanding, dinner reservations for the agency, and on-time car service.

9. Shoot Day

Mark Gordon's G10capture digital tech cart

Arrive 8 a.m., set up lights, breakfast, wardrobe, and props. Model arrives at 8:30 and gets wardrobe approved, then goes into hair and makeup. The agency works with Jayne on lighting and angle, modifies props and crop, and gets camera and digital all working in sync. Mark Gordon, the digital tech, comes with his own DJ set-up, so there’s always good music happening.

The model stands in for Polaroids, frame gets signed off on, wardrobe approved. Final touches, then shoot. The shoot day continues for hours, changing wardrobe, altering props, changing hair.

Once the model nails the emotion, and we get multiple shots, they are edited and approved by the agency, and a select is emailed to the director, who can’t make the shoot. Once everything is approved, we let the model go and shoot the set elements alone, (the props, the backgrounds), which will be manipulated in post.

Lunch inserts itself around 12:30-1 p.m. Usually we all stop and eat, at least for half an hour. Then back to work. We wrap by

Wardrobe ready, talent on set

5 p.m., using an hour to edit images and back up all digital files. At the same time, the crew cleans, empties garbage, packs props and wardrobe, and loads everything into vans.

Before I leave, I walk through the space with the owner/site rep and ensure nothing is damaged, broken, or out of place. Anything moved gets put back in place — we often note its place ahead of time by taking pictures when we arrive. I’m the last to leave.

The check is written if anything additional needs to be paid for. Maps or directions for the next day are reviewed and dinner reservations are confirmed. Call a rain day if needed. For the Crestor shoot, we bought weather insurance instead of calling a weather day, but the day ended up perfect. You just never know!

Who: Susan Shaughnessy, Producer

What: Manage people, schedule, communicate, delegate, problem solve, have fun, take responsibility; write checks; provide deliverables/links to casting, scouting, and visuals that need approvals; take care of photographer; organize everything; insure everything; handle travel, catering, transportation; create production books; answer questions, ask questions, provide confidence; do due diligence; be flexible; stay on budget, get overages approved as needed; work closely with art buyer-producer/agency, accept praise on behalf of crew.

Where: Brooklyn is home, but I produce anywhere

How: www.sksproductions.com

Who: Jayne Wexler, Lifestyle and portrait photographer

What: I find a producer if the budget allows one. Go over the layout, all the details, and shot list. Discuss the casting with the producer. If a location is needed, we find a scout and start scouting. On shoot day my assistants and I set up lights. Then they usually get the set ready and shoot a digital-Polaroid for me to see. In the meantime, I discuss the details with the prop and wardrobe stylists and the hair and make-up artists. Once we are set up and I’m happy with my lighting and composition, we start shooting. After the shoot we edit the images and choose the best selects for the job, then we either make a website or send a disk or hard drive to the client with jpegs. Depending on the size and complexity of the retouching, the client will either retouch in-house or I will use one of my retouchers. Then there is the billing, which can take as long as the production.

Where: I live in NYC — “Nolita” — been in the same apartment for almost 23 years! My studio is on Vandam Street, west of Soho.

How: www.jaynewexler.com

Who: Kevin Schochat, Photographer’s agent

What: When a request comes in, I  go over the specifics of the job with the creative in charge. I then work closely with the photographer and producer to prepare a detailed photography estimate. I negotiate all fees and rights for the photographer. Once the job is awarded, I follow it closely to make sure everything is running smoothly and we are staying within budget. I also go to the shoot, if it is local, to see how it is progressing, meet the client, and deal with any last minute questions or changes. After the shoot, the photographer and I usually review the invoice together. Then I contact all the key people involved to make sure they are happy with the results and thank them for their business.

Where: New York City

How: www.kevinschochat.com

Who: John Robinson, Prop stylist and set designer

What: Once a concept has been approved by the client, I get the sketch or comp that the agency created for the ad. Then I create detailed sketches of what the set will look like. We also shoot images of all props options and provide images or samples of all textures, wallpapers, and fabrics that will be needed to create the image. Once prop selections are made, we purchase or rent them, then begin building the set. Once everything is collected and built, we go into the studio beforehand and assemble the sets. After the shoot we take down the set, return rentals, send purchases to the client, and salvage and store anything that may could be useful in the future.

Where: Just outside of Austin, Texas, plus an apartment in Manhattan. I work as a local in L.A. and N.Y., and I’ve done shoots in Vegas, L.A., San Diego, Austin, Chicago, Montreal, and N.Y. this year.

How: www.johnrobinsondesign.com

Who: Gillean McLeod, Wardrobe stylist and costumer

What: I talk to the art director and photographer, and we look at the comps, then I shop for clothing in stores and costume houses. There is usually no time for a fitting, so all is done the day of the shoot. When we’re done with the clothes we bought, I either donate it or send it to the client. The rest is returned immediately after the shoot.

Where: I live and work in Los Angeles, but try to work away as much as possible since I love traveling.

How: www.gilleanmcleod.com

Who: Stephanie Daniel, Makeup artist and hair stylist

What: Prior to the shoot, I discuss with the photographer the desired look of the model, do the necessary research to achieve it, and get approval from the photographer/client. On the day of the shoot, I style the hair and makeup of the models to achieve the desired effect, then make sure their looks stay in place by touching them up between shots. Once the models are done, I’m done.

Where: I live in Santa Monica and work all over L.A. and N.Y.

How: www.stephaniedaniel.net

Who: Michael McClellan, Location Scout and production support

What: As a location scout, it is my job to interpret the art director’s and photographer’s vision. By using sample photography or sometimes just text, I set out to find the perfect location, then negotiate with the owner once the location is approved. After the initial scout, I load everything onto a website for clients to view and make their picks. I am a production coordinator and produce many shoots myself.

