Amanda @ AtEdge

Healthy Encouragement

Friendly members of your community that you can identify with. Calm, competent doctors.

These depictions are vital for any healthcare company to operate successfully.

Explore the topic of medical photography as presented by the AtEdge photographers.


 

 Jim Hughes:

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Bonnie Holland:

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Curtis Lantinga:

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Michael Prince:

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 Jimmy Williams:

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Staudinger + Franke:

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Brian Kelly:

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Michael Lewis:

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Dreadfully Delightful: A Conversation with Jim Fiscus

Skilled as a conceptual, celebrity, and portrait photographer, Jim Fiscus brings the highest level of visual expertise to his work. Jim’s series of key art for Showtime‘s new horror-thriller period drama, Penny Dreadful, can be seen prominently displayed throughout NYC’s Grand Central Station through June 18th. We caught up with the AtEdge photographer recently to find out more about the project,  his work style, capturing celebrities, and Victorian technology.

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Tell us about Penny Dreadful! The production design looks exceptionally rich.

The project was shot at the Ardmore Studios in Dublin. The show’s creator, Oscar-nominated screenwriter John Logan had taken over the entire complex and filled the stages with the most elaborate and convincing sets I’ve ever worked on. He is a very focused person and his attention to detail is amazing. To execute his ideas, he chose an incredibly strong group of people, including Gabriella Pescucci for costume design and Jonathan McKinstry for production design, both of whom I’d previously worked with on the Borgias campaigns. So the sets were exceptionally rich due to their genius. I’m at a point in my career where I am fortunate to work with such professionals at the very highest level. I feel like my photographs benefit most from this collaboration, and I’m learning more than I ever have before.

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Jim Fiscus strolls through the terminal where his images can’t be missed.

How do you distill the essence of a moving image format like television into still photographs?

I read the scripts, watch the shows, and then write ten words onto a blank sheet of paper. From there, my goal is to make a photograph that illustrates those words. This allows it to become a conceptual image rather than a literal photograph of people. Once those clues have been established, I make visual triangles to draw the observer’s eyes around the frame.

How does it feel to see your work so prominently displayed in public spaces such as Grand Central Terminal?

We shot this campaign in December, and have been working on the images ever since. After becoming so familiar with them, I was actually surprised by how much they moved me.  Showtime’s placement is powerful — the images are dark and silent and luminous. They show particularly well in that chaotic environment. I was with my family and a close friend when I visited Grand Central; it touched me to see how proud they were.

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Are you familiar with the source material for this series? Do you have any favorite classic horror stories?

I read Frankenstein and Dracula years ago, though my weakness is sci-fi and fantasy. In my research for Penny Dreadful, I have become aware of the parallels that can be drawn between horror and sci-fi genres in that the stories are often a metaphor for society’s fears and the human nature we battle.

Reeve Carney as Dorian Gray. Photo by Jim Fiscus for Showtime.

Reeve Carney as Dorian Gray. Photo by Jim Fiscus for Showtime.

Photography was the new media technology during the era Penny Dreadful takes place. Did you try to incorporate the aesthetics from this time in your shoot? If photographic methods had remained the same from the Victorian Era, do you think you would still be a photographer by trade?

This is a subject that was very much discussed prior to the shoot; we actually debated using view cameras. Those cameras are slow and methodical, and you have to put a lot of thought into what you are doing. I took that method into this shoot, even though we ultimately used modern technology. The positioning of the characters in these portraits is very structured, formal and still, much like photographs from that era. In each portrait we showed the person and indicated their character through the use of a single hand prop (aside from Vanessa, around who the show revolves). The color palette, light quality, and propping is very important in that they indicate events that will be unveiled as the show progresses. I tried to make these images in a way that if all the color was removed, they would look like a portrait from the Victorian Era. Interesting, I recently completed a personal tintype series using a view camera (one of which is featured on the cover of AtEdge Microview 43). The equipment is simply a tool used to tell a story. On PD we just used quicker tools.

You’ve shot promotional portraits for several award-winning television shows, including Dexter and Downton Abbey. How did you get started with this specialty and what do you like most about photographing celebrities?

