On the Job: Austin de Lone

Austin de Lone

I love photographing artists and musicians where they work. Some have studios, some have garages, some have bedrooms in their homes that double as office, closet and creative space all crammed into a corner. And that’s where I found Austin de Lone, amid his keyboards and computer, wedged into a tiny spare bedroom in his Mill Valley home.

De Lone, known to fans and friends as Audie, is a former stage-mate of Elvis Costello and longtime Marin musician who sings and plays with his soul exposed and his heart wired to an amp. Marin Magazine was doing a profile of him in advance of a benefit he had put together to raise money to fight his young son’s rare illness, Prader-Willi syndrome.

Austin’s cramped studio was a joy to behold–perfectly, artistically cluttered–but also a challenge to shoot in. A grand piano not only dominated the room, but pretty much filled it. The instrument filled nearly one wall, and left only a narrow passage to walk through on the other side. Its top end abutted a closet and at the business end was just room enough for Austin to sit with a desk behind him. The room was also dark, little by only a 60-watt lamp.

In that cozy space, I needed a small light. I had brought along a small, 17-inch square softbox that fit over a Speedlight. I wanted to hang it from a boom over the piano, tight in on Austin so the light wouldn’t spread too much. There wasn’t enough room, though, to fully open a lightstand. I managed to get the legs of one half open,  hung three 15-pound sand bags over them and cranked the boom out over the piano with the light on the end. It wobbled precariously. I prayed to the stability gods and started shooting.

As you can see from the distortion, I was in close, a couple of feet away. I moved around as best I could, but Austin provided much of the action. He played a bit, hummed, sang a few bars, and told a story or two. All in good spirit.

In 20 minutes, I made several pictures I really liked. Austin was completely relaxed and at times seemingly unaware of me and my camera. I’ve seen other artists and musicians do the same in their studios. I think studios become extensions of their artists, a place where the hands and eye and the heart are indistinct from the tools–the keyboard or brush or computer. The studios and the artists meld, and there, even when creativity turns elusive  (as it so often does) they find their most comfort–and in that comfort good pictures can be made.

On the Job: Tim Hockenberry

Tim Hockenberry

Tim Hockenberry, a Mill Valley singer and musician, is the kind of good-looking guy women notice — tall, stylish and, as my wife would say, twinkly. He caused quite a stir the day he came to my studio in San Rafael to do a shoot for Marin Magazine. One of my building-mates is a food stylist whose kitchen and studio is down the hallway from mine. She and a photographer were shooting hamburgers the day Tim arrived, and they had the door open when he passed by their studio from the elevator en route to my space.

After I got Tim settled in, I left him for minutes to chat with the writer and went down the hall to get something. The stylist called me in as soon as she saw me. “Who is that?” she said in a voice much spicier than the food she was styling. I told her. “Send him down here when you’re done.”

An hour, and several changes of clothes, later, Tim and I were done. We’d had a great time shooting — he was fun, engaging and knew how to pose, everything that makes my job easier. I made a variety of shots, including a batch with his trombone (his first instrument). For laughs — and much to the delight of the writer, a woman — we also shot a few shirtless ones as he changed clothes. I submitted about two dozen proof shots to the magazine, which ultimately used the one you see here and another in the table of contents. The shirtless photo didn’t make the cut, apparently, but later, on a visit to the magazine, there was a printout of it hanging above the desk of one of the writers.

Grab Shots: Expo Exposed

Think Tank Photo video Photo Plus Expo, the mega photo show in New York, was last weekend. I uusually don’t have much interest in these events — I don’t need any more reasons to separate me and my money — but after reading and seeing these reports from the show I might have to make it to one. Here’s a wrap-up:

* Think Tank video: Photographer Kurt Rogers,  one of the founders of Think Tank Photo and and ex-newspaper colleague of mine, assembled a video of the action at Think Tank’s booth. That’s Kurt’s wife and co-founder Deanne Fitzmaurice, left, who won a Pulitizer while shooting for the S.F. Chronicle.

