Loyal CW blog readers will remember the prototype of D-Crain‘s “planted wall” I shot for them at their offices back a few months ago. Well, it’s now up, in place and thriving upstairs from La Condesa on the patio at Malverde (website not up yet) in what Eric Sutherland from Fosforus calls Fancytown, just across the street from the new W. (Try the Malverde Margarita…especially if you’re into Mai-Tai’s and drinks like that.)
I love the people responsible for the design and construction of this “gentleman’s court” at a private residence here in Austin. Love them. They are kind, talented, fun, creative, inspiring and do incredible things with metals, stones and all things green. This little piece of work here is just one example of what separates them from the pack.
Had lunch at Shady Grove yesterday, and in my eternal quest to find the best hamburger (NOT cheeseburger) in Austin, I realize now that theirs should be on my short list. I tend to forget about Shady Grove for regular client lunch meetings. Not anymore.
A peek through the keyhole in the door to the studios at Fosforus. We’re working on something pretty cool. And it has nothing to do with that shot of the tea bottle. Kidding. Sort of. That project is cool, too, but the one I’m talking about is big time. Think: meat, guitars, vodka, wine, candles, beautiful women and a 100-foot long table.
So I was going through the stock today and stumbled across this one of the lobby at Bridges on the Park, shot last summer for CLB Partners. Really wish I had some dry powder about now. I’d pick up a unit or two. That’s a great spot.
I am not Randal Ford. Wish I were, in some ways. Like when it comes time to shoot a Texas Monthly cover. Randal is a supertalented shooter and a master of post production. I think I’ve stumbled onto a small degree of his look here with this shot of Lacey, a volunteer at MOWAM, but I’m learning that when a magazine or agency goes looking for a shooter, their decisions have very little to do with what that shooter can do with his camera. It’s really about what he can do with the entire scene. A good still photographer has to be lots of things. Technically sound, creative, a good director, well-versed in production, set design, lighting and wardrobe. He can’t stink or cuss or violate the environment with personal opinion or political views. And that’s if he’s just shooting people. Those are just the basics. That same guy has to be easy to be around and must have the ability to make his subject comfortable enough to emit the look he wants. He also has to know business. His business and his client’s business and his client’s client’s business.
It’s this little revelation here that gives me hope for my chances to be hired again and again. With the digital landscape evolving so rapidly, it’s easy to question the future of photography as a business. Unless you consider what really separates the pros from the amateurs.
So for those who don’t want to click through the whole blog and sit through my ramblings, click here to see a random sample of some images from the past year or so. Shots from assigments, directed shots, personal stuff. Chase Jarvis, at one point, asked readers to send in their opinions as to which ones in his portfolio they liked (and disliked) most. I’d sure appreciate some feedback from you. I like them all, so if you only want to tell me which ones suck, that’s okay, too. Thanks for any input.
While looking through some of the shots I did for the South Congress Business Alliance, I thought I’d give you a little Monday morning pop quiz. My three models there, good looking as they are, aren’t actually models. One’s a lawyer, another’s an actor, and the third is an oil & gas exec. Get out your Big Chief tablet and send in your guesses as to who does what.
Alive and well. Here.
I was recently commissioned to produce some photographs for a company opening a new office here. Something to hang on their wall. Different things. Nature, things to do…the things that make Austin Austin. What stumped me was when they said, “We want some Austin architecture.”
Probably the biggest photographic challenge I’ve faced.