Tag Archives: ilford

Old School Photography


Each year, these prints are my little labor of love. This year’s holiday card began almost one year ago, at the beginning of 2015. While shooting a project for Tiffany & Co., we had the opportunity to rent a private helicopter to get aerial shots of Manhattan. I learned two things from that early winter morning ride: 1. I am deathly afraid of helicopters and 2. I wanted this year’s holiday card to be a print of my great love, New York City. Looking down on her from this birds eye view gave me a new visual sense of the layers of history in this city from which we build our own futures. I understood her in a new way and that’s what I wanted to capture.

Considering there is not enough Xanax in the world to get me in a helicopter again, I had to find a new strategy for shooting at this high but intimate angle. Though I love the views from the obvious choices—Empire State Building and Top of the Rock—they didn’t give me the towering sense I was seeking. From the tops of those iconic buildings, the city is dwarfed and dense, slightly out of reach. As luck would have it, our friends from The New Potato were hosting a party with Riviera Events on the 68th floor of the newly completed Four World Trade Center. It’s one of those moments in life where everything falls into place, as if designed by destiny. Here we are in the Financial District, where we work, standing in a building that is part of the present, looking down on the past. It was just what I wanted.

It was an incredibly difficult shot to take. Using a Linhof 4×5 film field camera, the cityscape was not bright enough to register on the ground glass where you do your framing and focus check. Only a few faint street lights were visible for me to use as a rough guide but for the most part I was shooting blind. This also applies to metering: I had no way of knowing if I would be right on the money or not, so I just applied what I knew about the sensitivity of film to light and my experience with it the past 19 years. The image that ultimately made the final print was a 5 minute exposure on Ilford Delta 400ISO film.


After the image was captured, we packed up and headed to my favorite darkroom in Boston for printing (which made for a great 24 hour Snapchat story!)

Holiday_Card_2015_004 Holiday_Card_2015_005 (more…)

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Big Sur

California's Big Sur, a sceneic drive along the pacific coast highway

I’ve always wanted to drive along Big Sur, the dramatic edge of the western United States. While in Pebble Beach with Lincoln Motor Company, it seemed like the appropriate time to do that all-American activity of going for a drive, listening to old Beatles songs and Elton John favorites, pulling over every two miles to look in awe at the real picture show that is Big Sur.

California's Big Sur, a sceneic drive along the pacific coast highway California's Big Sur, a sceneic drive along the pacific coast highway California's Big Sur, a sceneic drive along the pacific coast highway California's Big Sur, a sceneic drive along the pacific coast highway


Captured on 4×5 black and white Ilford Delta film

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Film vs. Digital


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?


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. 


The outcome. 

at f/45




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The Goddess 

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