Film vs. Digital

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I‘m often asked in interviews the difference between film vs. digital, if film is dead, and how I choose which medium I want to shoot with. Film photography will always be a part of my life. It was how I was raised to take pictures; it is my roots in photography. It feels different to take a photograph on film than on digital even though so much of what they accomplish is the same.

When I shoot on film I am looking for a depth to the final image…quite simply, I find film images to have a soul. Maybe that has something to do with how you take the picture. We go through thousands of digital photographs weekly which feels like the next image diminishes the value of the one before. With film, even when I feel like I’m shooting a lot, it is only in the hundreds and when I push that shutter release each time, that shot is thought-out, composed, and one where I waited for that perfect moment. My friend Adam who had a show this past fall at the Sasha Wolf Gallery said if he ever had to teach a class in digital he’d make his students shoot on camera cards that only hold 36 frames to train them to think about each shot.

However, digital has this beautiful clarity, this “reach out and touch it” ability that I find so beautiful. The velvety texture of flower petal, the saturation of color in a blushing rose. Digital puts you there, in the moment, feeling the light, and seeing even what the human eye can’t. The speed with which we can capture, document and share with digital photography is so astonishing. Recently I tweeted, “Every two minutes, we take more pictures than the whole of humanity in the 1800s.” I alway say, photography is a right, not a privilege, and thanks to digital that has never been more true.

On a day where I just don’t want to sit at a computer editing or writing emails, or I need a break to get in the zone creatively, I find my favorite thing to do is photograph flowersFlowers represent so much about life to me: the beauty, the aging, the individuality and sexuality. I wanted to illustrate the difference between film and digital, so on my last flower study I took (as close as possible!) the same photograph on a digital Leica M with macro lens and then again on a 4×5 Toyo View Camera on Ilford Delta 100 ISO black and white film. I used natural light and did a variety of shots using different F-stops for a varying depth of field.

You tell me what you prefer: Film or Digital?

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Simple natural light setup in our studio, white textured cardboard background. Above, using the shutter cable release to avoid my hand shaking on the shutter release, which  causes motion blur. Most of the 4×5 exposures were between 30 secs and one minute. Below, focusing view on the 4×5 ground glass. 

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The outcome. 

at f/45

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Flower Arranging

Flowers by Jamie Beck

Recently I had the pleasure of taking a little crash course in flower arranging with Belle Fleur at the Flower School of New York over sips of Veuve Clicquot Rosé champagne. I’m always photographing flowers here at the studio as a personal project and quite honestly, it’s one of my favorite photographic subjects. I am always in awe of the beauty of a rose, the fold of a tulip, the color of a ranunculus or the smell of a hyacinth. The abstract lines and organic textures become something else though the lens of a camera, allowing each flower to have its own personality, life, expression, and age not unlike the way we are as humans. Since we have beautiful flowers around so often it was really nice to pick up a few tips and tricks on making your own arrangements at home! Read below to find out what I learned…

Flowers by Jamie Beck

On arranging: Arrange in your hand. Start with the biggest flower as your “anchor” and build around that. You can cut your flower arrangement to the correct height for your vase by putting the vase at the edge of the counter and holding the arrangement next to it for the desired height and cut. To keep the flowers in the arrangement you created tie a clear rubber band around the stems to hold in place.

Flowers by Jamie Beck

On cutting flowers: You do not have to cut under water when you buy quality flowers, but you should put them in water seconds after cutting as a “scab” immediately begins to form over the freshly cut end. Every few days, re-snip the ends of the arrangement to get fresh water into the flower and have it last longer. Cut the ends at an angle so water travels UP!

Flowers by Jamie Beck

 

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Winter Whites

We are all flowers in the garden of the world, but she –

she is an orchid, pure and white and lovely,

a small blossom on willowy stem.

she blooms, and I am lost

in her delicate lines.

She breathes life into me –

I was adrift in winter;

she gives me the promise of spring.

Youthful yet wise,

elegant and profound,

I dream of the day I may see her again.

For what other flower can there be?

What other love?

None but my orchid.

above and below:  Zuhair Murad gown, Chopard bracelet

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Exotic Flower

Only a few weeks ago, we were preparing for our epic #onlyinsouthamerica trip (which we are in the middle of right now!), while at the same time, Kelly was readying herself for her incredible adventure through Asia. We were getting so excited about all the things we would see for the first time: new types of vegetation, wondrous natural colors to feast our eyes upon, and new beauty routines from women who walk in different parts of the world, all awaiting our discovery in the coming weeks.

To celebrate and channel our excitement, we collaborated with our friend Bess (remember this romantic shoot?) who always comes over to the studio with the most amazing and exotic flowers you have ever seen. Together, we started our adventure at home in the studio with a color explosion of natural wonders…

more flowers & fashion: The Bohemian / Spring’s Muse / Natural Wonder

Modeled by Jane of MSA Models // Styled by Kelly Framel // Clothing designed by Daniel Vosovic // Hair and Makeup by Ana Sicat // Florals by Bess Wyrick //

Natural Beauty

Reem Acra (19)

Reem Acra (18)

We get many emails each day, but there are always those that stand out – ones from our clients, from our managers, or from family. And then there are those that just reach out and grab you for so many different reasons.

