I was photographing wind turbines in the hills of Western Pennsylvania when I turned around as the sun popped out of the clouds for a few moments before setting. I swung the tripod around and captured my vehicle and surrounding hillside bathed in the day’s last light.

My Approach was to compose quickly and nail exposure for the shadows. This scene lasted about 2 minutes total. The best shot is as the sun just begins to break the clouds.

The result is a great portfolio image of an Auto-scape. Interestingly, the scene looked as beautiful by eye as it does on screen. This image has basic contrast and color adjustments.

A 4-day storm slowly began to clear one evening in the Outer Banks of North Carolina. My family went to the beach hoping to see some sunshine. Soon after we arrived, the sun broke from the clouds while drizzle continued to fall from the sky. I felt as though I saw the beginnings of a Rainbow form as a small vertical strip comprised of a few of the spectrums colors started to appear just above the ocean’s horizon line. A shot of the full double rainbow is submitted separately. As the rainbow began to fade, I turned in the opposite direction to capture a Mom and daughter enjoying a loving moment beneath a fiery sky.

The goal was to shoot as many different scenes as possible while the rainbow was still brilliant. I captured about six different scenes over 8 minutes, with each scene having a potential hero shot captured. Two stand-alone images from this series have been submitted for review.

We experienced something none of us had ever witnessed, a full double rainbow exhibit its entire life-cycle. By turning around, I captured a different brilliance. This experience instantly becomes a permanently fixed memory for future reflection and an amazing photograph for all to enjoy.

A 4-day storm slowly began to clear one evening in the Outer Banks of North Carolina. My family went to the beach hoping to see some sunshine. Soon after we arrived, the sun broke from the clouds while drizzle continued to fall from the sky. I thought I saw the beginnings of a Rainbow form as a small vertical strip comprised of a few of the spectrum’s colors started to appear just above the ocean’s horizon. As the vertical strip grew, I shouted to my two daughters to hurry and run to the top of the sand dune because a rainbow was about to form. As they got into position, I snapped several images of the girls standing on the dune before moving on to another shot. The strongest image of the series is submitted.

The goal was to shoot as many different scenes as possible while the rainbow was still brilliant. I captured about six different scenes over 8 minutes, with each scene having a potential hero shot captured. Two stand-alone images from this series have been submitted for review.
Camera: Canon 5d Mark III, Canon EF 16-35 II USM, 17mm, ISO 400, f2.8, 1/100th.
Prints: Epson 7900 with ImagePrint RIP on Epson Exhibition Fiber Paper.

There were several results: we experienced something none of us had ever witnessed, a full rainbow exhibit its complete/entire life-cycle. From the early stages of color, to the development of a full rainbow, to the formation of another, double rainbow, then the apex of the color, brilliance, and vividness. Finally, a slow waning effect begins that is still beautiful yet begins to get darker and less vivid until the final bit of the visible spectrum fades and the last few vertical swaths of light disappear forever. This experience instantly becomes a permanently fixed memory for future reflection and an amazing photograph for all to enjoy.

The Ad agency called Monday morning and said that we owned the Temple Health Med-Vac for one hour at sunrise on Wednesday. They wanted me to shoot as many different scenes as possible: Some wides, mediums, and tight shots of the landing and the stretcher being wheeled away. They said they may use a few shots in a promotional brochure; however, the main focus was one large format (8x12 foot) shot for the Temple Health Photo Wall in the Main entrance of the Hospital.

My thoughts were to have the helicopter do 4 separate take off/landings that had a similar action. Take off and fly over to that point in the city, turn around and come back to the heli-pad, unload stretcher, and roll down the ramp to a designated point. When they got to the set point, I had them turn the stretcher around, go back up the ramp, and reload patient into helicopter. At the end of each take, we talked about changes for the next take, the elements that worked and the ones that did not. I shot throughout this entire process. After two takes, I saw some good angles and focused more attention on those positions for the final two takes. The sun was just rising for the first take. For second take, the sun was slightly above the horizon. As the sun moved a little higher on takes three and four, the images become even more dramatic and contrasty. I reminded myself that, for each take, I needed to shoot at varied shutter speeds: e.g., shoot slow to capture the blades; shoot fast to freeze the action. To keep it even more challenging, I wanted to shoot both sun flare and non-sun flare when for close and wide shots of the rolling stretcher in action.

Temple Health is elated. They have dozens of hero selections from which to choose. The Large format image on the Photo wall looks superb. They have used several in promotional brochures and are currently discussing billboard usage.

The Ad agency called Monday morning and said that we owned the Temple Health Med-Vac for one hour at sunrise on Wednesday. They wanted me to shoot as many different scenes as possible: Some wides, mediums, and tight shots of the landing and the stretcher being wheeled away. They said they may use a few shots in a promotional brochure; however, the main focus was one large format (8x12 foot) shot for the Temple Health Photo Wall in the Main entrance of the Hospital.

