An Introduction to New AtEdge Photographer Lisa Saltzman

AtEdge is constantly bringing in a slough of great new talent. One of our newest artists is the wildly talented Lisa Saltzman.

Lisa, a native New Yorker, grew up in a house of collectors and art patrons. Over the course of her career, she’s worked with such prestigious clients as the Guggenheim Museum, Estee Lauder, HBO, MAC and more. Her works have been displayed at such prominent locales as the Darkroom Gallery and The Center for Fine Art Photography. Lisa’s photography career has been laden with awards and accolades and we’re ecstatic to have her on the AtEdge roster.

You can see more of Lisa’s work on her portfolio page or her website.

Photographer Cade Martin Reveals the Magic Behind the Creative Process

A guest post from photographer Cade Martin

“Never let ’em see you ache. That’s what Mr. Mayer used to say. Or was it ass? Never let ’em see your ass.”
― Carrie Fisher, Postcards from the Edge

As the only child of a university art professor and freethinker mother, I grew up surrounded by shapes and images. My love of art grew out of summer vacations filled with trips to galleries, museums, and art studios. At home I often found myself around the dinner table with an eclectic cast of characters—sculptors, writers, painters. They paraded through my childhood and I credit them all with shaping my artistic foundation and forming my eye for the candid beauty found in people from all walks of life.  I’ve kind of been chasing characters ever since.  I like to tell their stories through their faces, their bodies, even their costumes.  I love the adventure and the challenge of making things work — the crawling around, the actual act of creating an image.

And while I like to share my work, to have the images I make – both commissioned and personal projects – find an interested and intrigued audience, sometimes I’m reluctant to give too much away, to walk people through the entirety of my process, or to talk about things in too technical of terms. Are photographs to be seen and not heard? I’ve never been one to geek-out on camera equipment. What I do trust and rely on is relationships, not only with my clients, but depending on the project, I’ve learned that the right post-production artist ensures a strong creative synergy and ultimately the best possible finish. But there always remains that little voice in the back of my head that whispers “doesn’t the magic disappear if you talk about it?”

So when the opportunity to contribute to photo blogger Scott Kelby’s blog, to pull back the curtain a bit came my way, it got me thinking that perhaps the magic is also in the process itself. How an idea becomes a final image is a story worth telling. And storytelling is a core value in my photography. With each final image I make, my goal is for it to feel like a still out of a movie filmstrip, with its story living beyond any one frame. I’ve always believed in the vital nature of the journey, and these still images don’t exist in a vacuum. So it made sense to celebrate and share the how, the creative collaboration, the image making, and the post production, that is often a true technical marvel that elevates photography and adds magic all its own.

Yet sharing the process – the whole thing – is living on the edge for me. And while I have started to push myself and share more of my process and inspirations from project to project on both my Tumblr and @cademartinphoto  pages, for this exercise I went back and chose eight different projects to show more than just images, and to tell of the experimentation and exploration, of technique and tweaking and testing and collaboration. These are my postcards from the edge.

Do keep in mind that for commissioned projects, I oftentimes choose to present a couple of options to the client, once we get in a good place image wise. It’s always a collaborative effort and we listen to the client and tweak to taste to bring it “home”.  And as far as the personal projects, sometimes it’s the chicken or the egg scenario in that I get wind of something I want to do and I go do it.  Everything evolves once you’re there and the thought process on post production usually happens afterwards when we can play around with possibilities until I get that little tingle – a gut feeling that something is right to me.

Wish You Were Here

 The Mississippi Delta

While I love everything about the collaboration that comes with a commercial shoot, when it comes to my personal work, I find I am drawn to the one-on-one with real, every-day people.  You can’t make any of it up or direct it – how they carry themselves or have decided to dress for the day is better than where my imagination could take it. I always go out of my way to make the subjects look their best, to present them in the truest, most sincere way- exploring the architecture of their faces, the texture of their clothes and so on.

I worked on this post-production with one of my go-tos, Sugar Digital, and that familiar relationship is great for both understanding my process and pushing me to experiment. My original intention going into this Blues project was to produce these as black and white portraits, but the more we played, the more I gravitated towards a bit of warm color that brings a little more life, as well as further defining the magnetic architecture of their faces.

Enjoying the Sights on Mercy Street!

PBS Mercy Street

Working with PBS on this project for their Mercy Street mini series was incredible and I loved every minute of it. Going in, we did not have a lot of specific creative direction other than a classical approach similar to what PBS had done with their monster hit Downton Abbey. That influence was a great jumping off point, but I was also interested in creating something a little more modern and contemporary to set this series apart. To achieve that, I set up a set within a set to create a classical look melded with a more modern lighting design and a subtly textured backdrop.