 * Kelby’s Take: Scott Kelby provides  a big wrap on the show, highlighting the buzz (video on DSLRs, what was missing (Adobe) and New York food (Keen’s Chophouse — “amazing steaks and atmosphere.” Only one low spot: A workshop in which “the instructor didn’t teach anything—he just showed slides and talked about himself (and how much smarter he was than the art directors, and the clients, and well…everybody).”

* Video Reports: John Harrington of Photo Business News walks the floor and does on-camera interviews with Think Tank, Photoshelter, Orbis and more. Here are his reports from Day 1 and Day 2.

On the Job: A Rainbow Burns

Barbara Meislin

I’ve met countless hundreds of people in my many years of journalism and photography, but few possessed the uncomplicated goodness and sweet soulfulness of Barbara Meislin, the Tiburon writer and singer best known as the Purple Lady. Following the death of her young daughter, Meislin dedicated her life to bringing happiness to children. Her symbol was a rainbow; everything else in her life — clothes, cars, garden and home — was purple.

Yesterday morning, the Purple Lady’s home, a large, airy structure astride a hillside above San Francisco Bay, burned. The flames took almost all she owned, leaving her — as is the cliche in these events — with little more than memories of the 43 years in which she made that home distinctly her own.

I photographed Barbara in her home a couple of years ago for a Marin Magazine profile of her. She told the writer, while speaking of her daughter’s death, “Loss can be an incredible teacher. Often, the highest and best teachers appear when one’s loss and sorrow is the deepest.”

Prophetic words indeed.

Barbara MeislinBarbara and I became friendly acquaintances and I would see her occasionally during my jaunts around Marin. She is a bright spirit and any encounter, like one a few weeks ago at Ruth Livingston’s gallery in downtown Tiburon, made me feel good.

Standing in her driveway yesterday talking to neighbors, firefighters and a reporter, Barbara was a portrait of sadness. As much as she mouthed words of hope — “I’ll have to rebuild this house,” she told the Chronicleher eyes, moist and red, spoke of the ache in her heart. She was dressed in blue.

Clutching a box of tissues and an orange in one hand, Barbara talked distractedly, her thoughts spilling out as they occurred — how the fire started, why didn’t 911 answer, the narrowness of her escape and the fate of her many, many photographs.

It was a familiar scene for many journalists, but not one I’d witnessed for many years. As a young photographer, and later reporter, I’d stood on many sidewalks outside burned homes or across from crashed cars and seen the very same face Barbara was wearing — drawn, vacant, a bit confused about how all that was good suddenly went so bad.

Later, as I became an editor and traded in the streets of journalism for its desks, others went to the scenes and returned with the stories that, to the cynical — and, sadly, there is much cynicism in the news business — seemed cliched, tired and repetitive. I confess that, at times, I was one of those.

I often tell people who ask what I do now that I’ve returned to my roots — writing and photography. But, in truth, the roots go deeper, extending into a belief that itself has become a cliche: That in everyone there is a story. That in the ordinariness of life, we find the extraordinary. That people are, for better or for worse, endlessly fascinating.

As I drove away from Barbara’s house yesterday, the golden sweep of the Marin hills and the Golden Gate unfolding before me, I noticed I smelled like smoke. I thought again of this wonderful woman, standing tearfully in her driveway, grieving in public, and marveled at the privilege I have to share the lives of others.

Grab Shots: Grit, Wisdom & Laughs

Spent the last couple of days making the leap from PC to Mac. While setting up the browsers, I did some link cleaning. Some are worth sharing — a true grab bag:

Scoltt Kelby* Get Gritty: Scott Kelby tells us how to get that “cool, gritty look.”

* Find Some Release: A page of model releases from the National Press Photographers Association.

* List of Lists: This buy has made a list of 87 photo sites he consider great.

* Talking about Seeing: Pixchannel has interviews with great photographers — like Eddie Adams and Ruth Bernhard — on why they do what they do.

* Obama Rama: The New York Times as a zippy compilation of readers’ photos of the Obama inaugural (told you I was doing some deep cleaning!).

* Foiled Again: David Hobby, aka The Strobist, tells us how to use aluminum foil for shiny table top photos.