My thoughts were to have the helicopter do 4 separate take off/landings that had a similar action. Take off and fly over to that point in the city, turn around and come back to the heli-pad, unload stretcher, and roll down the ramp to a designated point. When they got to the set point, I had them turn the stretcher around, go back up the ramp, and reload patient into helicopter. At the end of each take, we talked about changes for the next take, the elements that worked and the ones that did not. I shot throughout this entire process. After two takes, I saw some good angles and focused more attention on those positions for the final two takes. The sun was just rising for the first take. For second take, the sun was slightly above the horizon. As the sun moved a little higher on takes three and four, the images become even more dramatic and contrasty. I reminded myself that, for each take, I needed to shoot at varied shutter speeds: e.g., shoot slow to capture the blades; shoot fast to freeze the action. To keep it even more challenging, I wanted to shoot both sun flare and non-sun flare when for close and wide shots of the rolling stretcher in action.

Temple Health is elated. They have dozens of hero selections from which to choose. The Large format image on the Photo wall looks superb. They have used several in promotional brochures and are currently discussing billboard usage.

I was the Lighting Designer for Showtime’s Inside the NFL during the 2014 season. Each week the show had a different Pro Football Hall of Fame guest, and I was commissioned to shoot a Portrait of each Hall of Famer. After the first show, I delivered a selection of behind-the-scenes images, portraits, and other moments. NFL Films showed the images to Showtime, and they responded by giving me an all access pass to shoot additional behind-the-scenes moments for each episode.

My goal was to blend in so that no one was looking for a camera. For the Portrait, I asked the talent to step behind their Busts, so I could shoot a few images. The Portraits were shot very quickly to capture a few wide, medium, and close-up shots. I allowed them to do whatever felt natural; if they were uncomfortable, I would make some suggestions. Once the initial portrait was captured, if time allowed, and if the talent was interested, I would tell them to get goofy or crazy do whatever they could think of pose wise: you can kiss the Bust, or touch it with your hand, you could hold it, maybe put it on your head!

NFL Films was the initial client, and they were thrilled. We made prints each week and hung them just outside of the studio for a Hall of Fame Wall. Showtime was thrilled, as they used the season photography on their website for Inside the NFL. Currently, Showtime is in the process of designing a 100-page coffee table book of the show’s highlights from this past season for the cast and crew.

I was the Lighting Designer for Showtime’s Inside the NFL during the 2014 season. Each week the show had a different Pro Football Hall of Fame guest, and I was commissioned to shoot a Portrait of each Hall of Famer. After the first show, I delivered a selection of behind-the-scenes images, portraits, and other moments. NFL Films showed the images to Showtime, and they responded by giving me an all access pass to shoot additional behind-the-scenes moments for each episode.

My goal was to blend in so that no one was looking for a camera. For the Portrait, I asked the talent to step behind their Busts, so I could shoot a few images. The Portraits were shot very quickly to capture a few wide, medium, and close-up shots. I allowed them to do whatever felt natural; if they were uncomfortable, I would make some suggestions. Once the initial portrait was captured, if time allowed, and if the talent was interested, I would tell them to get goofy or crazy do whatever they could think of pose wise: you can kiss the Bust, or touch it with your hand, you could hold it, maybe put it on your head!

NFL Films was the initial client, and they were thrilled. We made prints each week and hung them just outside of the studio for a Hall of Fame Wall. Showtime was thrilled, as they used the season photography on their website for Inside the NFL. Currently, Showtime is in the process of designing a 100-page coffee table book of the show’s highlights from this past season for the cast and crew.

I was the Lighting Designer for Showtime’s Inside the NFL during the 2014 season. Each week the show had a different Pro Football Hall of Fame guest, and I was commissioned to shoot a Portrait of each Hall of Famer. After the first show, I delivered a selection of behind-the-scenes images, portraits, and other moments. NFL Films showed the images to Showtime, and they responded by giving me an all access pass to shoot additional behind-the-scenes moments for each episode.

My goal was to capture candid moments of the talents’ personalities via details of their person, stances, physical features (crooked fingers and fragile legs in a walker) and the like. It was important to me to include atmosphere of the set, as well as the aura and chemistry of the hosts and guests. The smiles, laughter, and interactions among the men happened organically and unfolded rapidly behind the cameras. My approach was simple. As the Lighting Designer, I knew the sweet spots for lighting and composition. My goal was to blend in so that no one was looking for a camera. For the Portrait, I asked the talent to step behind their Busts, so I could shoot a few images. The Portraits were shot very quickly to capture a few wide, medium, and close-up shots. I allowed them to do whatever felt natural; if they were uncomfortable, I would make some suggestions. Once the initial portrait was captured, if time allowed, and if the talent was interested, I would tell them to get goofy or crazy do whatever they could think of pose wise: you can kiss the Bust, or touch it with your hand, you could hold it, maybe put it on your head!

