In October, we photographed several homes. But this one! This one stunned me. I love the idea that when I walk into a home, I could imagine myself living there. This home was no exception.
Enjoy some of the images we took during our day on site.
In October, we photographed several homes. But this one! This one stunned me. I love the idea that when I walk into a home, I could imagine myself living there. This home was no exception.
Enjoy some of the images we took during our day on site.
For this year's monthly photo challenge, I'm submitting this photo for March, which is the theme blur. I'm calling the image "Forward Facing Nostalgia."
My wife Tina was so happy to be my model for this one. She asks to be a part of my creative processes a lot. The only reason she's not in every photo is because there are a lot of photographers with the same person in shots, and it makes me think they don't have access to a wider range of models.
But then you have super creative forces like Jamie Beck at Ann Street who uses herself as talent all the time and it makes me question those thoughts.
It's weird. There are people who I think are narcissistic when they constantly post self portraits. But then there are others like Beck whom I don't feel as judgmental toward. She makes such amazing art that I become more jealous than judgmental of how she's in so many of her own photos.
Regardless, this image was inspired by my memories as a little boy, sitting in the back seat of my parents' car or cars, looking out the windows and constantly making up imaginary stories of myself outside the car riding a bike, jumping over mounds or cars, and weaving through trees and people's front yards. It also reminds me of when we drove down the road and I would sing to myself with my mom, dad, brother and sister in the car, but I would pretend I was alone.
I wanted the image to have a sense of fantastical motion. I layered images and I ended up loving the double exposure look of Tina's face twice.
To get the shot, I fixed a camera to the seat rest and a light. I got some exposures of Tina sitting still. Then my idea was to get long exposure shots all the way from downtown Chicago to our home. A 20 minute drive.
It was an all or nothing move. The camera ended up being too heavy for the device I used to hold it. It was a little metal arm. I ended up having to hold the camera with my right arm, driving with my left and trying not to be a totally distracted driver. We ended up with 30 or 40 exposures. We used a Camranger to trigger the camera by having it take 20 shots in a row at 1 to 1.2 seconds a piece.
If I did it again, I would find a lovely place with lots of traffic. I would not move the car, but have tina just sit by the window and let cars pass, doing long exposures. I would then get a couple solid exposures of her at 1/15 or 1/30 a second and combine them in post.
But doing it again isn't the challenge. Going out and making a photo is the challenge. Learning from it, the mistakes or the successes, and using it to inform my work from here on out. I love that.
I hope you enjoy the photo. Check back for a BTS video soon.
I photographed the above photo last Thursday as a part of my 2018 Monthly Photo Challenge. I'm not sure I came up with the idea for the above photo before we started the diet or after. I'm guessing after. But what you see above is almost EXACTLY what I envisioned.
I knew I wanted to integrate this exact photo for a while now. One night I was in bed and I was wondering how I could take it to the next level. Just sitting in his living room will be okay, but what would make it cooler?
That's when I came up with him dumping out his drink.
I LOVE Whiskey. I love whiskey so much that several years ago I decided to no longer keep it in the house. I'm like a pathetic druggie when it's around. I can't help myself. I'll have a little every day. Or I'll knock out the bottle in record time. To save myself, I had to remove it from my house.
The model is a friend of mine, and I look up to him like a mentor. His name is Jeff. He's an architect and he also owns a fabric company. Jeff is the kind of guy who will hear about a friend who might be going through something like the flu or a rough time and he cooks them a big dinner to bring over in a casserole. Damn, I wish I did that. There's some weird fear that keeps me from doing it.
The persona of a creative person pouring out not only alcohol but his FAVORITE drink is the headspace I'm in.
We can assume this guy is bored. That he's pensive. And he's come to the point in life where he might just dump out something that is, in fact, poisonous to the body. Especially in quantity and especially if not moderated. I feel absolutely stupid pointing out the obvious or painting the metaphor on this image. Yes, even the fire means what you think it means. But I just wanted to talk about it for a second.