* For Laughs: Get your eyes out of the histogram and onto xkcd, a web comic. Here’s a panel about photography.

Grab Shots: Pixels about PJ

*How Not to Get Shot in a War Zone: Advice from conflict photographer Teru Kuwayama. First on the list: Wear your seat belt because “it’s the traffic that’s most likely to kill you.” (Via Photo Editor.)

* Does the World Even Need Photojournalists? That’s a question being asked on Lightstalkers by Aaron J. Heiner. He comments: “Truth be known it’s hard to see why the media would want to pay us to do a task that people are willing to do for free. yes, we have training, and experience, but it seems that the big boys (the networks, CNN, FOX and so forth) would gladly give that up for free man-on0the-street coverage.”

* Dispatches: Report from Afghanistan on The Digital Journalist by photographer David Bathgate. A quote: “Attacks with rocket-propelled grenades and small arms were nearly a daily occurrence during my stay at Firebase Lindstrom.”

* Burn, Baby, Burn: Emerging photographers show their work at Burn Magazine.

*Magnum Blog No More: Photojournalism agency Magnum has put its blog on hiatus, promising new things on its website. You can follow Magnum on Twitter or Facebook.

America’s National Pastime

Giants Baseball fans

Now, don’t get me wrong — I love overindulgence and have indulged overly and often throughout my life. I’ve always believed, though, that incessant feeding of the inner beast (corporal or emotional) also requires eventual self-correction. In other words, excess is a big “yes” and it comes with a bill that must be paid with the currency of “no.”

Sadly, many of us — and particularly Americans — just ain’t got no “no’s” when it comes to food and drink. Few places is that more on display than during a game of America’s favorite pastime, where what’s happening between the foul lines often seems secondary to what’s happening in the beer and pizza lines.

Last night, my wife and I saw a great game of baseball — Giants vs. Rockies with the Giants winning 2-0 — in arguably the country’s greatest ballpark. We took the boat from Marin, sat down low, saw the Little Panda homer and had a couple of beers and dogs. All good.

What was evident, though, from the moment we boarded the ferry in Larkspur until we returned hom five hours later was many people view a ballgame as simply an excuse to publicly drink and eat as much as possible.

Guys were buying beers and cocktails two or three at time on the ferry, enough for them to get well lit by the end of the hour-long bay-crossing. At the park, people around us ate non-stop for nearly three hours. I watched them inhale hot dogs and mounds of garlic fries, crunch down plates of cheesy nachos and bags of peanutes, then wash it all down with beer after beer after beer.

The result was not bad behavior — nothing more than the usual Bud and testosterone-fueled boisterousness at any Giants or Niners game — but bad bodies laden with fat, sugar and carbs.

The young couple in front of us (above) were in their 20s, but were already 40 to 50 pounds overweight apiece, poundage that surely increased during the game. Nearby seats will filled with “older” people — 40s and 50s — whose beer-bellied guts ballooned out like those of pregnant women, whose knees, aching from carrying the extra weight, wobbled on the stairs, and whose backs, pulled forward by years of too many pounds, were hunched and rounded. They looked and acted decades older than their age.

And, yet, young and old alike, they ate and ate and drank and drank throughout the game, saying “yes” to thousands of calories. Clearly, they had indulged their ravenous appetites for years outside of the ballpark, but just as clearly the game provided an opportunity — and an excuse wrapped in the bunting of the national pastime — to amp up that indulgence to a feverish pace.

Why should I care? For a couple of reasons.

First, the drinking among men in their 20s and 30s these days seems to outpace even that of my generation, and I always thought we had set a high benchmark for self-excess. Of course, I realize this observation is ridden with irony and smacks of inter-generational typicalness.

More importantly, though, I should care (and so should you) because Americans are eating themselves to death and costing our society billions in the health care needed to treat diseases cause by obesity.

During the whole contentious debate on U.S. health care reform, obesity has been called the elephant in the room — one most Americans don’t want to hear about because it would force an admission that a simple change in behavior would improve their own health (and their children’s) and lower the overall price all of us pay for medical care.