NFL Films was the initial client, and they were thrilled. We made prints each week and hung them just outside of the studio for a Hall of Fame Wall. Showtime was thrilled, as they used the season photography on their website for Inside the NFL. Currently, Showtime is in the process of designing a 100-page coffee table book of the show’s highlights from this past season for the cast and crew.

The Ad agency called Monday morning and said that we owned the Temple Health Med-Vac for one hour at sunrise on Wednesday. They wanted me to shoot as many different scenes as possible: Some wides, mediums, and tight shots of the landing and the stretcher being wheeled away. They said they may use a few shots in a promotional brochure; however, the main focus was one large format (8x12 foot) shot for the Temple Health Photo Wall in the Main entrance of the Hospital.

My thoughts were to have the helicopter do 4 separate take off/landings that had a similar action. Take off and fly over to that point in the city, turn around and come back to the heli-pad, unload stretcher, and roll down the ramp to a designated point. When they got to the set point, I had them turn the stretcher around, go back up the ramp, and reload patient into helicopter. At the end of each take, we talked about changes for the next take, the elements that worked and the ones that did not. I shot throughout this entire process. After two takes, I saw some good angles and focused more attention on those positions for the final two takes. The sun was just rising for the first take. For second take, the sun was slightly above the horizon. As the sun moved a little higher on takes three and four, the images become even more dramatic and contrasty. I reminded myself that, for each take, I needed to shoot at varied shutter speeds: e.g., shoot slow to capture the blades; shoot fast to freeze the action. To keep it even more challenging, I wanted to shoot both sun flare and non-sun flare when for close and wide shots of the rolling stretcher in action.

Temple Health is elated. They have dozens of hero selections from which to choose. The Large format image on the Photo wall looks superb. They have used several in promotional brochures and are currently discussing billboard usage.

I was the Lighting Designer for Showtime’s Inside the NFL during the 2014 season. Each week the show had a different Pro Football Hall of Fame guest, and I was commissioned to shoot a Portrait of each Hall of Famer. After the first show, I delivered a selection of behind-the-scenes images, portraits, and other moments. NFL Films showed the images to Showtime, and they responded by giving me an all access pass to shoot additional behind-the-scenes moments for each episode.

My goal was to capture candid moments of the talents’ personalities via details of their person, stances, physical features (crooked fingers and fragile legs in a walker) and the like. It was important to me to include atmosphere of the set, as well as the aura and chemistry of the hosts and guests. The smiles, laughter, and interactions among the men happened organically and unfolded rapidly behind the cameras. My approach was simple. As the Lighting Designer, I knew the sweet spots for lighting and composition. My goal was to blend in so that no one was looking for a camera. For the Portrait, I asked the talent to step behind their Busts, so I could shoot a few images. The Portraits were shot very quickly to capture a few wide, medium, and close-up shots. I allowed them to do whatever felt natural; if they were uncomfortable, I would make some suggestions. Once the initial portrait was captured, if time allowed, and if the talent was interested, I would tell them to get goofy or crazy do whatever they could think of pose wise: you can kiss the Bust, or touch it with your hand, you could hold it, maybe put it on your head!

NFL Films was the initial client, and they were thrilled. We made prints each week and hung them just outside of the studio for a Hall of Fame Wall. Showtime was thrilled, as they used the season photography on their website for Inside the NFL. Currently, Showtime is in the process of designing a 100-page coffee table book of the show’s highlights from this past season for the cast and crew.

I was the Lighting Designer for Showtime’s Inside the NFL during the 2014 season. Each week the show had a different Pro Football Hall of Fame guest, and I was commissioned to shoot a Portrait of each Hall of Famer. After the first show, I delivered a selection of behind-the-scenes images, portraits, and other moments. NFL Films showed the images to Showtime, and they responded by giving me an all access pass to shoot additional behind-the-scenes moments for each episode.

My goal was to blend in so that no one was looking for a camera. For the Portrait, I asked the talent to step behind their Busts, so I could shoot a few images. The Portraits were shot very quickly to capture a few wide, medium, and close-up shots. I allowed them to do whatever felt natural; if they were uncomfortable, I would make some suggestions. Once the initial portrait was captured, if time allowed, and if the talent was interested, I would tell them to get goofy or crazy do whatever they could think of pose wise: you can kiss the Bust, or touch it with your hand, you could hold it, maybe put it on your head!