We delivered the images and I didn’t immediately hear back – crickets – I thought maybe they hated the photographs. I really liked them and wanted to plow ahead, which I did. On set (in Petersburg, Virginia) we had an old 20×20 silk as the backdrop.  I also hunted down a location for the exterior images of Civil War era Petersburg, these images of cobblestone streets and buildings were layered in post with the in-photograph silks. We used the silk as a base background and I really wanted the focus to stay on the characters so the background elements needed to be a  “there but not there” type of thing – providing texture and a modern nod without overwhelming the images or the subject. Working with my partners at Sugar Digital, we worked back-and-forth to find the right layering balance so that the painterly background effect was there to support but not distract from the subjects. The colors and textures of the period wardrobe, along with the actors’ faces were a striking focal point, and I was after tones that would marry well with each other and could straddle the historical/contemporary setting of the images.

With the updated backgrounds, I now loved the images and sent them to the client. This time the client responded immediately that they loved the look and wanted to create the entire campaign around what we’d created.

Greetings from the Magical Forest

New York Philharmonic

One of the things I loved most about the concept for this project for the New York Philharmonic’s 2016 Biennial season, entitled “Let’s Play,” was how it needed to be as much about the environment as it would be about the narrative — an elegant pied-piper in an enchanted forest setting with a charming a group of curious characters. The resulting image combines a magical Northern California location with the Phil’s French-hornist, Leelane Sterrett, and an audience of curious carousel-horses.

Sometimes the reality of a project dictates the approach. I generally pride myself on photographing as much as possible in camera. For this project, the client wanted me to keep with that formula and that was my initial plan. I was ready to go and after a few back and forths and with a final green light it was “let’s go find a location and put all of the elements of the image out there.” While this was a doable idea, Ms. Sterrett was leaving for a tour in Europe within the week. So we went ahead and photographed her in a studio in NYC before I went to scout the final location. Not only did I have to find the right location for the creative brief for this project, BUT I now had to find the perfect location that offered the same natural lighting that we had created in the New York studio. Working with producer Catherine Schramm, we found the forest two hours north of San Francisco and then I went to a Scooby-Doo Circus south of LA in Riverside, CA where we photographed carousel horses.

With these moving parts and challenges of time and space, the best way to answer the creative call of this project was to commit to a composite photograph. I worked carefully in each step of the shoot to ensure that every component would be as symbiotic to the whole as possible, the whole then becoming a magical sum of its parts. Aiming to have things line up seamlessly, CG horses were also created with the pros at Luminous Creative Imaging to match all of the pockets of different light that existed in the forest image – some horses are in open shade, others are backlit or side lit from the direct sun.  Once each of the pieces of the image were layered and composed, the color and tones were massaged to radiate the playful feeling of a magical forest.

Our making-of is here: Vimeo

Greetings from a Galaxy Far, Far Away

Star Wars for Target

Deutsch LA, Star Wars, Target. Any one of these names alone would make an attractive project. Put them together, along with a pinch of Disney and a dash of Lucas Films and I can’t be entirely certain I wasn’t dreaming.

I was completely geeked to be considered for the brief “to photograph the latest Star Wars toys for Target” – toys which would be released for the 2016 holiday season. It was a resounding “yes” for me.

From our first call, it was clear that the agency saw what I had begun to realize – that the movies and comics of my youth have been some of my greatest and most important influences in my life and my picture-making. These were key ingredients in what they sought — a photographer that loved cinema and also harbored an inner-nerd.

There are times when less is more. With a sweeping, cinematic vision for this fantastic project that could have been a candidate for a lot of post-production reworking, I pulled back and went as old school as I could. I approached this series of images almost as an old Ray Harryhausen stop action movie. I wanted all of the elements to be tangibly together, for these toys to inhabit sets that had been built with great care and detail to evoke another world. Continuous lights were used, as were colored gels to shift the color to the worlds of the Star Wars narrative. Special effects were used on set so everything was captured in camera.  In post, working again with Sugar Digital, we simply modified color and tones to play up the drama of the sets and accentuate the pop of Target red. Even when I pour myself into the in-camera construction, precise post is quietly vital to sharpen the product.

Wish You Were Here

Tea Time, Starbucks at the Greystone Mansion

I’ve been working with movie lights and crews for approximately 10 years now. When the Starbucks campaign for Tazo became a possibility, I knew I wanted to incorporate a cinematic and enchanted look and feel. Lighting and location were the driving force behind this project. The Greystone mansion is an historic and cinematically recognizable location from movies such as There Will Be Blood. The interiors had windows that never received direct sunlight so everything was lit artificially. I’m a nerd, a lighting nerd at that, and I love working with continuous lights and instruments because of the natural lighting effect they create.