I began my career doing conceptual portraits for testimonial advertising, tasked with telling a story about a real person within one frame–where they worked, what they did, etc. After practicing this for years, I slowly began doing entertainment work. Again, a complete story has to be told in one frame. In a single frame, I get to convey a person’s character as well as the environment in which the story is set. Each job is different in that they’re lit to illustrate the specific concept, era or feel. I am continually evolving so that these images reflect the needs of the show rather than just my personal style. As for celebrities, I enjoy having the opportunity to work with people who are skilled at becoming something other than themselves. A large part of my role as photographer is directing actors, which takes an understanding of each character and their dynamics within the story.

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See more of Jim’s Penny Dreadful cast portraits here.

Go to fiscusphoto.com, stocklandmartel.com and At-Edge.com  for a range of Jim’s advertising and entertainment work .

Chosen: American Photography 30

AtEdge photographers are well represented in the latest American Photography Annual.

15 photographers were chosen with several people having two photos featured.

Congratulations everyone!

 

Erik Almås

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Model: Sarah Parker (Next Model Agency). Leila Hafzi Collection. Part of a series created for fashion designer Leila Hafzi. Shot in Nepal 2013.

 

 

KC Armstrong

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Hockey Night In Canada

 

Todd Baxter

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Fredrik Broden

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Fredrik Broden

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1814 Magazine

 

Chris Buck

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Photograph by Chris Buck of The President of the United States, Barack Obama.

 

Chris Crisman

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King penguin photographed at Sea World in San Antonio Texas as part of a San Antonio tourism campaign with Proof Advertising.

 

Chris Crisman

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Aerial photo, Escalante Utah. Above Escalante.Aerial photograph of canyon shot from above Escalante Utah for Nature Conservancy Magazine. Nature Conservancy

 

Andreas Franke [Staudinger + Franke]

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Barrier

 

Chris Frazer-Smith

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A personal shot from an ongoing personal project looking at the complex and chaotic shapes that make up human existence.

 

Chris Frazer-Smith

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One of three a shots taken for a UK charity raising awareness about “drink drivers”

 

Jamie Kripke

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High Plains Raceway, CO. 24 Hours of Lemons. The 24 Hours of Lemons is an endurance race for cars that cost less than $500. The two day event is a self-proclaimed “breeding ground for morons, where a Pinto and a Maserati battle to lap a Le Car” and is a strange mix of NASCAR, MacGyver, Burning Man, and The Salvation Army.

 

Jamie Kripke

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Snowmass, CO. The Cirque Poma. People riding the Cirque Poma to the top of Snowmass Ski Area, which tops out at 12,510 feet, making it the tallest ski resort in the United States.

 

Casey Rodgers

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Bryan Cranston. 100 Most Creative People in Business. Assigned to shoot a three page cover for Fast Company for their 100 Most Creative People in Business issue. This was one of the subjects, Bryan Cranston, who we photographed in a hotel in Albuquerque, New Mexico. Fast Company

 

Embry Rucker

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Christian Schmidt

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Places. When the fog comes. Personal gallery work and landscape project.

 

Guido Vitti

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The November Project. “Hugs, Sweat & Cheers” . One of a series about a grassroots workout group based in Boston, MA. Runner’s World Magazine

 

Mark Wiens

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Soccer Shoe. Promotional image created for use in portfolio and for online and print advertising.

 

 

James Worrell

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Found Objects. FLAT SHIT. Flat Shit is nothing more than a curated study of objects from a throwaway culture. Some of these objects have exquisite beauty and some are just trash, depending on one’s point of view. Regardless, I keep looking and shooting, and unfortunately there is no shortage of material. FLAT SHIT

PDN Photo Annual 2014

AtEdge would like to congratulate our photographers who received recognition in the PDN Photo Annual 2014!

Simon Harsent: Advertising

Ad agency: GPY&R Transport for NSW

Ad agency: GPY&R :: Dangers of fatigued driving.

