Personal Selects: Best of 2008

As tradition, during the first or second week of every new year I spend a day going back through all of the images I have created during the previous year to prepare for annual contest submissions.  For me this is an opportunity to look back on what I have learned over the year, re-evaluate what I might do differently next year, and see my growth both as a photographer and a person.  This year was a little different.  In a few months I will celebrate being a photographer, and a small business owner for a decade.  A small milestone in the greater scheme of things, but a pretty big one for a 28-year-old.

While last year was tough for me personally, and professionally (we are all dealing with this down economy).  The year of 2009 has started off for me with a great deal of opportunity and promise, with several great adventures already in the books that I can’t wait to share with you, and others that are out there which I don’t even know about yet.  I am going through a period of tremendous growth again, after being somewhat stagnant creatively for some time, and I am very excited for what the future holds.

The gallery of images contained in this post is never usually seen outside of contest judging rooms, where they may only get a brief glimpse of time on a projector screen.  With that in mind, I would like to have the opportunity to share some of my favorite images of the year with those of you who read this blog.  I sincerely hope you enjoy, and feel free to share your own stories, comments and critiques.

I wish you all a very happy, healthy, and prosperous 2009!

The Week in Pictures Oct. 30 – Nov. 6

 

As featured in the Oct. 30 - Nov. 6 MSNBC TWiP: As tears stream down his cheek, Quentin Patrick, center, clad in a red prison jumpsuit, signs paperwork during his bond hearing at the Sumter-Lee County Detention center, Monday, Nov. 3, 2008, in Sumter, S.C. (AP Photo/Brett Flashnick)
As featured in the Oct. 30 - Nov. 6 MSNBC TWiP: As tears stream down his cheek, Quentin Patrick, center, clad in a red prison jumpsuit, signs paperwork during his bond hearing at the Sumter-Lee County Detention center, Monday, Nov. 3, 2008, in Sumter, S.C. (AP Photo/Brett Flashnick)

As I checked my Facebook page before heading out for a 12 hour photo day on Saturday, I was a bit perplexed when I saw that friend and fellow shooter Chris Keane had left me a note for me to check out MSNBC’s The Week in Pictures for Oct. 30 – Nov. 6, 2008.  Much to my surprise one of my images from the bond hearing of Quentin Patrick, who is accused of killing 12-year-old, trick-or-treater, T.J. Darrisaw, when he fired 29 rounds from his AK-47 through the front door of his house in Sumter, S.C., upon seeing the 3 masked figures, outside of his home on Halloween night, and thinking he was about to be robbed.  This image came from my second day of covering this extremely emotional tragedy for the Associated Press, and can be found in Oct. 30 – Nov. 6, TWiP at the following link http://www.msnbc.msn.com/id/27578284/displaymode/1107/framenumber/7/s/2/

Orphan Works 2008

On Friday, September 26, 2008, the United States Senate passed their version of the Orphan Works legislation by hotline. A hotline is an informal term for a request to members of the Senate to agree to allow a bill or resolution to be approved by the Senate without debate or amendment (for more information on hotline process read this article by Sen. Tom Colburn).

Currently the House version of The Orphan Works Act of 2008 bill, H.R. 5889, is in the House Judiciary Committee, and while it is not as damaging as the Senate version S.2913, either version of the bill would cause catastrophic harm to creative communities which depend on protections of their intellectual property, provided under current Copyright law.

According to the Orphan Works Act of 2008, an “orphan work” is defined as any copyrighted work whose author is unable to be located by an infringer who claims they have performed a “reasonably diligent search” (however it in no way gives any parameters as to what a reasonably diligent search is. In a departure from existing copyright law and business practice, the U.S. Copyright Office has proposed that Congress grant such infringers freedom to ignore the rights of the author and use the work for any purpose, including commercial usage.

This proposal goes far beyond current concepts of fair use.  It is written so broadly that it will expose new works to infringement, even where the author is alive, in business, and licensing the work.  The bill would substantially limit the copyright holder’s ability to recover financially or protect the work, even if the work was registered with the U.S. Copyright Office prior to infringement.  The bill also has a disproportionate impact on visual artists such as photographers, because it is common for an artist’s, work to be published without credit lines or because credit lines can be removed electronically removed by others in our current, electronic age, where many of these images wind up on the internet.