As is my general preference, everything was photographed in-camera so all of the elements, including the floating teapots, were really there on set. I guess things could have been photographed elsewhere and composed in post after the fact, but I jumped through a few extra hoops to create these images in camera. Special effects such as smoke were also employed on set so that I could get the clearest picture of the whole photograph as I took it.

And an image’s magic can be in its mystery – how did they do that…?

Was the teapot really floating? Retouching with my friends at Sugar Digital in this case was mainly the pleasant task of playing around subjectively with color and tones to make the images as beautiful as we could. As with most of the projects I shoot, the heavy lifting is done on set. Pre-production, pre-production, pre-production. Good planning makes for a good production and detailed pre-production makes for painless post-production. The beauty of great post-production work can be in its subtlety – the icing on the teacake if you will.

Ultimately everyone’s commitment to the cinematic influence throughout the whole process helped achieve what Creative Director Daniele Monti described as “capturing the magic and whimsy of the new Tazo brand — something in between a modern Alice in Wonderland and an iconography that pulls from different eras, places and cultures.”

Greetings from the Four Seasons Stelara:

File this one under the project dictating the process. For this shoot for Stelara, a pharmaceutical campaign, we needed to allow for an on-set curveball. The initial idea was the print campaign was going to play off of and use the same sets as the companion TV production, which had the model moving easily throughout the four seasons. We arrived at the studio in LA the day before TV was supposed to film to see their sets and lighting setup. Everything had been built and we were all under the impression that the sets could be tweaked for print concepts after TV had completed. Once at the studio, we found out that the set elements could not be tweaked or moved at all.  We marinated on all sorts of possible solutions, even the possibility of building entirely new sets just for our print project. That night I went to bed and had the “still lying awake” idea of creating the entire background in CG. I immediately emailed the CG geniuses at Luminous Creative Imaging in Amsterdam who were 9 hours ahead of us in LA.  They were game and available and I got an estimate, which I proposed and submitted to my client the very next morning.

Everything was quickly approved and off we went. We photographed the model in another studio entirely with minimal set design such as grass/snow flooring so the talent was grounded in elements she would be in for the final image. The background and field were created in CG by Luminous Creative Imaging to match the lighting design that we created on set. Color and tonal range were massaged to be beautiful, playful and pleasing as if the subject were out on a afternoon stroll. For the initial surprises, it felt so good to end up with a visually stunning image that rivaled the broadcast version of this campaign, one that ultimately surpassed expectation.

Greetings from the Bayou!

This shot was part of an impromptu personal project piggybacking a commissioned shoot in New Orleans. A location scout friend mentioned over a beer, fishing shacks you could only access by boat. New Orleans is utterly unique, its own ecosystem that’s both accessible and hidden at the same time. New Orleans and the bayou are such a draw for me, and these shacks – an hour drive and a half-hour boat ride into a different world were impossible to resist. I hired a waterman – from a line of lifelong watermen – to get me there.

The shack itself was perched low in the water and far from anything else, like a structure emerged from the brackish depths.  It was somewhat improbable and otherworldly in that really New Orleans way. As I saw it in person and made my images, my mind kept wandering to what it would be like to boat up to a structure with other amenities – an even more unbelievable sight.

Besides bayous having a special meaning to me, ever since I was a kid, I’ve loved the comic strip Pogo.  Pogo is the title character in a long-running comic strip that started in the 1940s by cartoonist Walt Kelly. Pogo is set in the Okefenokee Swamp of the southeastern United States.  All the characters live in the swamp with Pogo the possum as the main character and his good friend Albert the alligator. Poetry, wordplay, puns and lush artwork all come together to create humor, wisdom and thoughtfulness that have been enjoyed by kids and adults alike all these years.

Another influence at work here was a childhood favorite, A Cajun Night Before Christmas, by James Rice and Trosclair. Here the classic Christmas narrative poem by Clement  Clarke Moore is retold in a Cajun dialect with an alligator who helps Santa and then is left behind in the Louisiana Bayou.  To finally bring my idea to life, I reached out to Souverein Weesp to help design and create these fun, dancing and singing alligators, jazz bands and the Bayou atmosphere.

The series has been very well received.  The dance floor image which is the first one we completed was selected to be the main visual for the annual international Siggraph (Special Interest Group on GRAPHics and Interactive Techniques) conference.

My Well-Worn Chair at Sugar Digital

Wish You Were Here!

