Install Theme



SEPT 14-17th


for portrait inquires or just to link up. 


Turn of the Century Portraiture

Over the years I’ve come up with countless ideas for photo projects, books and exhibitions; most of them don’t go anywhere but I always manage to come up with clever or stupid titles. So when Galerie Youn urgently needed a name for our show I was ready with the grand and pompous “Turn of the Century Portraiture”. Amazingly, they went with it.

Hopefully the exhibition itself will be grand and pompous itself as a lot of thought and energy has gone into the printing of it. The black-and-white prints were done by Griffin Editions, with a mix of traditional enlarger prints and digital LE (Laser Exposed), both on fibre paper. Laurent Girard, Eric Jeffreys and Grace Pomeroy are my heroes over there.

The color prints are by my friend and loyal compatriot Carl Saytor of Luxlab. Carl and I have worked on my color prints for many years and I always feel well taken care of in his hands.

My wife and I head up to Montreal tomorrow to celebrate the exhibition, and to drink lots of red wine and eat bagels.

Top Image: A 40x50” Jay-Z from 1998 being dried by a fan at the Manhattan location of Griffin Editions. Shot on 4x5” film, this looks so sweet so large.

Second Image: Posing with final 40x50” prints of Bryan Cranston & Jon Hamm (2007), and President Obama (2013). This iPhone snap does not do these prints justice (surprisingly).

Third and Fourth Images: The show features five very large prints and at 22 20x24”. Amongst these are a few images rarely seen before, including these portraits of David Cronenberg (2005), and Cindy Sherman (1997).

Bottom Image: The invite to the VIP event tomorrow evening. Note the phrase “World Renewed Photographer.” There is also a more casual reception on Saturday September 13th at 2 PM - all are welcome, so please come.

Really wish I could make it out to this. Love the Cronenberg portrait, that little bit of light on the red door is just the icing on the cake.

Billy Shields

Rollerblading’s Financial Identity Crisis

If you are a participant in the rollerblading community then you are well aware of the newest trend in the blading world: VOD edits.  Beginning with Valo selling digital copies of it’s fourth video release, Valo4Life, on iTunes, and then, a few years later, the concept was refreshed with Sean Kelso’s release of KCMO on Sellfy, focusing on selling strictly digital, non physical copies of the video. It seems, though, that the way in which we value a skate video has been totally rewritten thanks to the internet (fucking obviously), with an accessibility to a plethora of content we never thought imaginable (re: Blade Archives). This has left a lot of people dumbfounded as to how to actual value content; what was once free, though, is now suddenly coming with price tags. Promos (as in, promoting a product, aka, an advertisement) are now something being paid for, and the question really is, why?

How do you value skating? Literally, how do you come up with a price to watch someone rollerblade for 3-4 minutes? Adam Johnson, a legendary blade videographer responsible for classics such as KFC 3 and Razor’s Ego,  talked a bit about it on the Be-Mag message board, going into a ridiculous amount of math to justify the pricing. And Johnson makes a good point, stating that between the costs of travel and equipment alone, as well as the costs to host an edit (Sellfy does take a percentage from the sale, as does Vimeo plus or whatever it’s called), really makes that price tag that they put up dwindle into tiny fractions. 

So what is the solution to all of this, though? I think the problem here, is that, the quality of skating being produced isn’t matched in the way that it should be presented. The issue I see, is that these works are easily disposable due to their format, therefore, how is one suppose to place a value? The loss of the physical makes this whole thing very complicated. 

Rollerblading has always had its money issues, so this new idea of pricing an individual section, well, it doesn’t seem too out of place (in that it being a stupid fucking idea). It does, though, seem to put a lot of rollerbladers on a crude pedestal of their financial worth. Where Franky Morales is worth $8.99 or so, Alex Broskow is a mere $3.99, Brian Shima values his body at $6, and Jeff Dalnas just hits $1.99. What does that really mean though? What price tag would you put for Dustin Latimer’s Coup de Tat section? Or Farmer’s VG19 section? When you place the concept on older works, it now starts to seem even more absurd, and the reality is, is that there is no value. There is no price tag (cliche bullshit moment) to the impact that these sections have, and there shouldn’t be. You bought a video, you got something that you could physically hold on to, share with friends, there is an experience there that these V.O.D edits can’t provide.

Alex Broskow has mentioned recently that we should start making VHS tapes again. And while this sounds so absurdly ass backwards and “hipster” of him, as VHS technology is pretty much fucking useless, the idea of going back to the physical entity isn’t such a bad idea. In fact, it is a very smart one. You see, if rollerbladers decided to suddenly cut down on how much content they produced, and took months, maybe even years (ASTONISHING!), to film a project, and focused on producing only physical entities, well, wouldn’t that be of more interest to you than seeing a new edit every two months asking you for $4?

The problem with single edits, is that they are similar to short films, that being, little effort is put into it. You write your shit short script,  hire a few randoms, film for a month or so, and that’s that. Aside from Lonnie Gallego’s F33T and SSM’s endeavor with the 666 series , which acts as more of a video series than one off edits, no one seems to be putting in a ridiculous amount of effort in terms of how long they’re filming for things. It just seems to be less about the time invested, and more about the views and revenue that can be pulled, and that, that my friends, is the flaw that will continue to rid any of these works of the true value that they actually possess. 



The New New Pornographers

The New Pornographers have just released a new album, Brill Bruisers, and I’m pleased to say that I shot the publicity photos. I traveled with the band in 2001 and did a couple of group shots then and have been listening ever since. 

The label asked that I come up with some ideas for pictures as they hoped to push things a little visually and conceptually. The band was game, doing a Beatles Avedon homage for one shot, and a cliche family portrait wearing button-down white shirts for another, but drew the line at my idea of a formal band shot with one member taking a hit off of a bong. One of the guys explained, “It’s bad enough crossing the border from Canada with the name ‘New Pornographers’, then add to that a quick Google search that shows photos of us smoking a bong.”

Bill Gates photographed by Dan Winters for the New York Times Magazine.

Read the interview with Dan about the assignment here

The best of the best. No one can touch Dan Winters when it comes to continuity and lighting.

Light test today, beginning to expand on some color studio stuff.

Katrina Geanuracos

Andrew Hales


Corey Renzulli

Victor Venegas