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Posted 09/09/2021
What do the films Goodfellas, The Devil Wears Prada, Creed, Ocean’s 8, and Die Hard with a Vengeance have in common? The poster art, publicity, and behind-the-scenes photography for these and about one hundred other feature films were made by photographer Barry Wetcher, and we welcome Wetcher to this week’s episode of the B&H Photography Podcast. On-set still photography or, simply, “still photography” is one of the more unique jobs found under the big tent that is photography. The skills needed to excel in this work incorporate abilities from many photographic genres. Portraiture, documentary, news, action, and still life talents are all called upon to create the images needed for varied purposes, but perhaps the most important skill is the ability to understand the many moving parts and dynamic personalities of a film shoot and to find a way to be everywhere but nowhere at the same time. With Wetcher, we talk about the specific demands of the craft, about the evolution of gear from film to DSLR and, ultimately, to mirrorless (Nikon and FUJIFILM, in Wetcher’s case), and mostly about how to best navigate the world of producers, directors, cinematographers, and actors to create the seemingly ephemeral but truly indelible images of movie history. We also find time to ask Wetcher about some of the legendary actors and directors he has photographed over the years. Join us for this enjoyable and informative chat with Wetcher and, as it turns out, his “Brooklyn Brother,” host Allan Weitz. Guest: Barry Wetcher Photograph © Barry Wetcher Chadwick Boseman in “Marshall,” 2017 © Barry Wetcher/Open Road Films Human Green Screen from “I Am Legend,” 2007 © Barry Wetcher/Warner Bros. Pictures James Gandolfini in “Not Fade Away,” 2012 © Barry Wetcher/Paramount Vantage Joe Pesci in “GoodFellas,” 1990 © Barry Wetcher/ Warner Bros. Pictures Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Shawn C Steiner
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Posted 03/18/2021
Eye-catching and grotesque are words not often placed together, but those accurate descriptors are part of the charm and beauty in the still life and food photography of Emma Ressel. Ressel joins us on this episode of the B&H Photography Podcast to talk about her work, which takes inspiration from, among other things, Dutch Master paintings and her own upbringing in Maine. We discuss with Ressel the evolution of her work and how she attempts to balance the genres of food photography and still life. Many of her images contain aspects of decay and death, and in her personal fine art photography, food is one way to address these topics. She also is a commercial photographer of food, wine, and still life work commissioned by New York Magazine, Refinery29, and other publications and clients. Ressel works with both a 4 x 5" Toya medium format film camera and with a Nikon DSLR, and we find out how and why she chooses which system to utilize. We also talk about her varied lighting choices and how she came to food photography not knowing much about professional workflows and food stylists and how that may have helped her define her look. She is very hands-on with her work, and we discuss sourcing items as diverse as coral snakes and pig’s heads. We also consider issues of waste and overconsumption and how her work attempts to deal with those ideas within an industry that uses food for purposes not directly related to human sustenance. Ressel also tells us about an inspiring artists residency in which she tackled the subject of a decaying whale carcass. This is a very well-rounded conversation, at ease discussing the technical issues of using a view camera as easily as literary inspiration, and how to walk the fine line between working as a commercial food photographer and pushing the genre to uncomfortable new places. Join us for a listen and have a look at Ressel’s Artfare page to see her larger prints. Guest: Emma Ressel Photograph © Emma Ressel From “Trouble in the Garden” © Emma Ressel From “Trouble in the Garden” © Emma Ressel From “Trouble in the Garden” © Emma Ressel From “Olives in the Street” © Emma Ressel From “Olives in the Street” © Emma Ressel From “Olives in the Street” © Emma Ressel From “Insatiable Hunger and the Peacock’s Plume” © Emma Ressel Commission for New York Magazine © Emma Ressel Commission for Wines of Sicily/Refinery29 © Emma Ressel © Emma Ressel Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Shawn C Steiner