Jeff is also one of the most giving people I've ever met. This image doesn't reflect his personality at all (that I know of). He's crazy creative. He drafts his work by hand. Colors them with markers.
He dresses tiptop. He drives amazing cars. He lives in a mind-mind-blowingly cool house. His husband is as kind as he is.
I'm sure my description is well into hyperbole. And I understand that. But I feel like having people like Jeff in my life influence me so well into a positive headspace.
I don't think this day of clarity arrived on accident. There was this moment about five years ago (or more) when I decided that it's essential to balance out my life with friends and influencers who can somewhat inadvertently shape my headspace. I started hanging out more with creative people in their field. I started making it a point to look to them for their good habits and made goals to integrate their good qualities into my repertoire of behaviors.
And I'm fully aware that the struggle is likely not over. I might be in a good place now, but I'm sure I'll fall off the wagon or have moments of weakness. I am human.
I could have titled this post "Surround yourself with talent and creativity" because that's what I feel like I've been doing. And that's a positive piece of advice to take away.
From The War of Art by Steven Pressfield:
“If you find yourself asking yourself (and your friends), "Am I really a writer? Am I really an artist?" chances are you are. The counterfeit innovator is wildly self-confident. The real one is scared to death.”
“Are you paralyzed with fear? That’s a good sign. Fear is good. Like self-doubt, fear is an indicator. Fear tells us what we have to do. Remember one rule of thumb: the more scared we are of a work or calling, the more sure we can be that we have to do it.”
Every time I create something or I complete something, the fear of sharing it is so terrifying, it's crazy.
Primarily if it weren't for Tina's encouragement and cheerleading, I probably wouldn't share any of my work. I wouldn't try to create vLogs or even blogs.
Then there are inadvertent encouragers. There are people on Facebook and other social media who put their work out, publish it, share it all the time. They have way more likes than I do. Way more followers than I do. And all these factors create a bubble of fear, indecision, paralysis, and depression.
I'm 42 years old. Until I was about 38, I vowed never to call myself an artist. Calling self an artist is either validated by some form of success or it's hackneyed nomenclature.
And then something clicked. Calling myself an artist became a necessity. It became a battle over fear and rejection, self-doubt and self fulfillment. If I don't call myself "artist", I will never be one. If I don't accept it, despite doing art since I can remember ... waiting until I'm dead won't help.
I'm a full-time creator. A full-time artist. I make my living as a photographer and filmmaker. If I don't accept that, than I'm a waffle in an iron getting burned to the crisp.
And then there's social media.
I've had a long love hate relationship with social media, this blog, Facebook, Instagram, twitter, etc. This blog used to be somewhat popular. Now it's not. I don't care. Now is my time to revitalize. To do, not say. To take back what was mine. To look forward. Not back.
I have to mind the cues I get that sharing work on social media is somehow going to make me a Rembrandt or Degas or Van Gogh or any other so-called successful artist. That's not what it is. The dopamine thrill of "one more like." Nope. The perception of success is bullshit. Success is start to finish. Success is developing an idea, executing it, and then, sharing it. Over and over and over and over and over and over.
"I finished X," declares the artist. "Time to celebrate?" asks the artist?
"No time to celebrate," responds the mentor. "It's time to start Y," says the mentor.
The likes and approvals of others aren't the reason for sharing, it's the process. Everything that came before sharing is what makes happiness and fulfillment. Whether people like it or not, that shouldn't always be the goal. Although the voices in our heads often try to convince us of that.
I'll leave you with this other quote from Pressfield:
“Fear is good. Like self-doubt, fear is an indicator. Fear tells us what we have to do.
Remember our rule of thumb: The more scared we are of a work or calling, the more sure we can be that we have to do it.
Resistance is experienced as fear; the degree of fear equates to the strength of Resistance. Therefore the more fear we feel about a specific enterprise, the more certain we can be that that enterprise is important to us and to the growth of our soul. That's why we feel so much Resistance. If it meant nothing to us, there'd be no Resistance.”
