Category Archives: Portfolio

Greenmarket in the Studio #10

Onion Mirror

A vision evolving.

While in the process of this particular exploration I’m finding there is a lot of failure. Not failure in the sense of exposure or composition, but failure in concept and vision. And, there’s certainly no value in putting images into my book simply because I did it. Right now, I’m developing the concept of a dark series. The vision is evolving and this shot is more like what I need for the new series; it definitely feels like a sister image to the Steak photo that started it all, back in October.

Now the challenge is to find a thread that connects my next dark image to the first two.

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Moab Paper Features D.A.Wagner Hand-Made Portfolio Case

Detail D.A.Wagner Portfolio

Detail - Slipcase and Top of Book. Click on photo above to see the whole story.

The folks over at Legion Paper, the parent company of Moab, took a liking to my hand-made portfolio and featured it on the Moab Facebook Fan page. Made with Ballistics cloth, Rayon and Japanese hand made fabric, the portfolio pages were printed on Moab Lasal Matte 235.

And, as nice as the detail photos look, the inside of the book is much prettier, it has my photography in it.

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Creativity is an Exploration

Production Photo from Scissor BIrds Portfolio Shot

Production Photo from Scissor Birds Portfolio Shot

The world of psychology was knocked upside down when, in 1979, Andy Meltzoff, tried something that had never been done: he stuck his tongue out at a 42 minute old baby. The baby, being a newborn, had no idea what a tongue was but somehow, through some deep inherited characteristic, she stuck her tongue out at Meltzoff in reply. (And where was it that I heard that newborn babies cannot see much?). According to developmental molecular biologist John Medina, in his book, “Brain Rules,” curiosity is one of the 12 principles he believes are necessary for surviving and thriving. Exploration is how how we learn to be creative. We do it by mimicking and testing the world around us. Monkey see, monkey do. And we do it literally from birth.

Little kids constantly test objects and boundaries to see what happens. Drop a cup of milk, throw a rock at a window, walk into a mud puddle when we’re told not to. It’s the way we learn. As we mature, we continue this process by taking on challenges, even risking life and limb, just to see what we can do or what will happen. In this particular case, it just comes down to soap and scissors.

During the early process of creating a portfolio of new work, I bought ten pounds of soap from Lush and some translucent Chinese takeout boxes, but this concept became something else when a half dozen hand-made scissors I bought the same day came into play. The soap was simply going to be an arrangement of pretty colors in the boxes but it didn’t work out and, in the end, we dropped the boxes. The images were not anything worth writing home about. Pedestrian at best.

Lush Soap arrangement

Lush Soap arrangement

During the shoot, my 18 year old daughter, who assists me when home from college, had thrown the scissors into the takeout containers and held them in front of the light table we were working on. We both thought that scissors as birds was the right concept but a nest didn’t appear until she brought the box to the light table. Like John Medina’s two year son (see the John Medina blog link above), my 18 year old daughter delighted in her find, as did I. The shot came together quickly with a loose piece of twine I pulled from a drawer and frayed the edges of a bit. The end result was a remarkable, clever image that we had not planned on. Like music, two minds, working in concert – one song.

Scissorbirds

Scissorbirds

It’s no wonder, when we add art directors, stylists, retouchers, and editors to the creative mix our work becomes more than sum of its parts.

Creativity is an exploration that happens within us. Creativity shared is exponentially more rewarding and exciting.

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Freelance Portfolio Magazine Launches

Inside spread of D.A.Wagner's work from Freelance Portfolio Magazine

Inside spread of D.A.Wagner's work from Freelance Portfolio Magazine

Yesterday afternoon, Greg Welch called me regarding a submission I made to his, about-to-be-launched, Freelance Portfolio Magazine, scheduled for December. He’d taken a look at the blog and felt there was something compelling about my comparisons of Mandelbrot’s fractals, NASA satellite imagery and my photographs of food. It struck a chord and we chatted a while about my past history with computers and special effects and, instead of my original submission, he asked to publish the images from the post. He mentioned that the launch was pushed up and he expected to put it up by today.

And he did. With my images included. I love the way it looks and Greg got me to thinking again about those visual relationships that somehow connect the very small to the very large. I spent most of my morning cruising through CERN, Fermilab and NASA, looking for more ways that that happens. Look for them in upcoming posts.

Thanks, Greg.

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Greenmarket in the Studio #6

Double, double toil and trouble; Fire, burn and caldron bubble.

Double, double toil and trouble; Fire, burn and caldron bubble.

A Chinese lady came up to me in the Union Square market last Monday morning, pointed down and asked, in broken English, how much? I don’t have a clue what gave her the idea I worked at this particular kiosk at the market, but it gave me pause to look down at a group of pumpkins with long, wild stems, as if they had been torn off the vine instead of cut. No prices.

Now, I wanted to know, too. How much? They were two bucks apiece. I took the three most interesting stems (almost more important than the pumpkins themselves) and bagged them so the stems didn’t break on the way back to the studio. Then, I stopped and told the lady how much they were, but she looked at me in a funny kind of way – I don’t think she understood me or, maybe she’d already gotten over her pumpkin jones.

Vicki says these pumpkins remind her of Shakespeare’s witches in Macbeth.

A dark Cave. In the middle, a Caldron boiling. Thunder. (Shakespeare)

Happy Halloween. (Not Shakespeare )

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Greenmarket in the Studio #5

Sweeping Leaves, Mustard Greens

Sweeping Leaves, Mustard Greens

Now that I’m moving onto this dark thing…

Black backgrounds are so completely different to shoot on. The black just wraps itself around the subject matter. Where white is wholesome, clean, crisp and elegant, and never loses my subject, black is erotic, deep, surrounding and foreboding (but not in a creepy kind of way), and can swallow my subject like a black hole.