If America’s National Pastime was just saying “no” to overindulgence more often, we could start saying “yes” to health care reform. Yes, it is more complicated than that, but it’s a good place to start.

On the Job: Going With the Wind

” You can’t always get what you want, And if you try sometime you find, You get what you need.”

The Stones

It was the first day of summer, the solstice, and a chill wind was blowing fierce off the ocean. Perched as we were on a ridge high on Mt. Tam, we were catching it full on — me, my wife, a friend and her husband, who was the “model” for the above photo.

The wind was so strong that even 50 pounds of sand and two people could barely keep the softbox from becoming airborne.

We were here to make a picture for Marin Magazine, where I do a bit of writing and a lot of shooting. The editors needed an opening image for the magazine’s annual Editors Choice issue that illustrated the thrill of living in Marin County.

The top editor had an idea in mind — something she had seen in a stock shot — of someone stretching languorously against the sky, relaxing and letting out the jams after a hike or run on Mt. Tam, the 2,600-foot peak that forms Marin’s skyline signature.

The whole concept of the shot depended on location, a place that overlooked the ocean, faced the sun and had enough other visible landscape to say “Marin” — golden hill, blue sky, etc. I only had one day to scout and the evening before the shot drove all over the mountain looking for a spot. None were perfect, but I thought this ridge might work even though at this time of year the sun sets much more to the north than to the west.

Soon after we set up, though, and I began making test shots while waiting for the sun to drop further it became clear the angle was not going to work. Even on a ladder, I couldn’t get all the elements in the frame the way I wanted.

There was one other complication: Our “model,” while in decent shape was far from buff. Cove-up was needed. My wife donated her vest.

We shot for about 45 minutes up and down the ridge, and I didn’t have what I needed. Pack it up, I said. We opened a cooler, broke out the brew and began stowing gear. Just as we started to break down the strobe, the sun touched the top of a hill to the north, spraying golden light all over us.

I jumped up with a camera, the model set down his bear, the others grabbed the light (just holding the boom in their hands) and I shot about 15 or 20 frames, switching for the last few to a 17 mm with a graduated neutral density filter screwed on the front.

There it was. A shot. Not the one I came for, but one I could take home.

(Here’s a slide show of the whole Editors Choice shoot.)

Grab Shots: Craziness & Bizz-i-ness,

Link-gathering while I’m on hold with Adobe:

* Woodstuck: Magnum puts up a slideshow of photos by Elliot Landy from Woodstock. And, yes — since you asked — I was there.

* Crazy, man, just crazy: Dirck Halstead at The Digital Journalist gets asked, “Why would you be a photojournalist today?” And answers, “You have to be crazy.” Then adds: “I have always considered being crazy as important to a photographer as being curious.”

* Taking the biz out of news business: Jack Shafter says at the Slate that what’s bad for business just might be good for journalism: “If the downside of the battered-down barriers to entry is less pay and lower status, the potential upside is that a flood of new entrants into the field could portend a journalistic renaissance.” Now, let’s see about getting paid.

* Putting the bizz into journalism: National Press Photographers Association has a toolkit of business practices.

* Eddie Adams reviewed: Sportshooter has a review of “Eddie Adams: Vietnam.” One quote from Adams: “Making pictures in Vietnam is easy…Things are happening all around you and you just have to press a button and not get killed.”

Walkin’ the Dog

What do you get when you combine the relentless self-absorption of Mill Valley with the cheery self-entitlement of dog owners? A cluster of dogs, people of all ages, wandering tourists and the standard assortment of Marin eclectics, all crammed into a corner of the downtown square on a foggy late afternoon for a cute dog contest. (See the slide show.)

Sponsored by Pacific National Bank, the contest attracted hundred of entries, including my mother-in-law, who entered her rambunctious terrier, Topper. A snapshot I made of him was displayed among with those of fellow contestants on the bank’s windows.

The winners — small and large — were chosen yesterday and the grand prizes (paintings of the winning dogs by a local artist) were secondary to the event itself. As dogs strained at leashes, reaching for tables of dog biscuits, chews and chocolates, owners socialized, strutted and, some too obviously, preened vicariously for their canines. Good fun.