A couple nights ago, I read Steven Pressfield's the War of Art. I flew through it. It's as inspiring as any concert, any museum, any art gallery I've ever been to.
The crux of the book is to discuss the obstacles that prevent creativity or the pursuit of a goal and inspire, encourage, warn, man-splain ... how that person should jump off the woe is me train and onto the Airbus/space shuttle/galaxy destroyer of creativity ...
I haven't been this inspired in a long time.
Gosh, I remember as a kid going to church and feeling like I should be inspired by church sermons. And sometimes I took nuggets here or there. But never did I feel wow'd by sermon speak.
But this book, holy shit!
Maybe it's the Whole30 diet Tina and I are on and the clarity it's giving me. Maybe it's reading it on the coattails of Tribe of Mentors. But holy damn. I love this book and want everyone to read it and love it.
Pressfield describes the antithesis of art as "resistance." Anything that prevents you from doing you: resistance.
This makes total sense to me.
He discusses the origin of the word genius, which is not necessarily a person who is superior in his accomplishments because they make everyone else look un-genius. According to wiki:
In ancient Rome, the genius (plural in Latin genii) was the guiding spirit or tutelary deity of a person, family (gens), or place (genius loci). The noun is related to the Latin verbgenui, genitus, "to bring into being, create, produce", as well as to the Greek word for birth.
"To bring into being, create, produce." That is powerful stuff. In no other time in history have we had so many ways to, not only create and produce, but share it. And in my world, I've got a fire under my ass to not only create and produce but share. This takes focus, organization and deliberate attention to ambition and accomplishment.
It takes recognizing that Resistance is the asshole who wants to stand in my way, and doing everything but being polite to get Resistance out of the way.
“A writer writes with his genius; an artist paints with hers; everyone who creates operates from this sacramental center.”
On this blog in the past, I've written several times about thoughts I've had that artistry and certain religious beliefs are impossible and incompatible bedfellows. At some point in my career as a student and then as an evolving artist, I kept running into blocks that were religious in nature, and I was forced to let go of religion and replace it with unfettered passion for production of art.
Never have I read someone else who comes close to validating that perspective (emphasis mine).
“The fundamentalist (or, more accurately, the beleaguered individual who comes to embrace fundamentalism) cannot stand freedom. He cannot find his way into the future, so he retreats to the past. He returns in imagination to the glory days of his race and seeks to reconstitute both them and himself in their purer, more virtuous light. He gets back to basics. To fundamentals. Fundamentalism and art are mutually exclusive. There is no such thing as fundamentalist art. This does not mean that the fundamentalist is not creative. Rather, his creativity is inverted. He creates destruction. Even the structures he builds, his schools and networks of organization, are dedicated to annihilation, of his enemies and of himself. But the fundamentalist reserves his greatest creativity for the fashioning of Satan, the image of his foe, in opposition to which he defines and gives meaning to his own life. Like the artist, the fundamentalist experiences Resistance. He experiences it as temptation to sin. Resistance to the fundamentalist is the call of the Evil One, seeking to seduce him from his virtue. The fundamentalist is consumed with Satan, whom he loves as he loves death. Is it coincidence that the suicide bombers of the World Trade Center frequented strip clubs during their training, or that they conceived of their reward as a squadron of virgin brides and the license to ravish them in the fleshpots of heaven? The fundamentalist hates and fears women because he sees them as vessels of Satan, temptresses like Delilah who seduced Samson from his power. To combat the call of sin, i.e., Resistance, the fundamentalist plunges either into action or into the study of sacred texts. He loses himself in these, much as the artist does in the process of creation. The difference is that while the one looks forward, hoping to create a better world, the other looks backward, seeking to return to a purer world from which he and all have fallen.”
As a teenager, I followed in the footsteps of the legacy that preceded me. I found solace and love in evangelical things. But I was miserable doing it. When I noticed that all I was doing was finding out what was wrong with everyone else and finding the need to tell everyone else how sinful they lived, it made me into a person with his gaze always fixed on a backwards perspective. Backwards in its different meanings.