 

Chris Gordaneer: Advertising

Ad Agency: Proximity Canada #WEAREWINTER Canadian Olympic Team

Ad Agency: Proximity Canada :: Canadian Olympic Team

 

RJ Muna: Advertising

Agency: In-house Campaign for Alonzo King's LINES ballet

Agency: In-house ::
Ad campaign for Alonzo King’s LINES ballet company.

 

Pat Molnar: Advertising

Ad agency: Lowe Campbell Ewald Detroit  USAA *note, different image from campaign appeared in pdn

Ad agency: Lowe Campbell Ewald Detroit :: USAA *Note, a different image from campaign appeared in PDN.

 

Taylor Castle: Advertising

Ad Agency: DDB Chicago  The Field Museum Chicago

Ad Agency: DDB Chicago ::
The Field Museum Chicago

 

Dan Saelinger: Magazine/Editorial

Editorial for The Atlantic

The Atlantic :: Companies creating healthier junk food.

 

Howard Schatz: Photo Books

Caught in the Act: Actors Acting

Caught in the Act: Actors Acting

 

David Emmite: Corporate Design/Photo Products/Self-Promo Pieces

"Somebody's Kid"

“Somebody’s Kid”

 

Simon HarsentCorporate Design/Photo Products/Self-Promo Pieces

"The Beautiful Game" :: football stadiums

“The Beautiful Game”

 

Lennette Newell: Corporate Design/Photo Products/Self-Promo Pieces

Promotional image used by Lennette when she appeared on American's Next Top Model

Promotional image used by Lennette when she was a photographer on American’s Next Top Model.

 

Maxine Helfman: Corporate Design/Photo Products/Self-Promo Pieces

"Historical Correction"

“Historical Correction”

 

Michael Lewis: Corporate Design/Photo Products/Self-Promo Pieces

Self-Portrait, on the set

Self-Portrait, on the set

 

Tim Tadder: Stock Photography

"Peak-Action Soccer" for Corbis

Corbis Images: “Peak-Action Soccer” for World Cup

 

Jonathan Chapman: Stock Photography

"Highway 1"

“Highway 1”

 

Francesco Tonelli: Websites :: http://www.francescotonelli.com

Food Photography

Food Photography

 

Dwight Eschliman: Websites :: Bicycle San Francisco

Dwight Eschliman's Bicycle San Francisco page

Product Photography

All Creatures

Photographing animals in a commercial setting requires extraordinary patience and the skill of adaptability. The photographer needs to be able to anticipate sudden movements and surprises and still be able to capture that perfect shot. Explore the work of these AtEdge photographers and more on At-Edge.com.

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Lennette Newell :: Man Holding White Tiger Cub

 

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Dana Hursey

 

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Jill Greenberg

 

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Philip Rostron

 

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Tom Hussey

 

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Wolfgang Zac

 

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George Logan

 

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Jillian Lochner

 

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Jonathan Chapman

 

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Tyler Stableford

 

Check out more animal photography from the best commercial photographers in the world on At-Edge.com.

Seeing is Believing

Conceptual photography is a specialty that requires both a skilled camera and a skilled imagination.

The commercial photographers of AtEdge have both such skills and more.

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Tyler Gray :: Client: Corus Entertainment – Q107 Agency: Grip Ltd

 

 

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David Emmite

 

 

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Elena Zhukova

 

 

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Dan Saelinger

 

 

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George Logan

 

 

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Nick Hall

 

 

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Michal Horevaj

 

 

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Corriette Schoenaerts

 

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Fernando Decillis

 

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Andy Mahr

 

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Lennette Newell :: Costume Winner!

 

There are literally hundreds more excellent examples of conceptual photography on At-Edge.com, happy exploring!

Percussion Portrait

A photograph of a musician is a bit of a contradiction. As hard as you may try, you will not be able to listen to an image.

However, AtEdge photographer Saverio Truglia is able to distill the essence of what the avant-garde group Third Coast Percussion does in this Portrait of the Week.

Rather than their faces being the focal point of the photograph, we instead see their drumsticks and percussion tools. Appearing molecular in structure, they form a chemical bond of music.

Explore more fascinating portraits from the best commercial photographers in the world at At-Edge.com