Where: Based in L.A.

How: www.madactive.com

Who: Nima Ghedami, Production coordinator

What: My job basically entails doing whatever the producer and the production staff need me to do. This could include finding studio space, arranging meals, or getting coffee. Production is mainly a problem-solving endeavor, and my job is to provide support so the production can move seamlessly.

Where: West Hollywood

Who: Piero Ribelli, Photo assistant

What: Before the shoot, I help the photographer decide the logistics, location, time of the day, and set ups. The day of the shoot, I set up lights and cameras with the other assistants, help the photographer stay focused on the images that the client needs, and socialize with the clients to make them feel comfortable. After the shoot, I usually help a bit with editing and reassure the photographer that all went well.

Where: Manhattan

How: www.pieroribelli.com

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I returned from my six weeks of travel with about 2,500 images; I have never been a prolific shooter, probably because I started out shooting slide film and knowing the cost of each frame. Throughout my trip, I made a point of downloading and categorizing my images as I made them. To keep all the files in order, I created folders for each location I visited with RAW and JPEG sub-folders.

Since I was traveling for such a long time, I knew it was imperative to keep on top of my images so I didn’t face a nightmare editing session when I returned home. My organizational efforts also allowed me to keep track of where I was with the story, making edits in the evenings, following how my narrative was developing.

The Pulitzer Center on Crisis Reporting, which funded this project, asked me to write weekly blog posts about my travel experiences. This discipline helped me enormously because it made me stop and think about the importance of each stage of my trip. This further helped me keep track of my narrative and helped me stay focused on the main themes I wanted to explore through the work.

On my return to my home in Beijing, I found that my meticulous filing in the field meant my editing was half done already. I could go straight to post-processing the images and then seriously think about edits for publishing outlets.

My first outlet was the Pulitzer Center, which had first rights on the work since they had commissioned it. For Pulitzer I created the multimedia presentation above, presenting each body of work as ‘chapters’ within the larger story of China’s desertification. Producing a multimedia presentation was one of the stipulations for my grant, and I had complete freedom in its creation. The presentation is nearly 15 minutes and contains more than 100 photos, many more than I would send to a magazine, for example. When approaching magazines, I edit down to a tight 20-to-30 images.

In order to give this work the best possible chance of being picked up, I approached magazines before I left, informing them of my upcoming trip. Once I returned and the images were ready, I re-contacted them in order to gauge their interest. My work is also distributed by a number of agencies, which also contacted clients before and after my trip. I think this approach was key in gauging who was seriously interested in the story.

So far, my images have appeared more in the Chinese press than in the Western press, which isn’t a bad thing — I was very keen to bring this story to the Chinese public. I was also invited to have a 50-print exhibition recently at the International Conference on Science & Technology for Desertification Control in Inner Mongolia, a meeting of some 300 scientists and experts in the field. This was a wonderful opportunity to provide a new visual awareness of this issue to people who are directly involved in addressing it.

My next plan is to create a book of this work for Pulitzer. I am now approaching publishers to gauge their interest in the work. I hope the distribution of this project will continue, in print, online, and in exhibition form. Desertification is a serious global issue that is not fully appreciated or understood by either the Chinese or the international public. Through my photography, I hope I can do my part to help change that.

Miki Johnson: How did the idea for Pro Photography Network come about and when was it officially launched?

Matt Randall: The idea came to me through various portals. Some from just brainstorming ideas and some from advice given to me about “doing what you do best.” Since I had managed the editorial photo department for 15 years at the L.A. Times and knew all of these photographers very well, it was just a natural thing to do. Let’s get them back together again so we can market their skills as photographers, and I’ll do what I like to do, which is logistics, financial innovations, and event planning.

MJ: How does the group work logistically? How are assignments handled?

MR: I will start by working with the needs of the client and confirming the who, what, where, when and why. Once I have the logistics of the shoot, I can work with the client and find the right photographer for their needs: male, female, bilingual, or any other special needs that require a photographer with a particular skill set.

I then send out a request based on the needs of the client to the pool of photographers that meet the clients criteria. Since we all have our Blackberry/iPhone devices, reaching the group is easy. I then hook up the photographer with the client. From this point on, the photographer can focus on being a photographer and doing what they do best. At the L.A. Times, we are always trying to find the best photographer for every assignment too. But the beauty of this approach is the client has more input up front when hiring a photographer.

MJ: What has been the toughest challenge so far and how are you tackling it?

MR: Advertising. Marketing. Handling all of the different media portals in use today; Facebook, Twitter, MySpace, blogging, emails, texting, etc. Using the same concept behind Pro Photography Network, I try to find the best experts for all of the tasks presented to me. I’ve had the support of very involved networking organizations and been able to get all of my 2:00 am requests ironed out.

MJ: How are you reaching out to potential clients? Are they receptive? Is it hard to explain PPN and how it can be of service to them?

MR: Word of mouth among the group’s photographers, the use of every social networking I can figure out, plus networking in my community and all the photographers’ communities. This is a total group effort and all members involved are behind the concept. With power in numbers and decades of experience behind us, we can always find a photographer for any job. Whatever it is, we can (or have) photographed it in the past. Our overall strength is that a photographer never has to say no to a potential client. If he or she can’t shoot a job, they have the power of the network behind them to fill the client’s needs. Give me a call and I will find a photographer.

We also have partnered up with The Journalism Shop. This network consists of ex-L.A. Times reporters, writers, editors, graphic designers, copy editors, artists, etc. Again the concept here is the same: We have a very talented pool of individuals with years of experience. Let us use what we know to help you get the best possible results.

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