The Orphan Works Act would force artists to risk their lives’ work to subsidize the start-up ventures of private, profit making registries, using untested image recognition technology and untried business models. These models would inevitably favor the aggregation of images into corporate databases over the licensing of copyrights by the lone artists who create the art.  The most common scenario of orphaning in visual art is the unmarked image. There is only one way to identify the artist belonging to an unmarked image. That would be to match the art against an image-recognition database where the art resides with intact authorship information. These databases would become one-stop shopping centers for infringers to search for royalty-free art. Any images not found in the registries could be considered orphans.  There is no limit to the number of these registries nor the prices they would charge artists for the coerced registration of their work.

In the end, the artist would bear the financial burden of paying for digitizing and depositing the digitized copy with the commercial registries.  Almost all visual artists such as painters, illustrators and photographers are self employed. The number of works created by the average visual artist far exceeds the volume of the most prolific creators of literary, musical and cinematographic works. The cost and time-consumption to individual artists of registering tens of thousands of visual works, at even a low fee, would be prohibitive; therefore countless working artists would find existing works orphaned from the moment they create them.  The Copyright Office has stated explicitly that failure of the artist to meet this burden of registration would result in their work automatically becoming an orphan and subject to legal infringement.

I don’t feel that there are words strong enough to tell you how important it is to personally contact your Representative in the United States House, and ask them to stand against this piece of legislation.  However if you don’t have enough time to call or write them personally please visit http://capwiz.com/illustratorspartnership/issues/alert/?alertid=11980321 or  http://www.petitiononline.com/Stop2913/petition.html or http://www.house.gov/.

If you would like to find out more information please visit http://owoh.org/.

The American President

 

I recently found out that, the image I took of then Sen. John McCain’s visit to Adluh Flour in Columbia, SC during his campaign for the Republican Presidential Primary while on assignment for the Associated Press has been selected for a traveling photo exhibit by the AP titled The American President.  I feel extremely honored for my image to be selected for this exhibit since, “The photos in this exhibition are drawn from the AP Images photo archive, which contains more than 10 million film and digital images and is one of the most extensive collections of news and documentary images anywhere,” according to the exhibit’s official promotional flyer released by the AP. 

Additionally, I am the only freelance photographer whose work is contained in the exhibit, all of the other images were created by some of the best AP staff political photographers of all time, and I feel honored for my work to be chosen to be displayed side by side with the work of photographers of that caliber.

 

To request interviews or speakers, to request use of photos from the exhibit or to book an exhibit for display, contact AP Corporate Communications at 212.621.1720 or visit http://www.ap.org/americanpresident

Lessons from the trail

I just wanted to take a minute to post my favorite images of the Democratic and Republican nominees for president that I had the opportunity to make while covering their primary campaigns, and share a few things I learned during my time with them.

  

(AP Photo/Brett Flashnick)
Above: Sen. John McCain, R-Az., right, and his wife Cindy McCain, left, wait behind a large American Flag, to be announced at an event in Columbia, S.C., on April 26, 2007.

(Brett Flashnick/WpN)
Above: Sen. Barack Obama, D-Ill., makes a grand entrance into the Columbia Convention Center, during his first visit to the south, on Feb. 16, 2007.
Overall I think the most important thing that I learned along the process is that the relationships you make are crucial when you are in situations like this.  When you cover something as large as a political campaign (especially those of the top tier candidates), you are often subjected to being part of pack journalism.  Something that I personally detest, since it greatly tends to limit the amount of creative freedom you have to photograph the events as you truly see them, and find real moments which is something I truly value.  I found out early on that taking the time to build relationships with the candidates staff, interns, and advisors, the same way I would with a regular client, I was able to put myself in better positions to make the images that I wanted.  After the relationships and trust were established, convincing advisers, press spokespeople, and staffers to let me make the images I wanted to was a much easier thing to achieve, and once I got to know the candidates personally it resulted in me being able to photograph them as I saw and perceived them, and by the end of it I had the campaign staffers trying to help me make the images that I wanted to, and the best part was I got paid to do it.  In my book that is a win-win situation all the way around.

Mitch’s Story… Prostate Cancer

The New York Times just posted a multimedia project I recently had the opportunity to work on, called “Patient Voices” which was about prostate cancer (there are others out there ranging from ADD to Infertility).  For this project I photographed and interviewed ESPN Commentator and all around good guy, Mitch Laurance.  I spent a great afternoon talk with, and photographing Mitch at the Grande Dunes Members Club in Myrtle Beach, while the Hard Rock Park celebrity golf tournament was going on outside.  It is always a rewarding experience when you get to help someone tell their story, especially one as personal as this.

 

 

 

If you are interested in watching the Patient Voices Interactive Feature follow this link.