NFL Films was the initial client, and they were thrilled. We made prints each week and hung them just outside of the studio for a Hall of Fame Wall. Showtime was thrilled, as they used the season photography on their website for Inside the NFL. Currently, Showtime is in the process of designing a 100-page coffee table book of the show’s highlights from this past season for the cast and crew.

I look at the wind farms of Western Pennsylvania from about 14 miles away every other month and decided to explore them photographically. I wanted to get as close as I could to the turbines, to see how large they are, to hear how much noise they made, and to capture as many different scenes as I could.

My main focus was the correct shutter-speed to get a visually pleasing amount of blur from the wind turbine blades. I was hoping for some dramatic clouds, maybe a tiny dirt road, some dramatic sunlight at the final moments of the day’s last light. Overall, the approach was to explore and to be open to any idea, to see what was possible.

The result is several dramatic images from the session. The wide close shot was challenging, and I ended up liking a perspective from a little farther away, showing the machine in its environment of the lush green mountain-top landscape that the wind turbines call home.

A brief afternoon weather system moved slowly over the Oregon Inlet in the Outer Banks of North Carolina. Just three minutes earlier the system began to take a funnel shape as the park service insisted we leave. As quickly as the funnel started to form, it dissipated and spread out to become a wonderful juxtaposition of threatening storm clouds clashing with perfect blue skies and clouds.

I took some portraits with the threatening system in the background. Then I sent the family on a walk up the beach path towards the ocean to suggest tension, the mysterious and unknown. The ultimate on-the-spot goal was to create a wide stark landscape with a suggestion of tension.
Camera: Sony DSC-TX200V, f3.5, 1/400th, ISO 64, 4.7mm
Prints made using Epson 7900 with ImagePrint RIP on Epson Exhibition Fiber Paper

The result is a striking landscape image with dramatic colors and a hint of mystery.

I was the Lighting Designer for Showtime’s Inside the NFL during the 2014 season. Each week the show had a different Pro Football Hall of Fame guest, and I was commissioned to shoot a Portrait of each Hall of Famer. After the first show, I delivered a selection of behind-the-scenes images, portraits, and other moments. NFL Films showed the images to Showtime, and they responded by giving me an all access pass to shoot additional behind-the-scenes moments for each episode.

My goal was to blend in so that no one was looking for a camera. For the Portrait, I asked the talent to step behind their Busts, so I could shoot a few images. The Portraits were shot very quickly to capture a few wide, medium, and close-up shots. I allowed them to do whatever felt natural; if they were uncomfortable, I would make some suggestions. Once the initial portrait was captured, if time allowed, and if the talent was interested, I would tell them to get goofy or crazy do whatever they could think of pose wise: you can kiss the Bust, or touch it with your hand, you could hold it, maybe put it on your head!

NFL Films was the initial client, and they were thrilled. We made prints each week and hung them just outside of the studio for a Hall of Fame Wall. Showtime was thrilled, as they used the season photography on their website for Inside the NFL. Currently, Showtime is in the process of designing a 100-page coffee table book of the show’s highlights from this past season for the cast and crew.

I was the Lighting Designer for Showtime’s Inside the NFL during the 2014 season. Each week the show had a different Pro Football Hall of Fame guest, and I was commissioned to shoot a Portrait of each Hall of Famer. After the first show, I delivered a selection of behind-the-scenes images, portraits, and other moments. NFL Films showed the images to Showtime, and they responded by giving me an all access pass to shoot additional behind-the-scenes moments for each episode.

My goal was to capture candid moments of the talents’ personalities via details of their person, stances, physical features (crooked fingers and fragile legs in a walker) and the like. It was important to me to include atmosphere of the set, as well as the aura and chemistry of the hosts and guests. The smiles, laughter, and interactions among the men happened organically and unfolded rapidly behind the cameras. My approach was simple. As the Lighting Designer, I knew the sweet spots for lighting and composition. My goal was to blend in so that no one was looking for a camera. For the Portrait, I asked the talent to step behind their Busts, so I could shoot a few images. The Portraits were shot very quickly to capture a few wide, medium, and close-up shots. I allowed them to do whatever felt natural; if they were uncomfortable, I would make some suggestions. Once the initial portrait was captured, if time allowed, and if the talent was interested, I would tell them to get goofy or crazy do whatever they could think of pose wise: you can kiss the Bust, or touch it with your hand, you could hold it, maybe put it on your head!

NFL Films was the initial client, and they were thrilled. We made prints each week and hung them just outside of the studio for a Hall of Fame Wall. Showtime was thrilled, as they used the season photography on their website for Inside the NFL. Currently, Showtime is in the process of designing a 100-page coffee table book of the show’s highlights from this past season for the cast and crew.