As a collegiate, I started seeing more as a progressive and a forward thinker. Every time I looked backward, I became consumed and overcome with excuses for why I wasn't growing as an artist. When I finally started looking forward, I learned how to pursue dreams. Resistance, though, is awful and wanted me to hold on with clinched fists to the past. So I turned to shitty habits of alcohol or even reading web sites or hanging with people who weren't helping me look forward.
Right now, I'm a zealot for positivity and for focus. I'm impassioned by creation and for self exploration.
It's a better vessel for me to ride on. I love it.
I leave you with this last quote, as it says so much about what it means to be an artist.
“The artist committing himself to his calling has volunteered for hell, whether he knows it or not. He will be dining for the duration on a diet of isolation, rejection, self-doubt, despair, ridicule, contempt, and humiliation. The artist must be like that Marine. He has to know how to be miserable. He has to love being miserable. He has to take pride in being more miserable than any soldier or swabbie or jet jockey. Because this is war, baby. And war is hell.”
What do you think? Is it possible to be an artist and a "believer"? What things do you do to remain on task and move around or past obstacles to pursue your goals, art or whatever?
I've been reading Tim Ferriss' book Tribe of Mentors. It's a collection of responses from many different individuals on the same eleven or so questions. It's an inspiring read.
For this post, I wanted to include a few quotes. These first two deal with finding your art or, perhaps, your purpose.
First, from American Writer on Business Practices Tom Peters in response to advice to students:
They say: “Think big! Have a compelling vision!” I say: Think small. Do something super cool by the end of the day! I write about “excellence.” Most see excellence as some grand aspiration. Wrong. Dead wrong. My two cents: Excellence is the next five minutes or nothing at all. It’s the quality of your next five-minute conversation. It’s the quality of, yes, your next email. Forget the long term. Make the next five minutes rock!
And the second, from writer Keven Kelly:
Don’t try to find your passion. Instead master some skill, interest, or knowledge that others find valuable. It almost doesn’t matter what it is at the start. You don’t have to love it, you just have to be the best at it. Once you master it, you’ll be rewarded with new opportunities that will allow you to move away from tasks you dislike and toward those that you enjoy. If you continue to optimize your mastery, you’ll eventually arrive at your passion.
I loved these two quotes for multiple reasons.
One. Selfishly for moi.
Two. Selfishly for Tina.
Three. For you.
I love to aim at perfection. And sometimes, I fail. Sometimes I fail on purpose, because if everything is "perfect" then one perfection might impede on another part of my schedule, so I need to be choosey about what gets "perfected" and what does not.
But in regards to the first quote, I love how he recommends being passionate about the next five minutes. Sometimes I'm on the phone using my computer. I'm talking to my mom or brother or best friend and I have to slap my own hand from surfing the web or working on a job while talking. And then when I remember that they're the most important thing, right now, right for the next five or ten minutes, the conversation is better. I'm less distracted and more engaged. I listen with action. I don't butt in. But my responses are more strategic and productive.
When I try to "think big," it often paralyses me. For instance, if I try to come up with the best new idea in the world, I retreat into a world of fear. That fear prevents me from doing anything at all. It's that sisyphean complex of aiming at impossibilities rather than possibilities. Drawing one small picture. Making one small photo. Writing one small page. One meal. One thing at a time. Add them all together and it's a body of work! Instead of thinking big all the time, think smaller actions that get many good responses rather than one big coup!
Regarding the second quote: In my search for my art, I have had to give up on a lot of passions. I've had to find things I love and concentrate on them. I LOVE to draw and make paintings, but I've had to let that passion slide over the years and concentrate on others.