When I went into this project, I knew what I wanted to capture, but as with most of my personal projects the final images were very much a product of inspiration, exploration and collaboration. On a break during another project, a client and I got to talking about tattoos. She mentioned a tattoo festival being held the following week in the Washington DC area. I don’t have any tats, but they’ve always intrigued me. And the promise of all those people with their stories essentially written on their bodies, those were the type of characters I’m compelled to chase. At the festival, I rented a space and set up a photo booth. I photographed everyone against a grey backdrop.

We had a great time, you can see more here: Vimeo

I went into postproduction without a concrete vision of how to make them sing. The final images are a true testament to how much the relationship between photographer and retoucher matters. There was so much professional trust and respect involved as we threw out ideas and played around. Ultimately we sampled the tattoos on each person’s torso; from there we created a unique personal tapestry background for every subject. Everybody I photographed had amazingly detailed, as well as personal, tattoo work, it was such a clear commitment of time – and money – on their part. In addition to capturing this in the portraits, the background helped showcase and amplify that investment in expression. This technique was nothing I’d tried before – and nothing I’ve attempted since – but it was truly right for these portraits. It felt as though these backgrounds allowed their stories to travel beyond their bodies.

To see more work from Cade, check out his AtEdge portfolio or visit his website.

A Closer Look at Bruton Stroube Studios

New AtEdge members Greg Stroube and Brandon Voges are masters of creating imagery that connects with people on a fundamental level. They’re two of the creative leaders at Bruton Stroube, an independent and one-of-a-kind studio of creative collaborators.  Bruton Stroube creates beautiful imagery through photography, 3D, and motion, all under one roof.

A craftsman by nature, Greg Stroube has committed his rich experience and sense of perfection to everything he does. Whether its photography, making platinum prints, rebuilding classic motorcycles or brewing beer, it’s always about the work and the journey of helping something become the best it can be. Commercially, his focal areas include food and beverages, consumer products and industrial and remote locations. In addition to being a photographer, he also frequently takes on the role of director for food and beverage motion projects.

Brandon Voges joined Bruton Stroube 13 years agobringing with him seven years of agency experience, which has granted him a unique “insider perspective” on his projects. His shoots are a reflection of his personality — relaxed, sometimes silly, but always professional and extensively organized. This balance yields imagery that is honest, energetic, and meaningful.  His commercial work focuses primarily on lifestyle, food, pet care, locations and consumer product projects. He also often works as a director for food, lifestyle, and location-oriented productions.

Located in St. Louis, Bruton Stroube’s studio is a unique place where creative ideas of all kinds are brought to life. The company creates content for advertising through photography, 3D/VFX, and motion. The results take form in TV broadcast, print, mobile, social, POS, packaging, and radio campaigns, to name a few. Thanks to an innate sense of flexibility and deep-seated desire to evolve and better themselves, Bruton Stroube recently celebrated over 40 years in business. Early on, the founders realized the importance of hiring people who aren’t afraid to be who they are, who are expertly knowledged in their craft and who care passionately about things in life beyond the studio walls.

Bruton Stroube’s home spans three historical buildings totaling 50,000 square feet, but they also run productions throughout the USA and internationally. The team’s made up of 34 full-time employees, each specializing in her/his own area of expertise. The folks there work together daily in roles such as producer, editor, retoucher, 3D artist, food stylist, prop stylist, wardrobe stylist, rigger, cinematographer and more.

Many modern campaigns span multiple components, but require a cohesive look, feel, and message. The Bruton Stroube shoot teams work together every day, across all media (versus the standard model of pulling mixed freelancers for every project). This approach provides not only high quality imagery, but also continuity across all platforms, which is a priority in today’s advertising world.
To see more work from Greg Stroube and Brandon Voges, check out their AtEdge portfolios or visit the Bruton Stroube website.

Artist Spotlight: A Look at Hugh Kretschmer

Growing up in a family of artists, Hugh Kretschmer discovered photography at a young age. It was his father, who was a photo-instrumentation engineer for McDonnell Douglas during the Mercury through Apollo space programs, that first introduced him to the craft. Recognized repeatedly throughout his 22 year career for his work’s enduring use of metaphor and hand crafted, trick-the-eye elements. Kretschmer has achieved singular success as an editorial and advertising photographer who creates imagery that applies to both art and commerce.

In regards to his own work, Kretschmer has said “My photographs have been described as fanciful, curious, imaginative, unusual, and a little creepy. They are influenced by myriad dreams and desires of what life could be, if only… They are commentaries on the human condition, influenced by a perspective that honors and embraces the assets, and deficits, we all share as human beings, seasoned with a bit of quirk and irony.”

For Kretschmer, the sky’s the limit. One of his more recent projects involved him shooting Penn & Teller in Las Vegas for their new ad campaign.

