The advancement of digital quality compositing techniques has made this what use to be two different shoots with totally different set of lighting and production variables, can now be done in one day on one set creating a significant economic savings. In this case the video was to be shot on green screen so the subject could be dropped into the backdrop.  In Still photos it is easier to drop your subject into white, grey or black depending on your final images "type of light".   In this case we know that the subject would be back-lit and would cast a shadow.  I chose to silo the subject with white.  I knew there was a light flair behind the subjects head, so I cut a hole in the paper seamless and stuck a light threw the paper.  This helped both with the shadow and the highlight in the hair simulating the street lamp.  The client at this point had not locked in the background "plate".  We had spent a couple days driving around movie lots looking for the "right" alley that would work for the art director.  Nothing was "perfect" and again digital one out over practical.  The backdrop was bought from a stock image bank and I had my lighting reference.   WIth some love and trickery I was able to manipulate the stock image to what we needed and then dropped in our subject and the "alternative" shadow.  The concept on this is to have the shadow be the "alter-ego" so we hired a very muscular army stunt double to be our shadow silhouette.  As in most things, good ideas need a lot of tweaking.  The aart director had a very specific "gamer character" in mind, and since this very fast Dell computer was all about gammers, we needed the action hero shadow to be more specific.  So what we could have done with just a computer, or even action figure we paid a hollywood double to stand in for a shadow that we barely used ... but in our business better safe then sorry.  SO I was required to manipulate the shadow image to be more like the cartoon and volia'.  A lot of post production "love" is I like to call it ... and you have our Dell print Ad.

Traveling through Paris in Black & White

Yesterday I had a chance to show you Paris through a colored lens of blues.creams and more. Today I show you the other parts of Paris, the classic mystery side that we all fantasize about.

This picture of the Eiffel Tower, reminds why Paris is called the city of lights. One of the tallest structures visible in the parisian skyline, you can't help but find it beautiful.

Paris is My Muse : A Travel Story

I have been fortunate to co-habitate Paris, New York, and Los Angeles.  I kept an apartment in Paris from 2005-20010.   For these five years I split my time--about 3 months in Paris, 4 in Los Angeles, and 5 in New York.  I been very fortunate to enjoy these very different cultural centers.  The inspiration/nourishment each city provided my soul --fueled my creative process.    In Los Angeles, there is nature, the beach, & the west coast art scene.  In New York...well it is like being in Rome 2000 years ago, you feel the influence of being the power/cultural center of the 20th century.  But Paris....with out a doubt...she was my Muse.



A Look Back : Making of Manga

In 2008 Genlux Magazine commissioned me for their Japan issue.  I chose to pay homage to to Anime/Manga.  I was in Paris at the time of this assignment.  I thought it would be ideal to use the Manga with a Le Femme Nikita storyline.  The first thing I did was went to one of the best Manga stores in all of Paris to get some inspiration.  This along with internet research provided me with some base visual inspiration.  Then I went out to shoot textures all over Paris that would equate to the inspiration.  I was due back in NY so I would have to shoot the model there.  I do my casting and then shoot her in my loft.  I have general rough backgrounds figured out so I can make sure the hair light matches and get compositions correct.  I shoot, and now I have all the pieces of the puzzel.  The next step is to make selects and rough them into the rough layouts.  I figure out the story and and submit the rough for approval from the magazine.  Once we agree,  I can go into final post production.  The "polishing" of these images is well, lets just say the devil is in the details.