Recently a friend asked if I was tired of shooting vegetables and the market. No, not really. It’s challenging to find the interesting and unusual in the familiar; it’s not always easy. And what I find fascinating is, there is a front and a back to these studio subjects that I am sure is not intentional, but purely by coincidence. The most involvement I have on set is getting the produce to stand up. With very few exceptions (like Green Market in the Studio #4), I don’t style. If a stem is broken or a leaf torn or eaten by a passing insect, I don’t retouch it. It’s about real food, just as I bought it. The only difference is, I shoot it before I eat it.

If you like arugula, broccoli rabe and bitter greens, you’ll love this very simple recipe for wilted mustard greens.

Wilted Mustard Greens

1 bunch of mustard greens (about a pound or a 2″ circumference of stalks when tied with a rubber band – that’s about what I had)

2 cloves of garlic pushed through a press

3 or 4 tablespoons of dashi (at about 1:5 dashi to water) or vegetable or chicken broth

1 tablespoon of olive oil

1 tablespoon of sesame oil

Okay, here’s how: Tear off the leaves from the stems and thick veins (and discard those guys)  and wash and dry them as you would lettuce. In a large frying pan or sauté pan heat up the olive oil on a medium/high heat and add the garlic and brown (about a minute). Add the dashi or broth to the pan and add the greens, tossing gently for about a minute or so (not much more, or you find it’s cooked down to nothing). Remove from the burner, drizzle on the sesame oil, add salt and pepper to taste and toss. Put it on a nice plate and eat. Serves 2 to 4, depending upon how much you love your greens.

And don’t forget to share.

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Greenmarket in the Studio #4A

3:24PM, 9/25/2009 - Outcast Bean

3:24PM, 9/25/2009 - Outcast Bean

As always, there are many ways to skin a cat (bad metaphor – I have two cats), or should I say capture a bean.

If there is any one piece of advice I can give about shooting in the studio, it’s don’t quit when you think you’ve got the shot. Hey, it’s digital. It’s not like you’re going to run out of film or rack up a huge lab bill. You’ve already done that by buying a nice digital camera. First, I cover the preliminary set with a point and shoot camera, then shoot until the set has been covered top to bottom, upside down and backwards. It’s quick, it’s easy and there are hidden ideas floating around that get overlooked when burdened with a tripod and tethered to my iMac capture workstation. Then I hook up the big guns and get down to business.

This anthropomorphic alternate to Greenmarket in the Studio #4 was influenced by another photographer’s bean image I have seen in an on line portfolio, but can’t remember who or where. That photo was a group of bean tips simply plated in geometric formation. Well done and quite beautiful, that image has stayed with me, but not the photographer’s name (sorry! Maybe you’ll read this and set the record straight).

Anyway, enough with the beans. What else is out there to shoot?

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Greenmarket in the Studio #4

3:04PM, 09/25/2009 - 3 Beans in a Bowl

3:04PM, 09/25/2009 - 3 Beans in a Bowl

Finally, my first Union Square produce photo shot in the new studio.

I was waiting to get settled before capturing these images of wax beans (crappy name, but that’s what the sign said), also known as yellow, heirloom or golden beans, and almost missed my chance. Except for the folks with the big ORGANIC banner, none of the vendors had them. Wax beans (yellow green beans as far as I’m concerned) have these really gorgeous yellow to green transitions at the tips. When I started to play around with the curved ones it looked like steam coming up from the bowl, so I went with it.  Maybe this will make it to the portfolio.

Who said legumes can’t be sexy…?

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Moving Day

Sugar Hot Peppers (Greenmarket in the Studio #3)

Sugar Hot Peppers (Greenmarket in the Studio #3)

I’ve spent the last 6 years working out of a small studio inside of Graphic Systems Group on Union Square. It’s been a good run, but now it’s time to move on to something a little more, well, studio like. So it’s out and down to 12th Street, just two blocks south of my favorite greenmarket, although the market at Grand Army Plaza on Prospect Park is a favorite, too. Oh, yeah, then there’s Chinatown, under the Manhattan Bridge (one of NYC’s best kept secrets), and the markets at Testaccio and Campo di Fiori. But Rome just isn’t a daily event, so I’ve got to pull in my reins here and get back to the topic of moving.

I’m working with old friends in a crisp new space, oddly named, Cheeky Little Monkey Studio. They’ve invited me to join them and I couldn’t turn down the offer.

I had to pick a day where we expect rain…

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Shooting from the Hip #14 & Greenmarket in the Studio #2

Which do you prefer?

3 Zucchini Flowers on white background

3 Zucchini Flowers on white background in the studio

Zucchini flowers on display at the union square market in NYC

7/31/09, 2:57PM - Zucchini flowers on display at the Union Square market in NYC

As I continue to shoot the Union Square Farmer’s (Green?) Market, I see a pattern. My studio work of Union Square produce over the past three years has clean crisp lines and, with a tip of the hat to Avedon, is shot unadorned with simple lighting.

On the other hand, the “as is, where is,” technique I use for the Shooting from the Hip series has an earthy, gritty look due, in part, to higher contrast curves and vignetting in post production.

One has the elegant, but not quite blemish-free, perfect look of food for advertising; the other is a raw, nearly random capture of food as it appears close up and personal, blemishes and all.

I like them both. Which do you prefer?

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