In another project, Kretschmer was tasked with creating the imagery for a story titled “The Secret Shame of the Middle Class” for The Atlantic. His work, which was featured on the cover of the magazine as well as inside it, perfectly captures the tone and emotion of the featured story.

And you’ll surely recognize Kretschmer’s work from the Old Spice campaign. The whole process took over three weeks and started with a 3D scan of Mr. Isaiah Mustafa, the most memorable of Old Spice “spokesmen.” From there a series of prosthetics, small vignettes and miniature figurines were created specially to fit Mustafa’s figure. On the days of shooting Mustafa had to spend upwards of six hours in special effects and makeup. Kretschmer was hired for the in-camera/analogue techniques and for his ability to capture illusion in front of the camera.

Third Person” is a work in progress for Kretschmer. It’s a personal project and one that was born of a happy accident. While photographing a friend and her daughter, he stumbled upon the effect represented in the photos below. Each image is two different photos layered on top of one another. The portraits are of family members (mother-daughter, father-son, etc.) and have had their opacity turned to 50 percent. The final products show just how similar family members can look, even ones of different genders.

For additional details about all of these projects and more, check out Hugh Kretschmer’s blog. You can also see more of his work on his AtEdge portfolio or on his website.

An Interview with Globetrotting Automotive and Lifestyle Photographer Patrick Curtet

French photographer Patrick Curtet has been around the world and back again. He’s traveled to exotic locales and photographed some of the most beautiful cars in existence, but that solo-gallivanting lifestyle was only the beginning of what has grown to be a wildly successful photographic career.

Curtet, having conquered much of the European market, recently moved to Los Angeles with his family. He hit the ground running as soon as he got here, landing high profile shoots with some of the biggest names in the business.

In the midst of his busy schedule, we recently had the opportunity to catch up with Curtet and his agent, Cynthia Held, and ask them a few questions.

You’re originally from France and now split your time between Paris and Los Angeles. What brought you to the States?

PATRICK: I love Europe for its diversity and history. However, after 25 years I needed a different challenge. Los Angeles is a new adventure for me and a great chance for my family to explore and discover the world. I have worked on interesting campaigns in Europe, but arriving in the US has given my career an extra boost. Furthermore, the transition has helped me discover new ways of doing things and pushed my creative boundaries.

What differences do you see in working with U.S. clients vs. European? How has your European background and perspective worked to your advantage with U.S. clients?

PATRICK: There aren’t really any big differences in terms of approach with the US and European markets. The one noticeable difference comes from the overall size of production — American crews like everything big! I enjoy the culture of production in Hollywood, especially the supportive nature of the crew and the overall focus on collaboration.

Europe is a competitive and challenging sector. You have to be 100 percent focused on your goal in order to stay relevant. There is no real chance to relax when you enter into a bid or even during a shoot. In our industry, you are only as good as your last job and that leaves a very narrow margin for error. Thankfully, I learned that lesson early-on in Europe and it has served me well here in the States.

For much of your career, you concentrated on sports and reportage photography. When and how did you make such a successful transition to automotive and lifestyle work?

PATRICK: I started my career as a sports and motorcycle photographer. This path gave me the opportunity to challenge my skills and travel around the world following the Moto GP Races. I also had the opportunity to travel for various magazines. It was a time in my life when I would arrive in an editor-in-chief’s office with a crazy idea and leave with a plane ticket in my pocket.

I’ve been to 60 different countries, including Africa, Australia, and South America. I have been to India to photograph Maharajas and to Tanzania to photograph elephants. I have even driven from Paris to Beijing by car, twice. And there have been tens of thousands of miles trekking through Russia, Kazakhstan, Mongolia, China…

Then I reached a point where it was time to create a family with the woman I love. Being away for most of the year was no longer fun anymore. So, that helped make the switch from motorcycles to cars quite natural.

There’s a real cinematic, narrative sense to your photographs and video. How do you approach the job of telling a brand’s story?

PATRICKI never think about trying to create one singular image. I always see my work as being part of a larger story. Life is about narratives, but you don’t always need each one in its entirety to get the message across. Instead I like to extract small moments that invite the viewer to be part of the scene. Using movement and depth of field, I can create images that draw the spectator in. I want to make them feel the wind and the heat. I want them to be a part of the narrative.

You have visited over 60 different countries and have worked on quite a range of projects. What are some of your all-time favorite photographic subjects, assignments or challenges?

PATRICK: I always try to concentrate my energy on the present and on living in the moment. But if you ask me to turn back and pick a few great souvenir memories, I would certainly choose my time spent in Africa. Sleeping in a tent and hearing lions roar around you — that’s something you simply can’t forget.