As I meandered through the scene, I shot with my 17 mm held low to the ground, using the auto-focus to get down to the dog’s level. Some shots came out pretty well. Take a look.

California Dreamin’ (Marin County style)

Novato and Fairfax theaters

Lots of work this month with little time to write, but I want to share some of the images I made for the August issue of Marin Magazine and its annual Editors Choice awards. The package featured a perfect day in each Marin community, from Sausalito to Novato to Point Reyes Stations. I was fortunate enough to be able to photograph the entire series. Click on the image above for a quick slideshow (and a bit of California dreamin’ on this summer’s day.)

As always, my photos are for sale. If you just MUST have a print of the Novato or Fairfax theaters on your wall, or any of others from the series, visit my Pictopia gallery.

Thanks for looking.

Tim

New York Walkabout

Softball game in Central Park

One day. One lens. One great city. That’s a combination to live by — especially when it gives me the opportunity to resurrect one of my photographic roots: street photography, which I’ve always taken to mean as nothing fancier than walking around with a camera and shooting whatever comes my way.

My wife and I need a regular New York fix — museums, meat, martinis and, for me, a Manhattan walkabout. I indulged in the latter (after too much of the former) on a Sunday afternoon. Starting at the southern tip of Manhattan, I strolled Battery Park amid a glut of other tourists, circumnavigated the Staten Island Ferry Terminal, walked up to Wall Street to Trinity Church and then caught an uptown train to Midtown for a B&H break, and finally onto Central Park.

I only took two lenses to New York –a 50 1.4 for nighttime and 17-35 2.8 for everything else. This is part of a discipline I’m trying to adhere to of carrying less and looking more. I had only the wide zoom for the walkabout and, I’ll think you agree, it served me well. (Full gallery here.)

I loved the freedom of almost no gear and the demands it placed on me to move and adjust. Instead of bringing the picture to me, as a big fat bag of lenses can do, I had to go the picture. I also had speed. For those of you who jump to the gallery, look at the wedding shot. It was a turn and shoot, over in a 25oth moment. One lens, ready to go, makes that possible.

These days, as I chase assignments, try to learn technical skills others learned long ago, and spend hours at the computer doing high-rezzes and cataloging, it’s easy to forget the joy simple photography brings — the frame being filled, the captured moment, the image preserved. These were the thrills that drew me to photography originally.

A photo walkabout on a sunny New York Sunday does wonders to refresh the eye, lighten the head and remind me, again and again, of the wonders of photography.

Click here the images (and a few choice New York quotes). I hope you enjoy seeing them as much as I did making them.

On the Job: New Portfolio Cover

Following the advice of Sportsshooter.com founder Brad Mangin, I’m changing the cover of my liveBooks portfolio once a month. Above is the first one. The goal is to have a fresh cover that better reflects my range of skills than the the shot of the Golden Bridge at dawn that’s been up there for a year (fans of that photo can find it here), as well as put my contact information front and center.

As always, each of these images has its own story.

The twins are Noah and Logan Miller, author and actors who made the movie Touching Home and wrote a book, You’re Either In or In the Way, about how the film came to be. I made the picture for Marin Magazine in Nicasio in Marin County, the setting for both the book and the movie.

The child wrapped in her mother’s hands is Maya. I also made this photo for Marin Magazine for a short Mother’s Day feature. The longer story behind this picture involves me blowing the first image I tried to make with another child.

The young woman in the upper left part of a series of portraits I’m doing of people with red hair. This was shot in her East Bay home.

Play Time

Work, work, work. Everyone’s worried about it. There’s either too much or — for many photographers and writers these days — too little. The best way I’ve found to beat back the anxiety beast is to pick up a camera and shoot. Making pictures is what got me started, and making pictures is what keeps me going. That’s why I love any opportunity to just play with the camera.

I had the chance to do just that last week when family came to visit from Paris and Lost Angeles. After a couple days of doing the tourist thing, we gathered one morning at my studio with bags full of colorful hats and scarves, and spend a fun couple of hours dressing up and being silly.

