los-angeles-magazine-photographer

 

Last month I photographed the Rev. Cecil Murray in his old stomping grounds near the First African Methodist Episcopal Church of Los Angeles, where he was pastor for 27 years. The shoot was for a cover story for California Health Report about his recent endeavors, at the age of 83, as leader of the Cecil Murray Center for Community Engagement, a part of USC’s Center for Religion & Civic Culture. It was a fascinating afternoon spent talking with him about his years in the ministry and the rich history of his neighborhood. He is perhaps best known outside the community for his role advocating a return to rational behavior during the Rodney King riots in the early 90′s, but certainly had a much broader influence over the years. Outside the church is a roundabout with with a well-tended garden named in his honor, along with a placard featuring his likeness and a bio touting his accomplishments. On the quiet afternoon of the shoot we were stopped by no less than 3 different people who were overjoyed to see him back in the neighborhood. Between rounds of adoration we were able to take a few photos showing him overlooking the community he has done so much for. Read the article

 

Portrait of Los Angeles artist Aaron Axelrod - Deer sculptures for CAA

These are some a couple of my favorite portraits from recent sessions with Los Angeles artist Aaron Axelrod. I first met Aaron through my girlfriend, who works with his cousin. I came across him again several months later while he was doing an live painting at Google, who were hosting the Venice Art Walk at their new offices in Venice. When I came across him he was covered in colorful paint splatter and standing in front of a wall he was painting in his signature dripping style, (seen in his Pot, Sex & Acid series on his website), as well as on buildings around the city and in a recent commission for Apple. If I had my camera on me at the time I would have shot him right then, but – oops – I didn’t. It was cool though, because what I was really envisioning was a lit shoot that would really make the color pop. I later contacted him through Erinn to express my interest in doing this and, fortunately, he was down. We met in person a few days before shooting and came up with the idea to sandwich him between a mural in his studio and a piece of plexiglass that he could paint on as we shot. The effect I was hoping for was that he would appear to be a part of his own painting. The bunny ears were entirely his idea, and I did not object! He had recently worn them during a successful live painting show at the Vortex Dome called Melting Rainbows, in which he dripped paint on a spherical projector, making it appear as though colors were melting down the wall. The shoot was fantastic and yielded tons of great images, none of which are repeatable. Since the paints are water-based, he was able to simply wipe the surface clean and start again.

At that time he was also working on a commissioned piece comprised of two life-sized reindeer, which he heavily spray-painted and adorned with giant neon antlers. The pieces were just installed in front of the Westfield headquarters on Avenue of the Stars in Century City. I hung out for an afternoon shooting him as he painted them in his garage and then came back a week later to shoot the portrait above. The deer are surreal and I can’t wait to see them in their intended space. You should go check them out too!

Here’s one from a recent shoot with hip-hop artist Ice the Villain. The shoot was a collaboration with a stylist friend, Sunshine Harding, that we submitted to the music and fashion blog Style & Hip-Hop. For the shoot we found a great graffiti wall in the Crenshaw neighborhood that provided countless backgrounds and textures to work with. Check out more here.

Porsche CEO Matthias Muller for The Financial Times Germany

Porsche CEO Matthias Müller for The Financial Times Germany

I’ve never been that much of a car guy, but after an exhilarating assignment last week for the Financial Times I may change my tune. The job was to head up to the Santa Maria Airport, about an hour north of Santa Barbara, to photograph the new CEO of Porsche, Matthias Müller, during an interview the FT had scheduled during a multi-day press event hosted by the company to promote the new 911 Carrera S. The assignment went well. I was able to photograph him during the interview and was also granted sufficient time at the end to shoot a couple of quick portraits, including this one, with him sitting in the driver’s seat of one of the new models with half of the exterior shell removed to show the inner workings. Herr Müller was very cooperative and the result was a cool photo. My plans after that were to hop back into my little Nissan Sentra and hit the road. Then Helene, the writer, asked me if I wanted to go for a test drive. Say what?

At first I thought I actually might get to drive the car, an idea that made me both excited and a bit apprehensive, considering the value. That wouldn’t have been out of the question had I been one of the journalists staying at the local hotel, many of whom, including Helene, were given a vehicle to drive themselves to and from the hangar where the event was hosted. Instead, we were both treated to ride alongs with a guy by the name of Walter Röhrl, who I later found out was once voted the greatest rally car driver of all time, having won 14 World Rally Championships in his career. Now in his mid-60s, Röhrl is the senior test driver at Porsche and the guy they retain to show off the vehicles to journalists and important guests at events such as these. Behind the hangar, they had repaved a section of runway to create a closed course track. Helene went first, disappearing behind the building and returning moments later, saying nothing more to me on her return than “You should be scared.” I smiled and hopped in, still not quite sure what to expect. Walter greeted me and we rolled around to the back side of the building and crawled up to the starting line. He made some comments to a couple of guys tending to the track and then, pressing a couple buttons, informed me of the settings he was changing. I nodded, pretending to understand. He may have, at first, thought he was driving around an auto journalist, but probably not for long. Meanwhile, finally realizing that we were really gonna race this thing, I decided to pull out my iPhone to get some video of the ride from my perspective.