Another that comes to mind was when I was in the middle of Kazakhstan nearly 25 years ago. We were in our car and had stopped in the middle of nowhere when the villagers started circling around us. I pulled out my camera and started to take pictures of the people. Just then, the chief of the village came and I took a polaroid of him. Watching his face slowly appear on the film is still clear in my mind. These people had never seen anything like this before. I spent the rest of the afternoon taking portraits of everyone in the village. I may have spent all my stock that day, but the experience will definitely be imprinted in my mind forever.

What is your dream assignment?

PATRICKI’ve been lucky enough to shoot some great campaigns this year — Blackberry Global, an Audi A8 world reveal film, Infiniti, Maserati, Ford, Jaguar, Land Rover… I am thrilled and just want to stay on this trajectory. But more frequently now, I am also getting the chance to photograph and direct on the same project. This is something I’m very interested in pursuing further. Being able to capture both stills and motion with the same approach and the same creative vision is my ultimate goal for the near future.

How were you first introduced to Patrick, and what made you want to represent him?

CYNTHIA: I was introduced to Patrick through an art buyer who had previously worked with Patrick on an automotive project. She was extremely impressed by him and his work and suggested I check him out.

It was clear from his portfolio that he had talent, so it was an easy decision to start the conversation. Patrick and I spoke via Skype and there was an instant connection, especially in terms of goals and work ethic. It took only two conversations before we both decided we wanted to move forward.

What originally impressed me was Patrick’s commitment to his craft and the unique perspective in his approach.  He has a standard of excellence that permeates everything he does and yet he works in a seamless fashion to craft every image — whether still or motion. One of the main reasons clients return to work with Patrick again and again is his heightened sense of art direction which fuels his creative drive, making him an impressive storyteller. He brings forth authenticity from any given subject and creates moments that are natural, organic, and that viewers can feel.

What’s next for Patrick?

CYNTHIA: The sky is the limit — Stay tuned.

 Browse more work from Patrick Curtet through his website and AtEdge portfolio

Campaign Spotlight: Glen Wexler for Nokia

Glen Wexler is a photographer and director best known for his elaborately staged digital photocompositions of improbable situations.

At 22 years old Wexler photographed his first album cover for Quincy Jones Production while a student at Art Center College of Design. He quickly gained a reputation for the imaginative photo illustrations he created for Michael Jackson, Van Halen, Rush, Black Sabbath, Yes, ZZ Top and many others.  Nowadays his clients include Epson, Acura, Sony, Jeep, Maxell, Adobe, Intel, Coca-Cola, Capital One, Toyota, Pepsi, Warner Brothers Pictures and hundreds of others.

Internationally recognized as one of the original artists to incorporate digital imaging technology into the creative process, Wexler is widely regarded as a leader in the field. Perhaps this is why Nokia saw him as the perfect fit for their Ozo ad campaign.

Ozo is the name of Nokia’s stereoscopic 360-degree 3D camera and the titular name of the hardware and software that can accompany the camera. Wexler’s long-time immersion in the digital imaging community made him the perfect person to show off this new technology. He did individual campaigns for OZO VR ProductionOZO Live Broadcast and OZO 360º Spatial Audio. You can see highlights from all three campaigns below.

To see more work from Glen Wexler, check out his Atedge portfolio or his website.

For more great campaign shots, visit the Campaign Spotlight section of the AtEdge website.

Photographer Spotlight: The Work of Rob Gregory

Rob Gregory is an internationally-recognized commercial photographer, specializing in sports, portrait and composite photography. His work has been featured in Time Magazine, Graphis, Digital Photographer and other prestigious publications. It’s also been featured in exhibits across the globe, including in Paris, London and Atlanta.

With a background that extends well beyond photography and includes work as an agency art director, Rob has worked with some of the biggest brands in the business, including The United States Marine Corps, Intel, Tide, Swiffer, and Capital One.

On a more personal not, Rob is also a cancer survivor. He enjoys donating as much time as he can to cancer and disability related causes. You can feel the care and respect he has for these causes simply by scrolling through his portfolio.

Based out of Chicago, Rob can often be found on location shooting all over the country. To see more of his work, check out Rob’s AtEdge portfolio or visit his website.


Face-To-Face NYC 2017 Matches Atedge Photographers with the Top Creative Decision Makers

We had an amazing Face-To-Face event this summer at the elegant 20th-floor penthouse at 230 FIFTH in New York. What happens when you bring an exclusive group of 28 agency producers & creatives together with 60 talented AtEdge photographers? Let’s just say there was a lot of excitement in that room.