The one child in the group — Vanessa, 4 — tired of the fun before the adults, which says something about the need we grownups have to let loose the inner child more often.

Above is Vanessa and my mother-in-law, Deborah. (The hat became Vanessa’s favorite and she’s considering, as much as a 4-year-old can, of changing her middle name to Rose.). Below is Vanessa and her mom, Karina.

Grab Shots: Fashionably Avedon

Richard Avedon and Twiggy * Avedon Hung Up: The International Center for Photography in New York is showing a Richard Avedon retrospective (until Sept. 16) and the New York Times has the story behind the exhibit. It summarizes his work this way: “Avedon’s photography has always amounted to a plea for beauty — to see it mysterious, to see it raw but ultimately to see it whole.”

Avedon’s early fashion work (he’s with the model Twiggy here) was before my time, but when I his American West portfolio, which I saw in a Berkeley museum when I was a young journalist, left an indelible impression for its straightforwardness and honesty.

* Avedon’s Competition: Irving Penn.

* Fashion Photography: What is it? Now you know.

Grab Shots: Capa, Lyon, Gilden

Cornell Capa* The Mexican Suitcase: The International Center of Photography in New York has begun releasing images from the 4,300 negatives it received in a suitcase a couple of years ago containing the work of Magnum co-founder Robert Capa and his fellow photojournalists covering the Spanish Civil War, Gerda Taro and David Seymour. Amazing images, say the curators, but still no negative of Capa’s most famous and somewhat disputed photo, “The Falling Soldier,” a shot of a Spanish soldier being hit by a bullet. Capa’s photo at left is of a Spanish refugee camp in France. The New York Times has a slideshow.

* Danny Lyon, Down and Dirty: The Times also has a profile of photographer Danny Lyon, who has a new book, “Memories of Myself.” The Times describes Lyon as being …

” … among a group a revolutionaries whose work rose to prominence in the late 1960s and ’70s and transformed the nature of documentary photography. … The idea of conscience has been embedded more deeply in Mr. Lyon’s photography than in those of all but a few of his contemporaries.”

The new book is a collection of photo essays whose settings range from Chicago to Haiti.

* Detroit: The Troubled City: Think the recession has hit your town hard. Chances are where you live is better off than Detroit. Magnum shooter Bruce Gilden has a new photo essay up showing the hard times in Motor City.

On the Job: Community College

College of Marin students YouTube is awash with behind-the-scenes videos of famous photographers like Annie Liebowitz and other high-end shooters doing magazine or fashion shoots. The videos show gobs of equipment and small armies of camera assistants, stylists and make-up artists. With all these people scurrying about, usually to an up-tempo soundtrack, the viewer is given a sense that each of these photographers’ images — and by extension the magazines who pay them — is a production of grand artistic and financial scale.

The everyday reality for most photographers (Liebowitz included) is quite different. Although I do hire assistants and stylists for some jobs, many others consist just of my primary crew: Me.

The picture, shot for the cover of the College of Marin’s latest class catalogue is a good example.

The image started with a call from the college’s communication director. We had worked together a few times before. She needed a picture of several students in one of the school’s new medical programs and wanted to use the emergency room sign at a local hospital for a backdrop. She also needed the photo taken the following day. And at mid-day — the only time everyone was available.

I responded with a photographer’s two most important words: No problem.

I drove by the hospital for look-see. Awful. Cluttered background everywhere, and all but one of the emergency room signs were in parking lots.

The next day, the communication director and I met at the hospital, walked the area together and chose this spot, the only one I thought would work. What you see here is just a few feet of sidewalk. On either side is an array of pipes.

I set up one light in a round softbox, snooted another on the sign, gave direction to the students and started shooting. I’d stop every few frames to move them a bit, add or remove a prop, take off the white jackets, put them back on and adjust the light (which is only about 3 or 4 inches out of the frame.)

I made this frame about halfway through 20 minutes of shooting them as a group. I then did individual shots of each.

Later, after the college chose the shot it wanted from a set of proofs I put online for them, I worked up the image extensively in Photoshop — lots of skin smoothing and cleanup, about an hour in all.