“Here we go,” he said, putting his foot to the floor. Off like a rocket, in seconds we were peaking at 150 mph on a long straightaway that appeared to come to a sudden end not too far in the distance. “Holy shit,” I thought, as my body pressed back into the leather seat and I fumbled to turn on the camera function on my phone without taking my eyes off the road. The camera began to load and then immediately crashed, reverting to the home screen. Damn. The road was about to end, and the car screeched to a near stop twice as fast as it had taken off, pushing me forward into my seat belt, before sending me sideways nearly touching the driver as we took a hard right around a bend and then accelerated into a series of curves. I tried for my camera again, and again it failed. I had just used it to take photos in the lot before climbing in. Why was it failing now!? The car lunged left and, I as soon as I pressed into the door, reversed course and pulled me back toward the middle, accelerating and braking through a series of curves. Somewhere in there I tried my camera once or twice more, but still it failed. Screw it, I thought, I’m not missing this by playing with my phone. At one point, I was certain the car was going to go up on its right wheels, or at least go off course, but decided to put my faith in the driver. Another short straight-away and a curve or two later and the ride was over. Somewhat stunned and not really knowing what to ask, I inquired about the top speed and the horsepower, 150 and 350 respectively, as we rolled back toward the hangar. Röhrl then held up his pinky finger and told me in a thick German accent, “The car is like an extension of my finger. I just think what I want it to do, and it does it.” After that drive, I believed him.

I drove my Sentra with aggression on my three hour drive back home. The next day Helene sent me a link to Rohrl’s Wikipedia page, where I learned exactly whose hands my life had been in the day before. Wow. It was quite the experience riding in a high-performance car with someone who can really make it perform. Time to start saving my pennies. I think I might be a car guy after all.

The camera on my phone resumed working normally later that day. Guess I’m just going to have to remember this one.

 

Nana @ Sunny Bak Studio, Venice, Calif.

Nana @ Sunny Bak Studio, Venice, Calif.

Nana @ Sunny Bak Studio, Venice, Calif.

Nana @ Sunny Bak Studio, Venice, Calif.

I recently had a fantastic shoot with my new friend Nana at Sunny Bak Studio in Venice. An artist, actor and model with an amazing fashion sense, Nana’s an incredible subject whom I had been wanting to photograph since I first approached her two years ago outside a local coffee shop. She’s one of the few people I’ve ever encountered whose presence can literally stop you in your tracks. The opportunity never materialized and I moved on to other things until deciding to try again a few weeks ago. Although I had never run into her in person again over that time, by then I had connected with several mutual friends and one of them, Sunny, was nice enough to reach out and vouch for me, which led to the shoot at her studio a few weeks later.

When Nana showed up to the shoot I knew she was a committed subject by the fact that, after getting stranded near the airport, she had hitchhiked to make it to the shoot. I was doubly relieved as I was not only looking forward to a much-anticipated shoot, but had also rented some extra gear and purchased film in order to make some exposures on an antique 4×5 camera I own but have never actually used. These photos are all shot on a Nikon D3, but I hope to be able to share the 4×5′s soon, pending positive results.

But even if they don’t turn out, the results of the D3 are enough to have made the shoot worthwhile. As you’ll see after clicking to the jump, I can hardly edit it down below 10 images made during a fun and fortuitous 90 minutes of shooting. The session was laid back and fun from the get go and only got better over time. Nana knows how to work the camera and we had a great time going through a variety of expressions, both posed an natural. Before shooting we came across a book by Robert Mapplethorpe entitled “Some Women.” I was mostly familiar with his more provocative work focusing on erotic male nudes, which is what most people probably associate him with. I was surprised when thumbing through the book to see this collection of beautifully lit portraits featuring young depictions the likes of Isabella Rossellini, Susan Sarandon and Grace Jones, the latter of which is a personal hero of Nana’s. Although it didn’t affect the way I set up for the shoot, I think the book provided a source of inspiration nonetheless, particularly evident in some of the more stoic images we produced.

A bit of luck came our way too when, not long into the shoot, a shaft of sunlight appeared on the backdrop. At first I saw it as a problem, an unsightly blotch of white light smeared across an otherwise even background. Then Nana – also a photographer I might add – pushed her face forward and into the light. I had been stuck on keeping my lighting the way I’d set it up, but when I saw that I immediately changed my tune. Knowing the rays, which were coming from the setting sun poking through the studio’s front door, were fleeting, I quickly started scrambling to take advantage. I wanted to try two things and managed to get a crack at both of them before the light faded away. First, I started working on balancing out the natural light with the overhead studio light so the effect of the sunlight could be seen without being bleached out by the strobes. I managed to find the right balance, so the strobe maintained the shadow detail while the sun lit her face. Then, I took the opposite approach, cutting the strobes altogether and exposing only for the highlight on her face. The effect was to surround just a portion of her face in total darkness. Right after that the sun disappeared and we resumed shooting with my original setup, which was nothing more than a single, super-diffused beauty dish placed over head, and the occasional use of a reflector below. (I’ve actually posted a couple “behind-the-scenes” shots taken by my wonderful intern Shari at the end of this post.) But it was a good reminder to roll with the unexpected rather than fight it.

My original intent when shooting Nana was to produce a couple good portraits that spoke more to her personality. The first shot posted here is probably the closest to my original vision. It’s a moment that’s loose and natural and powerful, and shows her being herself. I’ve seen a lot of amazing modeling work she’s done recently but wanted to go a different direction with her that I hadn’t yet seen, which is more my style anyway. But posed or natural, she was able to help me produce several great images that I’m happy to be sharing here. Hopefully I’ll have more to share after processing the 4×5′s.

Overall it was a great shoot and I look forward to working with her again someday!

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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

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