I LOVE to cook. And developing cooking has become one of those little things to feel creative on. When you take the time to discover a new recipe, shop to find ingredients (pre-production), assemble ingredients (learning to cut, chop, mix, etc.) complete the meal, serve it and see the face on your audience (of one or many). That to me is art expressed in less than two hours. You can do it daily. And it can fulfill so many inner needs ... on so many levels.
We need to eat to live. Many of us need to make art to live.
I'm doing my best to live by the philosophies of Make/Share, Do More and focus. All of these things fit into a small accomplishment zone.
And finally, I'm going to leave on a quote from too-good-to-be-true, French entrepreneur, creator and humanitarian Jérôme Jarre. As I reread it, I realize how my 18-year-old-self would red flag this quote with honking/blinking red lights of woo and blasphemy. My 22-year-old self stumbled on the idea of "mini-gods" as I was doing my senior thesis and became okay with it. My 42-year-old self is completely good with it and inspired by it.
I'm not sure the exact question on this, but let's say he's answering advice to students.
A belief: the belief that we are all mini gods. I mean this in the sense of creators, in a way that should not feed our ego but our consciousness. This means the entire universe is not just outside but also within us. We have unlimited power—the power to solve any problems facing us or facing others. We get to create our realities. It’s a simple and small belief, but it can change the course of humanity. Being mini gods means we never lack. We know we already have everything. We don’t need a million dollars. We don’t need a trillion followers. We are complete. We are full. So full that we can give without counting. The day we will all start acting like mini gods is the day there will be peace in the world.
This quote also corresponds with some other woo I have printed next to my computer since last July, which is the abundance thinking bullet list:
I recently did some light tests based on an idea I've been bouncing around for years with my old studio partner Bill Whitmire.
We saw this one setup in the book Light: Science and Magic: in which you place a black background behind a bottle (or subject) and then a wider soft source like a silk behind that.
Essentially the light wraps around the black and creates a thin rim around the subject.
I finally tested this recently with myself, but would love to do someone else. Keep in mind, I was by myself in the studio so getting the camera to trigger and be in focus using my Hasselblad was a little tricky.
From Timothy Ferriss’s Tribe of Mentors, venture investor Steve Jurvetson writes:
“Celebrate the childlike mind.” From what I can see, the best scientists and engineers nurture a childlike mind. They are playful, open-minded, and unrestrained by the inner voice of reason, collective cynicism, or fear of failure. What is so great about the “childlike” mind? Once again, I highly recommend Alison Gopnik’s Scientist in the Crib to any geek about to have a child. Here is one of her key conclusions: “Babies are just plain smarter than we are, at least if being smart means being able to learn something new. . . . They think, draw conclusions, make predictions, look for explanations and even do experiments. . . . In fact, scientists are successful precisely because they emulate what children do naturally.”
Love this quote!
You know what else babies aren’t bogged down by? Dogma. Government. Politics. Religion. Race. Obstacles and barriers.
Those things are distractions and learned superfluous ideas.
I put this partial year in review up recently. There's no way we could ever cover everything we did in 2017. But these were a few highlights. Rewatching it, there's so many favorite things I left on the cutting room floor!
Last month, we had the unique opportunity to photograph at a printing press called Quantum Group.
I have a history with print graphics. My first job out of college was designing graphics for a small newspaper in North Carolina followed by two years working as a graphic and web designer at The Merchandise Mart in Chicago.
One of my favorite presses was Consolidated Press which later became Quantum Group.
Their abilities were always in the top-tier of graphics quality, so I always wanted my work sent there when the budgets were available.
Enjoy some of the photography we took while on site.
Midway through 2016, I found myself in a Creativity Depression. I could not pinpoint when it started exactly. But when I realized it, there was a correlative Creativity Paralysis.
Perhaps the Creativity Depression had followed a Creativity Repression that had seeped into the Economy of My Mind.
While our interiors and corporate commissions continued as usual -- if not growing leaps and bounds over 2015 -- I felt a bit of a void regarding personal projects. Personal projects tend to be the mouth of a fire hose for where I discover new approaches to commissioned work. That fire hose can either be on full blast or barely dripping anything at all.