And you know what? We’re ready to do it all again next month in San Francisco. The next Face-To-Face event is on November 13th at the historic City Club.

Twice a year at Face-to-Face, AtEdge photographers present their work in private, one-on-one meetings to hand-picked creatives that have the need and budgets to hire the highest caliber talent. It’s an opportunity for busy creatives to link up with groundbreaking photographers in a tranquil and casual environment, complete with sumptuous hors d’oeuvres and cocktails.

We’re overwhelmed with the success of this year’s event and are thrilled to continue this series that has become so important to our industry. Face-to-Face events are held twice a year — each spring in New York, and in alternate cities like Chicago, Los Angeles, San Francisco, Minneapolis and London in the fall.

Making new connections and revitalizing old relationships is what Face-to-Face is all about. Please contact Elizabeth Owen, President of AtEdge, if you are interested in attending a future Face-To-Face.

We want to express our gratitude to the following industry creatives that assisted in making this event a success:

Beverly Adler | Senior Art Producer | Freelance
Claudia Aires | Associate Producer | Tribal DDB
Deb Archambault | Sr Integrated Producer | McCann Worldgroup
Allison Baker | Group Creative Director | BBDO
Heather Black | Integrated Producer | Deutsch
Silmo Bonomi | Group Creative Director | VML NY
Erin Breen | Head of Art Production | BBDO
Lindsay Coomes | Associate Creative Director | Saatchi & Saatchi
Karen Ferrari | Senior Art Producer | FCB Health
Ranelle Fowler | Integrated Producer | Townhouse (production agency for Grey Advertising)
Carolyn Gargano | VP Assoc Creative Director | Saatchi & Saatchi Wellness
Ashley Holmes | Art Content Producer | Ogilvy & Mather
Patrick Johnson | VP, Group Art Supervisor | H4B Chelsea
Jack Low | Creative Director | McGarry Bowen
Melissa Lucier | Art Buyer | J. Walter Thompson
Sarah Manna | VP, Dir of Art & Print Production | Deutsch
Rachel Max | Dir of Art Production | MRM/McCann
Akos Papp | Senior Art Director | FCB Global
Kris Pito | Director, Content Studio | R/GA
Teresa Rad | Director of Art Production | TBWA\Chiat\Day
Deb Rosen | Director of Art Production | Wieden + Kennedy
James Rothwell | Creative Director | Publicis
Paul Safsel | CD/Art Director | Grey
Amy Salzman | Senior Art Producer | Saatchi & Saatchi
Loren Shteyman | Art Producer | Nissan United for TBWA\Chiat\Day
Marc Sobier | SVP, Group CD | Arnold Worldwide
Maggie Sumner | VP, Head of Art Production | Saatchi & Saatchi
Alex Tasch | Senior Art Producer | Havas New York
Milisava Tertovich | Sr Art Producer | Anomaly

These busy creatives work with some of the world’s top brands, including MGM, Verizon, AT&T, DirecTV, Chantix, Johnson & Johnson, Reebok, Maxwell House, Spectrum, Advil, HBO, Exxon, Rubbermaid, Puma, Rolex, PNC Bank, Tyson, NBA, Google, Under Armour, Covergirl, American Express, eBay, Taco Bell, Samsung, Nike, Spotify, NBC,  and many, many more.

“AtEdge events are great for meeting creatives you couldn’t ordinarily meet.”

Paul Aresu, photographer


“To meet in person adds a greater understanding of their work and you both get a chance to see how the chemistry might fuel a project. I loved the energy of everyone, and it created a buzz of excitement. I got in the elevator ready to go on a shoot!”

Carolyn Gargano, VP Assoc Creative Director, Saatchi & Saatchi Wellness

Paul Safsel with photographer Nick Hall

Creative Paul Safsel with photographer Nick Hall

“Wonderful and talented group! I thought it was well coordinated and I especially loved the halfway point when there was the mingling. I got to talk to so many people during that time!”

Alex Tasch, Senior Art Producer, Havas New York

The Face-to-Face gathering in the penthouse at 230 FIFTH in New York

The Face-To-Face gathering in the penthouse at 230 FIFTH in New York

“Thanks for such a fun night. I met such lovely and talented photographers.”

Deb Archambault, Sr. Integrated Producer, McCann Worldgroup

Photographer Genevieve Caron with Creative Deb Archambault

Photographer Genevieve Caron with creative Deb Archambault

“Now, more than ever, creative collaboration is built on relationships and trust. With F2F, AtEdge does a beautiful job of bringing the community together to nurture connections.”

Glen Wexler, photographer

Rep Jenna Teeson (left), with creative Milisava Tertuvich (center) and photographer David Butler (right)

It wouldn't be Face-to-Face without Sushi!

