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And the result?This is the key art for the new HBO limited series “Rooster” starring Steve Carell!Every element of this final artwork was shot separately and composed beautifully by the folks at @leroyandrose.

Steve Carell was photographed on a stage at @quixotestudios last August, the day after the show wrapped.We also photographed sixteen background extras as students all carrying various props (backpacks, skateboards, cups of coffee, etc.). And we photographed the streetlamps, fall leaves on the ground, park benches and banner poles in the studio.

Then we needed to capture fall trees and college campus background plates, which had to be photographed at the same location where the series had been shot.

We sent the intrepid @lensluthor to the University of the Pacific in September to shoot and map the buildings so that I could travel up to UOP in the fall and know which buildings had to be photographed at the right time of day to match the early-morning-backlit-in-the-fall lighting look we had created in the studio.

So…for a drizzly 48 hours in November, digital tech @evlasic and I flew up to Stockton and hunted for trees with fall leaves, brick buildings, bell towers and a little bit of warm, backlit sunshine, after setting up shop on a couple of garbage bins.

Thank yous, bravos and cudos are due to everyone who worked on this project (and who weren’t shouted out in the previous post).

@lizlangproduction and the crew she put together for making it all happen so seamlessly!

@citizen_of_the_universe and @reevesm2 from @leroyandrose for carefully and methodically shaping and finishing the creative.

@danaflax, #erindenniston, @paris.aliyazdi and @craigcalefate from HBO who were so supportive and open to my creative suggestions.

And many thanks to #stevecarell who was such a willing subject and kept pushing his look to capture the essence of the character.Coincidentally, Steve brought that same commitment to the movie poster for “The 40 Year Old Virgin” that he and I collaborated on 20 years and four months before we worked on “Rooster” together last August.

@hob @hbomax @humorme #rooster #stevecarell

And the result?This is the key art for the new HBO limited series “Rooster” starring Steve Carell!Every element of this final artwork was shot separately and composed beautifully by the folks at @leroyandrose.

Steve Carell was photographed on a stage at @quixotestudios last August, the day after the show wrapped.We also photographed sixteen background extras as students all carrying various props (backpacks, skateboards, cups of coffee, etc.). And we photographed the streetlamps, fall leaves on the ground, park benches and banner poles in the studio.

Then we needed to capture fall trees and college campus background plates, which had to be photographed at the same location where the series had been shot.

We sent the intrepid @lensluthor to the University of the Pacific in September to shoot and map the buildings so that I could travel up to UOP in the fall and know which buildings had to be photographed at the right time of day to match the early-morning-backlit-in-the-fall lighting look we had created in the studio.

So…for a drizzly 48 hours in November, digital tech @evlasic and I flew up to Stockton and hunted for trees with fall leaves, brick buildings, bell towers and a little bit of warm, backlit sunshine, after setting up shop on a couple of garbage bins.

Thank yous, bravos and cudos are due to everyone who worked on this project (and who weren’t shouted out in the previous post).

@lizlangproduction and the crew she put together for making it all happen so seamlessly!

@citizen_of_the_universe and @reevesm2 from @leroyandrose for carefully and methodically shaping and finishing the creative.

@danaflax, #erindenniston, @paris.aliyazdi and @craigcalefate from HBO who were so supportive and open to my creative suggestions.

And many thanks to #stevecarell who was such a willing subject and kept pushing his look to capture the essence of the character.Coincidentally, Steve brought that same commitment to the movie poster for “The 40 Year Old Virgin” that he and I collaborated on 20 years and four months before we worked on “Rooster” together last August.

@hob @hbomax @humorme #rooster #stevecarell

And the result?This is the key art for the new HBO limited series “Rooster” starring Steve Carell!Every element of this final artwork was shot separately and composed beautifully by the folks at @leroyandrose.

Steve Carell was photographed on a stage at @quixotestudios last August, the day after the show wrapped.We also photographed sixteen background extras as students all carrying various props (backpacks, skateboards, cups of coffee, etc.). And we photographed the streetlamps, fall leaves on the ground, park benches and banner poles in the studio.

Then we needed to capture fall trees and college campus background plates, which had to be photographed at the same location where the series had been shot.

We sent the intrepid @lensluthor to the University of the Pacific in September to shoot and map the buildings so that I could travel up to UOP in the fall and know which buildings had to be photographed at the right time of day to match the early-morning-backlit-in-the-fall lighting look we had created in the studio.

So…for a drizzly 48 hours in November, digital tech @evlasic and I flew up to Stockton and hunted for trees with fall leaves, brick buildings, bell towers and a little bit of warm, backlit sunshine, after setting up shop on a couple of garbage bins.

Thank yous, bravos and cudos are due to everyone who worked on this project (and who weren’t shouted out in the previous post).

@lizlangproduction and the crew she put together for making it all happen so seamlessly!