This initial email from Edythe was one of those. Here is a young model who has started her own foundation, Project Model Tee, and was asking our help to spread awareness and invite you all to their next event May 9th. Learning about her initiative I was taken aback by how someone so lovely on the outside could be so beautiful on the inside. Visions of ethereal beauty poured into my mind and I asked her if we could create a series of photographs inspired by just that and accompany it with an interview about this very endearing project.

Reem Acra

How long have you been modeling?

Six and a half years! It’s crazy to me. I was scouted at a mall in a small town in Ohio and three weeks later I was in New York City.

What inspired you to start Project Model Tee?

At first it was personally inspired – I’ve been given so much by this industry, and I wanted to give back. All these opportunities have been given to me, and I am so grateful.

So the idea that came to me was giving models a platform to showcase their art. Modeling involves being creative and artistic, but in addition to that, many models are artists outside of their jobs. Unfortunately, a lot of them devalue their own creative skills because they feel they don’t know enough or couldn’t make a living from it.

We wanted to create a place where they could learn, develop their art, and eventually show it. I’ve been so inspired by my peers and I want to give them that safe space to develop their own creative outlet.

  Reem Acra (14)

Reem Acra (13)

When did Project Model Tee start?

The idea came 3 years ago, and we officially launched in October 2012.

The great thing is the shows are possible to do with very little money – we have a lot of community support, so we can get food donated and drinks donated. Last show we had twelve model artists that donated work. This upcoming show is nine fine artists and three musicians. It’s so exciting!

Reem Acra (12)

Reem Acra (11)

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Spring’s Muse

When I first met Elizabeth Wyrick, she was walking into the studio carrying a huge bucket of the most exotic and colorful flowers I had ever seen – moss, spikes, fuschia – all while a blizzard was brewing outside.

Together with our porcelain muse, we were able to recreate a colorful, warm spring day in the middle of a winter storm. I watched in awe as Bess created the floral crowns with effortless grace…these small works of art were a beautiful  balance of texture, life, movement, and color.

It felt as though Bess had grown up among the very flowers she twisted and tucked into gorgeous sculptural shapes. When I asked about her connection to nature, it was no surprise to find she is living on a flower farm in California, had spent a semester of college in the forest as part of her master thesis, and is currently running one of the most successful floral businesses in the U.S. Her events range from charity galas for Leonardo DiCaprio to the Governor’s Ball to art installations at the Gramercy Park Hotel.

My favorite part of the day, though, was hearing her inspiration for each of the pieces she created, which you can read below…

  Above: Antonio Berardi top, protea flower crown inspired by Max from “Where The Wild Things Are” by Maurice Sendak

Above: Alberta Ferretti dress, crown of poppies with a base of grapevine, inspired by the vibrant and eccentric hats of the Kentucky Derby

Above: John Galliano dress, crown of roses and lady slipper, inspired by winged forest fairies and the combination of soft and hard flowers

 Above and top image: Something Else dress, crown of hanging lichen, hellebore flowers and olive branches, inspired by the queens in Game of Thrones

Shot at Ann Street Studio with flowers crowns created by Bess Wyrick, modeled by Colette of MSA, Hair & Makeup by Flippin Faces

Old School Photography

Much of what we do at Ann Street Studio is with digital technology and I do love digital. I think it’s important to know the newest technology because that will forever shape how we shoot and see tomorrow. However, I was not raised on digital, but on the slow pace of film… the time it takes to load it and think about your exposure, never knowing if you got the shot until hours or days later. For our studio holiday card this year I wanted to step back, slow down, and enjoy the process of photography. It was amazing how much longer everything took, such a contrast to the enormous amount of content we can quickly produce these days.

We wanted to print an edition of 200 and started with the concept of shooting a simple still life of peonies to represent romance: the romance of mine and Kevin’s marriage this year. I went down to the Chelsea flower market and bought a variety of options.

It took 6 me hours to photograph 20 plates of 4×5 film.

Each sheet of film is carefully processed in pitch-black rooms with large dipping tanks. We then reviewed the contacts sheets of the film to choose our select for printing. I used red and green filters on the flowers when photographing to lighten and darken the greens and reds of the image and add more tonality to the end black and white product.

My favorite photo lab to use is actually LaPete in Boston. It’s large, clean, quiet and Bill (the owner) is an encyclopedia of photography and old school techniques. I go there partly to pick his brain.

30 sec exposure to light on warm toned fiber base paper, 2 mins in developer, 30 secs in stop bath (stops development), 5 mins in fixer (makes it not light sensitive), 30 mins in wash baths. It took two full days of printing to produce the 200 prints.

Using fiber based paper is a longer drying process than RC; each print was dried and pressed in 3 different machines, then cooled under weighted glass to flatten the print.

We headed down to Savannah and spent three days in Gallery Espresso spot toning each image by hand, since dust spots sometimes occur in the printing process. Signed, dated, and numbered – then sent for shipping.

It was, for me, like taking a deep breath. Although we always strive to create the best work we can possible create, I had an overwhelming since of pride looking at the photograph after all the time and detail and days it took to create it.

“Flower #7”, 2012