Turns out I’m not dull

Well, at least one of my photos isn’t dull, according to the folks over at AntiDull, an online Fine Art and Photography magazine that was started back in August of 2007. I was selected to appear in their June 2008 issue which can be viewed at http://www.antidull.com first PocketWizard now this… I’ll be an internet celebrity pretty soon if I keep this up. Hope all is well out there.

Making it work: Behind the scenes of a ground remote…

I have received several emails from readers and people who have seen my shot from the 2008 Carolina Cup Races, that I posted a few weeks ago, so I decided that I amy going to demystify how you make a shot like this work, by using a remote camera.

For those who don’t know, a remote camera, is a camera which you place in a specific location ahead of an event that would not be accessible during the event, and is then triggered by a hard wire, or radio signal. The list of equipment I used to make this image is as follows.

Camera: Canon EOS 5D Digital SLR
Lens: Canon EF 16-35mm f/2.8L USM
Remote Trigger: Pocket Wizard (not pictured) and LPA Designs Pre-Release Cable CM-N3-P
Mounting Hardware: Ultra-Pod II
Protection: Kata E-702 GDC Elements Cover

 

 

 

 

 

Complete Setup: This is what the setup looked like when it was completely assembled. The camera and lens were mounted to the Ultra-Pod II and then inserted into the GDC Elements Cover. After everything was strapped down and the camera was protected from any flying mud or sudden rain showers, I used the left arm hole to attach the PocketWizard and the Pre-Release Cable to the camera and then cinched up all the other loose openings. You don’t have to use a rain cover or a remote cover, a clear plastic bag, a plastic cup, and some tape will do the same trick. I really do prefer rain covers as opposed to remote covers, so you can see to make any adjustments to exposure or focus without disturbing the entire setup.

Now comes the setup. Be prepared to get there early, some venues require you have the remote in place days before the event, while others will allow a remote to be placed hours before the event. It is also a good idea to make sure your liability insurance is up to date, because if someone or something trips over your remote and gets injured, you could be in some hot water. Once you have looked into all of the logistical details, its time to place the remote. It generally helps to have some working knowledge of the event or sport you are photographing, because you will have to anticipate everything happening long before it actually occurs. Since this was not my first time photographing a steeplechase or horse racing in general I had a pretty good idea of what I wanted to see. With this in mind I chose a fence to place the remote under, and estimated the spot in the jump where most ofthe horses would come over. With these things in mind I had my assistant for the day, Cindy stand at that position in the jump so I could focus and frame the image up. Once everything was set, I taped all of the adjustment dials, focus rings, etc… on my camera in place so they wouldn’t move, made sure the whole setup was nice and tidy, and proceeded to make some test images of Cindy and I jumping around the frame to verify focal plane, and framing of the image. Once this was all done, it was time to go make some feature shots while waiting on the race to begin. *This is why it is important to use a pre-release cable, because it will keep your camera awake and ready to fire, so there is no delay firing the first frame when the time comes.* When the race began I decided to shoot from down the track with my 300mm f/2.8 and 1.4x converter, with the PocketWizard on the hot shoe of the camera, so I could have two angles of the shot, incase the remote didn’t work for some reason. Once the event is done with, you can go back to your remote, and collect your images and hope you got what you envisioned.

A little extra effort pays off…

I’ve been working at this shot for a little while now, and have never managed to get one that I am this pleased with. In my mind it is not perfect, and I can still do better, thus I will try again next year (or during the fall race on Nov. 16), but just a reminder that seeing differently isn’t enough, you have to have the determination to see it through, even if it takes years.

ABOVE: Horses and their jockeys charge over a fence on their way to the finish line, during the Camden Plate, at the Springdale Race Course in Camden, S.C., Saturday, March 28, 2008.

If anyone is interested in seeing how I made this shot, let me know and I’ll post some additional information

Wrong Runway…


After taking off from runway 13, at Columbia Owens Downtown Airport, on Sunday morning, this Cesna 177 “Cardinal”, was forced to make a hard landing on the roof of Boineau’s Moving and Storage Inc., warehouse after experiencing engine trouble 1/3 of a mile Northwest of the runway. Here, Sterling Transport driver William Hooper looks at the single engine aircraft as it sits atop the warehouse roof in Columbia, S.C., Sunday afternoon.

…this was one of those days where you think that you are done, and then the dreaded phone call comes in… Fill a hole on the front page of metro with an image from an incident that happened 6 hours earlier, gotta love the world of newspapers.