It wouldn’t be Face-To-Face without Sushi!

“AtEdge really puts in a lot of time and energy to make sure the event is well-organized and run so you can meet the most people possible in a comfortable setting.”

Nicole Rabe, Pistol Studios

Jason Tuchman and Nicole Rabe of Pistol Studios (left) with Creative Heather Black

Jason Tuchman and Nicole Rabe of Pistol Studios (left) with creative Heather Black

“All the photographers I met with were fantastic! Their levels of work were at the highest standards and they all were relative to the work I’m doing at my agency.”

Heather Black, Integrated Producer, Deutsch

Photographer Adrian Myers and Creative Loren Shteyman

Photographer Adrian Myers and creative Loren Shteyman

“Saw a really nice range of work from all different types of photographers. Loved talking about making work with people who get to do it all the time.”

Marc Sobier, SVP, Group CD, Arnold Worldwide

Photographers James Porto (left) and Robert Adumo

Photographers James Porto (left) and Robert Adamo

“Great evening, I left feeling very happy and positive about all my meetings.”

Aaron Graubert, photographer

Creative Kris Pito and Abe Sands of Trident Post-Production

Creative Kris Pito and Abe Sands of Trident Post-Production

“Opened my eyes to some great talent both in photography and video. Really enjoyed it and I will no doubt be calling on some of them for help.”

Jack Low, Creative Director, McGarry Bowen

Creative Carolyn Gargano and photographer Natalia Weedy

“I love Face-To-Face events and I always leave feeling energized and inspired. Be prepared to come early and stay late, the wine flows, the food is fab and conversations don’t stop.”

Nick Hall, photographer

One of the best parts of Face-to-Face is the incredible food!

One of the best parts of Face-To-Face is the incredible food!

Artist Spotlight: Geneviève Caron

A skilled portraitist, Geneviève Caron believes in the trademarks of minimalism, lightness and restraint to create stylish and sophisticated photos. She’s highly adept at shooting in diverse locations, all while possessing excellent communications skills that put subjects at ease, encouraging better images.

Geneviève’s client list includes photo work for Coca-Cola, Colgate, TD Bank, BMO, Dove, Johnson & Johnson, Lincoln, Toyota, Bell Canada, Sony, Target, Bounce, Toronto Tourism, Workoplis, SunLife Insurance and Wal-Mart. She’s the winner of numerous North American photography awards, including first prize at the Canadian Lux contest in 2006, 2008, 2009 and 2013. Geneviève  has also claimed first prizes at the US APA National photo competition in the fine art category in 2009, the US PDN Pix Digital Contest in 2009 and the Faces PDN contest in 2015.

You can see more work from Geneviève on her AtEdge portfolio page or on her website.

#GivingPhotography for Hurricane Relief

Are you thinking about those affected by the hurricanes and wondering what you can do to help? Here is a creative idea from our friend, Heather Elder. Please read and consider getting involved.

We hope you are safe and dry, wherever you are.



The news coming out of Puerto Rico is awful and like so many other people, I want to help in a meaningful way. And since we are so much stronger together, I am suggesting an idea that our photo community can be part of, called #GivingPhotography, to offer photography prints in exchange for hurricane relief donations for communities in Puerto Rico, Texas, Florida and the Caribbean.

On Monday, October 2nd, I will share the idea on my blog and social media. And already, At Edge and Le Book (thank you!) have agreed to share this email with their own lists. I have also reached out to agents, photographers and other influential people in our community in advance in the hopes that we can coordinate our efforts and promote together.

Here is how the idea works:

1) Choose a print that you are willing to donate. Any size, any photo, any subject.

2) Post a photo of it on all social media accounts with information about the photograph and why it is special.

3) Clearly state how many prints of the image you are willing to donate; especially if there is only one available.

4) Make sure your post explains that receiving the print requires a donation to the hurricane relief of their choice. Once they make the donation, they need to post a screen grab of the receipt for the donation in the comments of the photographer’s post to prove that the donation was made.

5) And finally, include the hashtag: #GivingPhotography

Some helpful notes:

• Choose a minimum donation amount in exchange for the print. And, consider adding your own spin the on offer. Maybe an auction? Print goes to the highest bidder. The auction would happen in the comments, just put a deadline for when the auction closes.

• Be sure to share the time frame in which the print will be shipped.

If you like this idea, please share this email with photographers you know and people who represent them so that they can get started thinking about what they will want to donate. If we make it a priority to spread the word, maybe we can get some critical mass and reach a lot of people who would be willing to participate.

Thanks everyone for considering this idea.

Heather Elder