If I had to pinpoint any blame, I might highlight the political atmosphere of 2016 into 2017 that dominated news cycles and overwhelmed my Facebook feed as well as a seeming uptick in violent events at home and abroad. I also blame myself for not doing more to ignore/overlook/eschew obsessing over political, national and international events. I tend to shake, lash out, and/or cry when I hear about a mass shooting or terror event. And 2016 offered no shortage of reasons to burst into emotional flames.
Thanks to some forced changes within my approach to the consumption of the political climate and terror events, I've refocused as much of my attention toward creating new art and I have pushed myself to pursue some personal projects, including a couple photography projects, a few new motion picture projects, an increased amount of donating time to charitable work as well as taking French classes.
The French classes are in anticipation for another upcoming trip abroad this spring.
When approaching a personal project, I have found it's always good to start small. So my first project was an open call to friends on Facebook to stop by our studio for a portrait sitting. A few people asked if I bought new toys that I was trying out. "No," I said. "It's to get out of this damn Creative slump I've been in for too too long."
The lighting I used was actually some of the first lighting I've ever used in my own work, which was a light behind the subject with a reflector in front. It's simple. Easy, and it's used quite a bit in films and TV that I love.
I'm posting the photos I took for this series below. Roberta Jacobs is the first photo and she was the first to sit for me. Her sitting informed how I would approach the rest of the project, so you'll notice that her lighting is different from the rest. Otherwise, the differences all come from how different skin tones react to the same light. I also I wanted to use a very shallow depth of field of f2.8, which on medium format looks closer to f1.8 or f2.
My hope for some of my upcoming projects is more of a "sketch" approach. That's to say, thinking about creating art that may not be fully realized but it contributes to a larger piece that will eventually take shape from a bunch of smaller sketches.
Thanks to (in order of appearance below) Roberta Jacobs, Tabitha and her mother Emily Moskal, our lovely Tina Serafini, (then myself) followed by Kari Johnsrud and Miles Couric.
Keep an eye out for other personal projects to follow.
We loved pops of color; the oranges, the magentas, and the blues in this Wilmette home featuring designs by Parker Jones Interiors. There is a sense of whimsy in the decisions throughout this home, and it spoke volumes for the way the principals at Parker Jones approach the vast variety of their projects.
Photography wise, It was fun to integrate how lavish the sun looked as it beamed through the windows. The designs reflected the owners of the home, who quickly made Tina and me feel like we were part of their beautiful family.
Enjoy a slide show of images below.
A little over a week ago, Tina and I photographed a beautiful home in Lincoln Park for the very talented Parker Jones Interiors.
It was a fun home to photograph with lots of inspirational design and some beautiful builtins.
Enjoy the photos below.
For the second year in a row, the Wittefini team photographed and videotaped in the Davis Showroom located on the third floor of the Merchandise Mart in Chicago.
We love Davis's aesthetic of clean, modern lines and use of color. One reason I enjoy working on this project is because it's all available light photos. Typically, I add light into most interiors photos, but Davis takes a lot of pride in how they've lighted their space. It certainly gives me a chance to concentrate on the photography.
Enjoy these images.
In March, Tina and I photographed a beautiful near west side apartment for designers Steve + Filip, who are a married interior design dynamic duo based in Chicago.
We admire and look up to Steve and Filip, because they, like us, work and live side by side, practically 24/7. We've been able to share experiences and stories that affect our worlds in similar ways. Between business ideas and personal, we find our similarities help us with a solid and strengthening bond.
Steve usually photographs their spaces, which look amazing. Check their site above. But they've used us more and more on projects that might need our expertise on. One reason Steve + Filip chose to work with us is because views outside the windows and the desire to expose the photos with the gorgeous Chicago skyline visible.
To achieve this, we do a variety of things, namely we try to even the light inside to what it is outside, which is very difficult to make look natural. We also shoot a variety of exposures that we blend together in post. Retouching these photos is incredibly intensive. But the results are worth it.
