Archive for the ‘Awesome Shooting Locations’ Category

A few times a year, I force myself to leave the country. For me, it’s the four Rs: A chance to relax, reflect, refocus your energy, and remind yourself why you work so hard.

I spent a month in Kenya this spring, and two days after I hit the ground, I was on a bus to Masai Mara, the enormous wildlife reserve on the Kenya/Tanzania border. After all, what self-respecting photographer can pass up a chance to see the greatest animals on earth in their natural habitats?

I brought my Canon 5DII on this trip, as the Hassy proved much too bulky and inflexible for this scenario, and I was really happy with the Canon results on my Morocco trip last year. I was actually shocked to see that almost everyone on safari was shooting with small point-and-shoot digitals, save the always-prepared Japanese tourists.

My jeep driver, Lawi, was incredibly accommodating, and had an impeccable sense of timing. We spotted cheetahs chasing antelope, a family of lions taking down a buffalo, and huge, mind-blowing elephants—creatures so wildly beautiful the camera can’t even do them justice. Seeing a wild elephant up close (we were 6 ft away) makes you feel like you’re in Lord of the Rings…they are officially now my favorite animals on earth.

Index:
1: Storm on the Mara
3: Wildebeasts
8: Lilac-breasted Roller
11-13: Lions hunting & killing African buffalo
14: Masai Mara at sunset

I suppose it’s every photographer’s dream to travel the world and shoot someplace with crystal waters, perfect weather, and timeless architecture. So when the publisher of SHOW approached me about putting an international shoot together for rising-star-model Laura Doré, I was all too happy to suggest shooting in Italy.

I’ve found many excuses to travel to Italy over the last few years, starting with shooting Cities of the Underworld for History Channel in early 2008. Since then I’ve been back 6 times, and have made an effort to improve my Italian with each trip. Once the magazine concept was greenlit, I went immediately into producer mode.

The Amalfi Coast is world-famous for its scenic old-world ambiance as well as it’s breathtaking views. I knew we’d have no shortage of places to shoot, so I flew out a week before the rest of the team, scouted some hot spots, and secured lighting equipment in Rome (I was intent on re-creating a full-scale Slickforce-sized shoot, but there was no way I was going to bring all of my equipment from the US). Once the locations were secured, I flew out my best-of-the-best from LA, including make-up artist Gaby Ramos, hair stylist Al Ingram, lead assistant Christian Arias, and wardrobe stylist extraordinaire Diana Chan. I also hired assistants from Italy and London, all of whom I’d worked with on previous shoots in Europe, and a local driver complete with passenger van. We took over 7 cabanas in the small coastal town of Sorrento, where we lived for 5 days.

Once the massive logistics were out of the way, I could finally concentrate on the shoot. Since I had my usual gear, most of lighting setups didn’t vary much from the work I produce at home. What I’m most proud of, however, are the setups on the beaches of Capri. Capri is a small island—and there were no docks or piers to the beaches—so we put all the gear on motor-boats, and cruised as close as we could to the coast. Then we loaded the equipment onto inflatable rafts, jumped in the ocean, and literally towed the rafts to land, generators and all. This was simultaneously the hardest day we’ve ever had and the most fun and awe-inspiring shoot I’ve ever experienced.

And check out the setups. We had lights hanging off of rocks, ringflashes levitating over the sea, and even lit from moving boats! Christian knows I insist on shooting tethered (I loathe lighting to a camera LCD), so she developed rigs for floating my Firewire and laptop cables back to land, while we all did our jobs either perched on rocks or in the water. These shots make me laugh because my awesome crew is doing the same thing they do at home, only this time they’re in bathing suits and up to their navels in water. This is that shoot that every photographer lives for—the one you will never, ever forget.

Thanks to SHOW and Laura Doré for the opportunity of a lifetime, and to Christian Arias, Daniela Guerrero, Hayden Phoenix, Steven Feralio and J.P. Monittola for these amazing behind-the-scenes pics!

The land that time forgot.

On Friday morning, I was greeted by Clint Davis, the infamous art director of Import Tuner, who said he really wanted to show me someplace mind-blowing. And let me tell you, he wasn’t kidding! The Salton Sea is a wet dream for any photographer. A totally forgotten hole in the desert. Incredible!

Here are a few images, and my sincerest thanks to Mr. Davis (not to mention the 400-mile roundtrip drive. You are a beast, my friend!)

Pic #1: A demolished caravan.

Pic #3: A mechanical crane, which has been left to rot. I’ve never seen anything like it.

Pic #7: The coast of the Salt Lake is literally a fish cemetery—miles of skeletons as far as the eye can see.

Pic #9-10: An abandoned business south of Bombay Beach.

Pic #13-14: A bridge to nowhere. Madness.

Build Your Own Apocalypse.

I’ve always loved shooting in the desert. And after the real estate market tanked, I decided the time was right to buy my own plot of awesomeness. I have to admit, I felt like a kid getting his first Optimus Prime…I mean, there I was, in the middle of NOWHERE, staring up at the brightest stars you’ve ever seen, and I thought. Holy crap, I OWN this. So throughout 2009, the Slickforce crew and I towed out busted cars from the 1940s, old plane shells…we even set furniture on fire (FUN!)

We’ve shot 5 magazines out there since we opened it.  Now, I want to share it with everybody.

Enter Ultimate Graveyard, a 350-acre apocalyptic landscape available for your next film production or photo shoot.

This desert masterpiece features an auto graveyard, gutted plane shells, jacked-up furniture, rusted oil drums, and tumbleweeds as far as the eye can see. Picturesque railroad tracks sprawl across one edge of the property, and the 360º panaromic view showcases breathtaking horizons in all directions.

Best of all, Ultimate Graveyard is completely hidden from public view, so you’ll have total privacy during your shoot. Ultimate Graveyard in is the Mojave Desert—a little more than an hour from Los Angeles.

Ultimate Graveyard is available 24 hours a day, 7 days a week. Ask us about our student rates and independent-film discounts.

Visit http://www.UltimateGraveyard.com for more information and to book your next shoot!