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Posted 07/06/2018
The spot where still photography, video, animation, and drawing on your shoes meet is where you can find Sam Cannon and Matthias Brown. They may not always be together at that spot, but they’re sure to be within shouting distance. On today’s episode of the B&H Photography Podcast, we discuss the role that still photography plays in their work and how they see the distinctions between still and moving images, as well as between old and new technologies. Matthias Brown is also TraceLoops, an “animation experiment centered around hand-drawn, physical animations that experiments with the creation and perception of movement.” He specializes in hand-drawn, stop-motion, black-and-white animation and his work has been commissioned by Converse, MTV, Purina, Warby Parker, and others, and his fine art work has been displayed at the Tate Modern. Sam Cannon is an artist and director who works between still photography and video and focuses on the “manipulation of time, space, and the female form.” Whichever format the final image takes—still, video, GIF—her works asks us to explore the “never-ending” moment. She has produced commercial assignments for Nike, Samsung, and H&M, editorial and fashion pieces, and her fine art work has been exhibited extensively, including at MANA Contemporary, in Jersey City. True multi-disciplinarians, Cannon and Brown are comfortable with a variety of techniques and art forms; we discuss rotoscopes and oscilloscopes, After Effects and Dragonframe, projection pieces and soap sculptures. We also talk briefly on camera gear, self-portraiture, William Kentridge and, once and for all, we resolve the pronunciation of GIF. Join us for this enjoyable conversation. Guests: Sam Cannon and Matthias Brown Animation © Sam Cannon Animation © Sam Cannon Animation © Sam Cannon Animation © Sam Cannon Photo © Sam Cannon Photo © Sam Cannon Animation © Matthias Brown Animation © Matthias Brown Animation © Matthias Brown Animation © Matthias Brown Photo © Matthias Brown Photo © Matthias Brown Previous Pause Next NOTE: Please click to view animated images. Sam Cannon & Matthias Brown provided four animated images, and two still photos. DON'T MISS AN EPISODE SUBSCRIBE NOW:   Host: Allan Weitz Senior Creative Producer: John Harris Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 06/05/2019
Do you have undeveloped rolls of film that have been sitting around forever? Maybe you don't even realize that you have unprocessed rolls from the "good ol' days of analog" in an old camera bag or a dresser drawer. Now is the time to look into this matter and have the chance to explore and share your memories, perhaps even rediscover events and people that memory has left behind. On this week's episode of the B&H Photography Podcast, we welcome the directors of Lost Rolls America, Ron Haviv and Lauren Walsh. Inspired by Haviv's own The Lost Rolls book, they have initiated this project to create a national archive of lost, yet now found, images "to form a collective memory that prioritizes the role of photos in constructing our personal and shared pasts. In revisiting the past, this project also encourages contemplation of how the present and future will be remembered." The idea is simple, but one look at the growing archive and the memories shared, and it becomes clear how powerful this project can be. With Haviv and Walsh, we recount the genesis of the project, how PhotoShelter, PhotoWings, and FUJIFILM came onboard as partners, and they offer insight on the future plans for the project. They also discuss a few of the more interesting images and recollections submitted, how the submission process works and, of course, they encourage our listeners to submit lost rolls. Above Photograph © Mette Lampcov/Lost Rolls America Lost Rolls America: What kind of memories does this photo bring back? Valentina Zavarin: I was leaving alone to America. Time for adventure away from my mother and siblings. I remember how excited I was for this new life ahead after World War II. Everyone is smiling but I remember they were in a shock that they were left behind. Valentina Zavarin/Lost Rolls America, 1950 Lost Rolls America: Does this photo bring back any memories? Debra Miller: Yes. Sadness, horror, shock. Debra Miller/ Lost Rolls America, 2001 Lost Rolls America: Is this what you expected to see? Elizabeth Kamir: No. The old roll of Tri-X that had taken