This was not a big job, but it was a satisfying one. A good client needed a photo in a hurry. I overcame a horrible location with some selective framing and light. And the college was happy with the results. A good day’s work for a working photographer.

On the Job: Scientists

This is Victoria Lunyak, one of a dozen amazing scientists at the Buck Institute for Aging Research I photographed for the current issue of Marin Magazine.

The assignment was to create a package of photographs and text marking the 10th anniversary of the institute, whose focus is seeking treatment for diseases associated with again such as Alzheimer’s and Parkinsons.

To the non-scientific community, the Buck is perhaps better know for it’s striking modernist building designed by I.M. Pei. For that reason, I wanted to emphasize the faces and voices of the scientists who work there as a way to demystify the institute. We selected a dozen scientists, people like Lunyak, who runs her own epigenetics lab, to junior staff scientists who spend much of their time moving fruit flies from one jar to another.

I asked them why they became scientists, what they hoped to achieve and how they see the role of science in modern society. (Answers here.) I was struck by the amount of passion in their responses. Nearly all expressed a motivation to find cures to debilitating diseases, and some told compelling personal stories about why they became a scientist.

The portraits were done over two days, with locations ranging from open labs to the fruit fly room to the Pei buildings striking interiors. All were shot with small speedlights, using two or three lights in some instances to just one in others, like this shot above.

I also made three pre-dawn visits to the Buck to photograph the exterior at first light, once in the rain. The magazine used one of those shots (see below) in the table of contents, but the opening photo, which ran across a page and three-quarters, I shot one afternoon purely by chance while on a scouting mission, confirming once again that in this business serendipity can be as important as preparation.

You can see the series of portraits and some exteriors here. The magazine package is here.

On the Job: Marin Magazine Cover

The last couple of months I have been purposefully shooting landscapes with the goal of getting more covers on the magazine. This means I have been going out before first light in the morning or trying to catch the last light of the day, the proverbial golden hour.

The best light in the Bay Area happens during the winter, and that’s especially true here in Marin County, where the almost daily summer fog literally grays out the first morning light and can dull the evening light. Winter also brings rain clouds, something we don’t see in Northern California during our arid summers.

This picture was made in what may seem like an unlikely location — in a bayside marshland behind a sewage treatment plant. What the spot lacks in olfactory appeal, it more than makes up for in its marshes and wildlife. I have shot here several times and made some nice pictures, but nothing I considered having the necessary “grab” for a cover. When I saw this scene in mid-December on a day that had been showery, I knew I had found my moment.

Later, when I showed the editor of the magazine a half-dozen images — from this day and from other locations — she immediately went to this one. The final cover image was about a three-quarter crop from the original, with the art director taking some off the bottom. I had shot the original with the cover crop in mind.

Technical stuff: D3, 17-35mm lens, ISO 400, 1/160, F4, handheld.

Grab Shots: Annie Hocks Her Work

*Pawn My Photos: Annie Leibovitz has hocked all “copyrights … photographic negatives … contract rights” to work (past and future) as well as several pieces of real estate in exchange for a $15.5 million loan from a company called Art Capital Group, essentially an art pawn shop for the well-to-do. In other words, as the New York Times put it today, “one of the world’s most successful photographers essentially pawned every snap of the shutter she had made or will make until the loans are paid off.”

* Shooting Annie: Seattle photographer John Keatley talks with Feature Shoot about photographing Leibovitz: “I didn’t want to over think it, or get too worked up so far in advance. So I took a vacation to Mexico!”

* Making a Difference: Zack Arias produces a video for Scott Kelby in which he explores how to make his mark on “this massive matter of visual pollution we serve up every day.”

* Hot Shoe Diaries: That’s the title of Joe McNally’s new book on shooting with speedlights. Good stuff for those of use who don’t know everything. Pre-order it here.

* May I Shoot? No! Mary Ellen Mark talks about photographing Marlon Brando on the set of The Missouri Breaks. Brando’s rule, she tells LA Weekly, “was that set photographers must always ask permission before shooting him. Every time. And the answer was always no.” (Via A Photo Editor.)