Toothbrush Mob (one of my five original Hasselblad Masters entries)

The 2010 Hasselblad Masters, which, at some point later on, became the 2012 Hasselblad Masters because someone decided, midway through the competition, that the competition should take place every two years instead of annually, is finally over. I was competing against a field of highly talented shooters from around the world and I was certainly happy to have been selected at all, considering there were 2500 entrants. The published online magazine of finalists and winners is available at the Victor by Hasselblad site.

All in all, second place is pretty damn good when you consider all the amazing photographers I was competing with.

Thank you, Hasselblad and, to all the amazingly talented judges: Alex & Felix, Colin Prior, Efrem Raimondi, Joachim Ladefoged, Jonathan Roquemore, Mark Holthusen, Nina Berman, Ripley & Ripley, Thomas Gerwers, Xie Mo, Anne Geddes, Danqing Wen, Grant Scott, Joao Carlos, Lyle Owerko, Mark Zibert, Peter Bialobrzeski, Sean Conboy and Tim Flach. You have all humbled me by acknowledging my work.

Now, it’s off to Nippon Photo Clinic to pick up my beloved 20 year old Hassie ELX. It had an unhappy confrontation with my studio floor last week.

Production Still from Peeps shoot-2008

I just finished a three-and-a-half-week intensive program at SUNY’s Levin Institute called FastTrac NewVenture and boy, am I fried. It was a NYC sponsored class that, “helps entrepreneurs develop their skills needed to start, manage and grow a successful business.” Yes, I’ve been an entrepreneur, but no, I’ve never really made any plans, done much research, written any kind of business plan. Nothing. Just a seat-of-the-pants business approach to starting a business.

Wrong. All wrong.

Entrepreneurship (I learned how to spell that in class, too!) is so much more than starting a business. It’s not just about having a plan, it’s about having an exit strategy. It’s about putting your life into the equation and making sure you’ve researched the whole idea thoroughly, from how long you plan to work every day, to how it affects family, from competition to profitability and simply, whether or not the idea is feasible at all.

I may have relaunched my career a few years ago without much planning, but I still have time, so I’m going back to the drawing board. I’m starting by writing  a plan, having mentors and listening carefully to my advisors – yes, even advisors. I’m being watched very closely by my classmates and facilitators (the FastTrac terminology for instructor), as we will continue to keep in touch as our projects develop. Photography is a tough business. Making a startup plan isn’t a half bad idea.

Ah, if only I knew then what I know now. Hindsight is 20/20.

Detail of Chard in Wooden Box

Union Square Market, NYC – 9/5/2009, 10:50 AM

I’ve most likely walked through the Union Square market a thousand times, yet it wasn’t until I started shooting for this blog that I discovered a market rarely seen. It’s the vendors who, unknowingly, set up my photos, so it’s a wonder that anything works at all. In the end, it is a market filled with the commonplace caught in the random and uncommon act of being in the right place and right light at the right time when I come along. Truly, there is a familiarity to so much of what I see, it’s not unusual to wonder if anything I do today can be any different from yesterday or the day before.

There is an elegance to the much of the stationary world that goes unseen. It is hidden away, out of view simply because it is surrounded by comings and goings, tables and pavement, laughter and silence.

I’m humbled by what the market gives me for my patience. I sure hope she never gets bored with me.

Which do you prefer?

3 Zucchini Flowers on white background in the studio

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?

Which do you prefer?

3 Zucchini Flowers on white background in the studio

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?