up residence in my drawer for nearly 30 years always dared me to imagine. I never planned to develop it. I assumed if there was anything on the roll, it would either be something innocuous, like pictures of my grandmother or something embarrassing, like theatrical, nude self-portraits. I might have taken pictures like that back then. Elizabeth Kamir/Lost Rolls America, 1990 Lost Rolls America: What kind of memories does this photo bring back? Mette Lampcov: It makes me think of how much I used to laugh my head off with her (Tracy). It makes me miss London and old friends, especially people who have a wicked sense of humor- and seeing her head float in the back garden is a perfect reminder of her beautiful funny madness. Mette Lampcov/Lost Rolls America, 2002 Lost Rolls America: How does this old photo make you feel? Michael Starensic: I feel a sense of accomplishment that I was able to capture the times and emotions as the country swayed from crisis to crisis. This was the last interlude- "coming up for air" I called it- between the major tumult of the Kosovo War two months earlier and the start of renewed opposition that month. We soon headed back to the capital and events were intense for the next 14 months. Nevena and I married 2 months later in Belgrade in the midst of mounting protest and turmoil. Michael Starensic/Lost Rolls America, 1999 Lost Rolls America: How does this old photo make you feel? Bruce Lampcov: Very nostalgic. I miss the days when my children were young and together we discovered new places, new cultures. Bruce Lampcov/Lost Rolls America, 2004 Lost Rolls America: What kind of memories does this photo bring back? Tamika Jancewicz: Just how huge I was when I was pregnant! I think I felt that way when I took the picture as well. Tamika Jancewicz/Lost Rolls America, 2007 Lost Rolls America: What are we looking at here? Russell Gontar: This is my friend, Linda. We spent an afternoon taking pictures at the beach and old amusement park. I asked her to close her eyes in an attempt to be "arty". Russell Gontar/Lost Rolls America, 1977 Lost Rolls America: How does this old photo make you feel? Jennifer Mitchell: As all the kiddos in the picture are my nieces and nephew, it makes me feel amazingly proud. One is in the Air Force Academy, one is a wedding planner in a Colorado Rocky Mountain resort, and one just got accepted into a PhD program for Astrophysics. I bet my sister (who is reading to them) thinks that she might have had a little something to do with it.:) When I showed her the picture, she sighed and said, "Oh, that was always one of my favorite things to do with those kids!" Jennifer Mitchell/Lost Rolls America, 2004 Lost Rolls America: How does this old photo make you feel? Keith Munger: Like One Of The Miraculous Few That Loves His Wife As Much Now As In 1969. I Am A Very Lucky Guy! Keith Munger/Lost Rolls America, 1969 Guests: Lauren K. Walsh and Ron Haviv Ron Haviv is a is an Emmy nominated, award-winning photojournalist and co-founder of the photo agency VII, dedicated to documenting conflict and raising awareness about human rights issues around the globe. He has worked in more than one hundred countries and published four critically acclaimed collections of photography. His work has been featured in numerous museums and galleries, including the Louvre, the United Nations, and the Council on Foreign Relations. Lauren Walsh is a professor and writer who teaches at The New School and NYU, where she is the Director of NYU Gallatin's Photojournalism Lab. She is editor of Macondo, a photo book documenting the long-term conflict in Colombia, and coeditor of the collection, The Future of Text and Image, as well as the Millennium Villages Project, a photography book about efforts to relieve extreme poverty in sub-Saharan Africa. She has appeared on CNN as a scholar of photography and digital culture, as well as in the documentary 9/11: Ten Years Later. Ron Haviv, Allan Weitz, and Lauren Walsh John Harris   Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 07/17/2019
