University of Southern California portrait

Susan Metros, associate vice provost at USC

Last week I photographed Susan Metros, associate vice provost at the University of Southern California, for a story in the Chronicle of Higher Education on the increased use of student-produced video projects as homework, sometimes in lieu of traditional written essays. Although I’m not sure about using videos as a replacement for writing, I do agree that it’s a good idea to go beyond passive media literacy to actually having students produce videos and think visually. And it’s become easier than ever, with the majority of students having computers and at least some form of video device in their possession. Unfortunately, the shoot took place after students were done with any relevant projects, so there was nothing actually happening that I could photograph. But we tried to make the most of it with an empty computer lab and some helpful assistants who logged into every computer for me and put them all on the same website. Here’s a link to the article if the topic interests you: http://su.pr/30S4vM

Dick Flaharty conscientious objector

WWII conscientious objector Dick Flaharty, 90, at his home in Granada Hills, CA

Dick Flaharty conscientious objector

WWII conscientious objector Dick Flaharty, 90, at his home in Granada Hills, Calif.

In November I shot Dick Flaharty for National Parks Magazine and learned quite a bit about what it was like to be a conscientious objector during the various wars in which America has been involved. Flaharty, of Granada Hills, Calif., served during WWII as a smoke jumper in the National Parks Service. He was one of 12,000 COs who worked with the Civilian Public Service, which put COs to work doing jobs considered to be of national importance here in the U.S. The other 25,000 COs served  non-combat roles in combat zones overseas. Thanks to President Roosevelt, WWII was the first war that the U.S. had been involved in that didn’t persecute conscientious objectors, instead opting to put them to work. According to the National Parks Magazine article, during previous wars, CO’s had been imprisoned, tortured and, during the Civil War, even starved to death.

In order to be accepted as a CO and assigned to a camp, applicants were tested not only on their objection to WWII, but all wars under any circumstances. Only 37,000 of the 72,000 applicants were admitted, according to the article.

Now 90, Flaharty lives alone in a quiet suburban neighborhood 20 miles northwest of Los Angeles. He plays in a bluegrass band with members of his church and has photographs of children and grandchildren lining the hallways and sitting on a bookshelf next to a sofa where he spends much of his time reading. The same spirit that made him what he was back then is still obviously alive though. In his driveway sits a dark blue Prius, adorned with a bumper sticker commenting on fuel consumption. He may be the eldest of the 5 million Prius drivers in the Los Angeles area. And as you approach the front door there is a sign reading “Peace” perched in a window.

He also is part of an organization that keeps the history of the WWII COs alive and keeps track of surviving WWII COs. Despite that, all that remains of his time serving as a smokejumper is a folder containing a couple blurry black and white photographs and some news clippings, as well as a piece of discolored white fabric only a foot wide in either direction and torn on the edges. It is that of a parachute that once nearly killed him, before saving his life. It sounds like a story straight from a comic movie, but actually scary. During a jump to head off a fire, he told me, his chute didn’t open properly, leaving him plummeting toward the earth. I don’t remember if he said that it opened partially, providing some resistance, or whether he was falling at full speed. I think the former. What’s important is that at the end of the fall he found himself crashing through a thick patch of trees, when at the last second, his chute snagged a branch, bringing him to a sudden halt just before impact. He said he could touch the ground with his toes as he dangled there. Crazy! I tried to incorporate the material into the shot, but it just looked like a handkerchief. Oh well.

The article has just been published in the Winter 2011 edition of the magazine. Read it here.

Lighting design portrait Los Angeles

Sean O'Connor at Sean O'Connor Lighting in Beverly Hills, Calif.

It’s great when you find a subject who’s willing to work with you to create a better photo. For example, here’s a recent shot of architectural lighting designer Sean O’Connor that is running in this month’s issue of Architectural Lighting magazine. I had a fun time working with Sean, who runs his own firm in Beverly Hills.

For the assignment, I was pretty much given free reign to shoot photo that somehow conveyed the fact that the subject worked with light. Not knowing what my options were, I called Sean up to find out. At first neither of us had any clear ideas. Sean was reluctant to shooting in his office, but didn’t know of any alternatives that were available at the moment. It wasn’t because there’s anything wrong with it – it’s actually a stylish, loft-style office with plenty of natural light and a view overlooking Wilshire Blvd. – but more due to the fact that it’s been used before and he was interested in doing something different and more creative. So was I. But because he currently had no local projects in or around which to shoot we decided to shoot there anyway, but make the most of it and figure something out on the fly once I arrived. He knew he had a variety of lights and other lighting design tools lying around and was willing to work with me to figure out something that could make an unusual portrait. So often when I’m doing editorial work I’m met with either the challenge of shooting someone who doesn’t want to be in front of the camera or doesn’t want to put in the time to make the photo work. It isn’t always the case, but it’s often enough that it’s refreshing when you find someone willing to participate in the process.

When I got there I looked around for a while before deciding to shoot in his conference room. In a nearby closet he showed me several long ceiling lights that we could use and, liking the texture of the back wall of the conference room, which was made of paneling that allowed him to stick thumbtacks into it, I asked him if we could use it. Problem was, there were about 50 or so sheets of paper that were tacked up to it from a recent project, but fortunately it was finished and he offered to take them down. From there we went around fitting bulbs to the fixtures and arranging the lights so they formed a graphic background for him to stand in front of. We then closed the blinds so there would be no interference from ambient light. From here, my task was to light him in a way that wouldn’t overpower the effect of the strip lights by throwing too much light on the wall, so I fitted a 10-degree grid to a single light and aimed it down on him to cast as much fall off as possible to the floor and out of frame. The end result worked pretty well I thought. We also did a natural light shot in the main office and another one on the roof of the building, overlooking Wilshire and Beverly Hills, but this is the one the editor went with and is among my favorites from the shoot. Yay, collaboration!

Ramogi Huma for Chronicle of Higher Education

Ramogi Huma, president of the National College Players Association

Last week was a busy week of editorial assignments. Always a good thing! On Tuesday I headed out to Riverside, Calif., to photograph Ramogi Huma for the Chronicle of Higher Education. Huma, a former UCLA Rookie of the Year, is the president of the National College Players Association and is a leading advocate for some major changes to levels of transparency in the NCAA’s recruiting process. His focus lately has been on helping athletes understand their university’s policies when it comes to medical reimbursements for scholarship athletes. Apparently it’s often the case that an injured student will get stuck with all of the medical bills should they suffer an injury. There are two laws pending in California and Georgia, which the NCPA supports, that would force universities to be forthcoming on those issues.

This was a tricky portrait assignment, but I’m pretty happy how it turned out. The task was to do an environmental portrait of Huma in his office. The problem was, he had just moved into his office and didn’t even have a nail with which to hang a picture. So the environment was pretty stark, to say the least. Luckily, he had a couple of statues and a desk available and with a little creative framing and lighting I was able to produce something that worked. I was also fortunate enough to have an easy-going subject and Erinn along to assist. I don’t normally put her to work, but she was off that day and wanted to come along, so it worked out for both of us!

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