We're incredibly proud of the work, and I wanted to publish a few of our favorite photos from the shoot below.
The scope of one of our March projects was to capture as many corporate head shots during two sittings totaling about 4.5 hours for an international firm we work with.
We did the same thing two years ago at their biannual conference in which they fly in their international colleagues for team building, networking and an award ceremony. That time, we captured 63 head shots.
This time, we were able to capture 96 head shots using a team of four. We had our intern and an assistant on site. Tina is so great with people of all kinds, and I jammed on directing folks in front of camera.
I might be biased, but our process was pretty smooth. We were able to raise and lower our key light for each person, help people get comfortable quickly and have them choose their image within about 5 minutes. In post, I create a universal background and provide retouching to each image.
Although this year, I felt like the lighting setup provided us with a look that required far less retouching on skin. Out of camera, most people looked fantastic after a few blemish removals and some very gentle smoothing.
During the three days we worked with this client, we also filmed 20 interviews which we'll edit into several videos that they will house on their website as well as covered their award ceremony and other events for them using a team of myself and another photography assistant.
There are a few stand out shots in the head shots that will surely be added to our portfolio. We are always so grateful that we have such great clients who trust us with incredibly large projects like this one. It's also amazing to see how much Wittefini is growing in just three short years.
The first month theme is Levitation, and above is what I came up with.
The story behind the image is not exacted like I would like. The image is kind of documentation in a way. You see, we've decided to leave our studio space for another one, and this is a way to honor our studio with a going-away hurrah.
We move into our new space February 1.
For this image, I worked with model Danielle Maddox. I've wanted to work with her for about a year now, and finally got up enough nerve to ask her to be a part of this project. I knew I wanted someone athletic, as the process here is having her jump in the air and land on an air mattress.
Plus, I love Danielle's sense of humor than comes across in a lot of her work. She's got that sassy, fun, somethin' somethin' that shines through, and I love working with people like that.
I bought and used Atmosphere Aerosol for this shoot, but the way I did my lighting ended up overpowering it, so it doesn't read in these images.
I lighted the scene using a large stripbox over head and some front fill and a light in the rear left-hand corner to embellish the sun rays.
Below are behind the scenes photos taken by Bill Whitmire.
We photographed some corporate editorial portraits for a client to submit to ALIST Magazine, a magazine that focuses on Asian Americans.
We were limited to shooting in a conference room at the client's offices downtown Chicago. During our 2-hour shoot, we were able to setup and capture many images, but some standouts are below.
One key ingredient of the shoot was our flexibility. The client needed to keep working while we were shooting, so there were long portions of time in which he was on the phone or needed to leave the set all together.
I've embarked on a vLog mission. I'm challenging myself to assemble at least one vLog per week featuring things we do, whether personal or professional.
It's my attempt to capture our memories, ones that we'd lose to oblivion otherwise. We complete so many fun and exciting projects week to week, and I feel like I look back and the only things I have to remember them are a few photos or videos from the experience and an invoice.
Time moves fast. This is my attempt to run after memories with a small butterfly net and see if I can capture one iota of what happens in our lives.
I need to catch up on some of the vLogs that I didn't post here yet. They descend from oldest to the newest.
Stand by as we figure this whole idea out and craft our distinct take on video blogging in this way.
If you asked me what my dream photography job is: my answer would be, "Photographing people in beautiful spaces.
When the Interior Design firm at Contrast Design Group asked us to photograph them in the Haworth showroom at the Merchandise Mart, I shouted, "Yes, please!"
I love photographing luxury furniture and spaces.
I absolutely adore photographing people.
Mixing those two passions = nirvana times heaven times euphoria = blissland.
I'm particularly fond of the above image as it represented a personal vision that I was able to design and execute. It's about four photos combined into one. Enjoy more of their images below.
As of this blog posts writing, they haven't completed their new website, so I'll likely not share the image to Facebook or other social media, but I was too excited not to blog this now.