On this week’s episode of the B&H Photography Podcast, we welcome photographer Ashok Sinha, who talks about his forthcoming book, Driver-full City: The Unique Architecture of Car Culture in Greater Los Angeles, and discusses the Cartwheel Initiative, a nonprofit that he founded, which works with displaced and refugee youth, using photography and multimedia tools to inspire these youth to find their voice through art and creative thinking. Above photograph © Ashok Sinha Before we get into our conversation with Sinha, however, we want to let you know about an opportunity we are offering our listeners. We will be giving away forty free tickets to a private screening of the film, Jay Myself, directed by photographer Stephen Wilkes, about the photographer Jay Maisel. Wilkes will be in attendance for a Q/A session after the screening. Many of you may remember when Maisel and Wilkes joined us to talk about the making of this movie, and we are excited to extend this offer to the first forty listeners who request a ticket. This screening will be in New York City, on August 4, so if you cannot be in New York on that date, please do not request a ticket, which are limited to two per person. If you would like to attend the screening and meet the filmmakers, send a request to podcast@bhphoto.com or join our B&H Photography Podcast Facebook Group and comment on the post regarding the free screening. Screening details are in the post and we look forward to meeting you. Ashok Sinha is a complete photographer and filmmaker, able to make a living from his architecture and interior design photography, but also adept at large-scale landscapes, human-interest editorial stories, and portraiture. His photographs have been widely published by editorial outlets such as The New York Times, TIME, Interior Design, and exhibited by The Museum of the City of New York, the International Center of Photography, and The Royal Photographic Society. And, as mentioned, Sinha has found a wonderful way to use photography to give back to the youth most in need of a helping hand. Join us for this inspiring episode and request your free tickets to Jay Myself. Guest: Ashok Sinha “Driver-full City” © Ashok Sinha “Driver-full City” © Ashok Sinha “Driver-full City” © Ashok Sinha “Driver-full City” © Ashok Sinha “Driver-full City” © Ashok Sinha Previous Pause Next   Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 11/01/2018
When you think of an image from your favorite movie, what comes to mind? Is it a well-edited sequence, a dramatic crescendo, or perhaps simply a static photo, maybe even the poster art itself? If it is a static image, chances are it’s a photo taken by an on-set “still” photographer. On today’s episode of the B&H Photography Podcast, we discuss this craft with two photographers who make their living  as still photographers, working on location and in-studio on television and film productions alongside the camera assistants, boom operators, grips, DPs and myriad crew members, who make the movie magic. Joining us are  JoJo Whilden, a fine art and still photographer who has worked on numerous films, including Silver Linings Playbook and The Fighter and television series such as Orange Is the New Black, and Homeland. Her clients include HBO, Netflix, CBS, Sony, and Killer Films. She is the 2018 recipient of The Society of Camera Operators Lifetime Achievement Award in Still Photography. Also joining us in the studio is David Giesbrecht, an editorial and still photographer with credits on The House of Cards, The Blacklist, Mr. Robot, Jessica Jones, and many other programs and films. We speak with Giesbrecht and Whilden about the specific photography skills required on-set, the working relationship within a film crew, their gear setup, and the changes that the profession has seen with the onset of digital streaming, cell phones, mirrorless cameras, social media, and the growth of the episodic television series. This is a very informative episode about a craft that is often overlooked and misunderstood. Guests: JoJo Whilden and David Giesbrecht  From “Orange is the New Black”, Photograph Courtesy JoJo Whilden From “Boardwalk Empire”, Photograph Courtesy JoJo Whilden From “Olive Kitteridge”, Photograph Courtesy JoJo Whilden From “A Late Quartet”, Photograph Courtesy JoJo Whilden From “The Fighter”, Photograph Courtesy JoJo Whilden John Turturro directing “Fading Gigolo”, Photograph Courtesy JoJo Whilden From “Jessica Jones”, Photograph Courtesy David Giesbrecht From “Jessica Jones”, Photograph Courtesy David Giesbrecht From “Luke Cage”, Photograph Courtesy David Giesbrecht From “House of Cards”, Photograph Courtesy David Giesbrecht Box art from “The Tick”, Photograph Courtesy David Giesbrecht JoJo Whilden and David Giesbrecht hamming it up in the podcast studio Previous Pause Next   Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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