@citizen_of_the_universe and @reevesm2 from @leroyandrose for carefully and methodically shaping and finishing the creative.

@danaflax, #erindenniston, @paris.aliyazdi and @craigcalefate from HBO who were so supportive and open to my creative suggestions.

And many thanks to #stevecarell who was such a willing subject and kept pushing his look to capture the essence of the character.Coincidentally, Steve brought that same commitment to the movie poster for “The 40 Year Old Virgin” that he and I collaborated on 20 years and four months before we worked on “Rooster” together last August.

@hob @hbomax @humorme #rooster #stevecarell

And the result?This is the key art for the new HBO limited series “Rooster” starring Steve Carell!Every element of this final artwork was shot separately and composed beautifully by the folks at @leroyandrose.

Steve Carell was photographed on a stage at @quixotestudios last August, the day after the show wrapped.We also photographed sixteen background extras as students all carrying various props (backpacks, skateboards, cups of coffee, etc.). And we photographed the streetlamps, fall leaves on the ground, park benches and banner poles in the studio.

Then we needed to capture fall trees and college campus background plates, which had to be photographed at the same location where the series had been shot.

We sent the intrepid @lensluthor to the University of the Pacific in September to shoot and map the buildings so that I could travel up to UOP in the fall and know which buildings had to be photographed at the right time of day to match the early-morning-backlit-in-the-fall lighting look we had created in the studio.

So…for a drizzly 48 hours in November, digital tech @evlasic and I flew up to Stockton and hunted for trees with fall leaves, brick buildings, bell towers and a little bit of warm, backlit sunshine, after setting up shop on a couple of garbage bins.

Thank yous, bravos and cudos are due to everyone who worked on this project (and who weren’t shouted out in the previous post).

@lizlangproduction and the crew she put together for making it all happen so seamlessly!

@citizen_of_the_universe and @reevesm2 from @leroyandrose for carefully and methodically shaping and finishing the creative.

@danaflax, #erindenniston, @paris.aliyazdi and @craigcalefate from HBO who were so supportive and open to my creative suggestions.

And many thanks to #stevecarell who was such a willing subject and kept pushing his look to capture the essence of the character.Coincidentally, Steve brought that same commitment to the movie poster for “The 40 Year Old Virgin” that he and I collaborated on 20 years and four months before we worked on “Rooster” together last August.

@hob @hbomax @humorme #rooster #stevecarell

And the result?This is the key art for the new HBO limited series “Rooster” starring Steve Carell!Every element of this final artwork was shot separately and composed beautifully by the folks at @leroyandrose.

Steve Carell was photographed on a stage at @quixotestudios last August, the day after the show wrapped.We also photographed sixteen background extras as students all carrying various props (backpacks, skateboards, cups of coffee, etc.). And we photographed the streetlamps, fall leaves on the ground, park benches and banner poles in the studio.

Then we needed to capture fall trees and college campus background plates, which had to be photographed at the same location where the series had been shot.

We sent the intrepid @lensluthor to the University of the Pacific in September to shoot and map the buildings so that I could travel up to UOP in the fall and know which buildings had to be photographed at the right time of day to match the early-morning-backlit-in-the-fall lighting look we had created in the studio.

So…for a drizzly 48 hours in November, digital tech @evlasic and I flew up to Stockton and hunted for trees with fall leaves, brick buildings, bell towers and a little bit of warm, backlit sunshine, after setting up shop on a couple of garbage bins.

Thank yous, bravos and cudos are due to everyone who worked on this project (and who weren’t shouted out in the previous post).

@lizlangproduction and the crew she put together for making it all happen so seamlessly!

@citizen_of_the_universe and @reevesm2 from @leroyandrose for carefully and methodically shaping and finishing the creative.

@danaflax, #erindenniston, @paris.aliyazdi and @craigcalefate from HBO who were so supportive and open to my creative suggestions.

And many thanks to #stevecarell who was such a willing subject and kept pushing his look to capture the essence of the character.Coincidentally, Steve brought that same commitment to the movie poster for “The 40 Year Old Virgin” that he and I collaborated on 20 years and four months before we worked on “Rooster” together last August.

@hob @hbomax @humorme #rooster #stevecarell

And the result?This is the key art for the new HBO limited series “Rooster” starring Steve Carell!Every element of this final artwork was shot separately and composed beautifully by the folks at @leroyandrose.

Steve Carell was photographed on a stage at @quixotestudios last August, the day after the show wrapped.We also photographed sixteen background extras as students all carrying various props (backpacks, skateboards, cups of coffee, etc.). And we photographed the streetlamps, fall leaves on the ground, park benches and banner poles in the studio.

Then we needed to capture fall trees and college campus background plates, which had to be photographed at the same location where the series had been shot.

We sent the intrepid @lensluthor to the University of the Pacific in September to shoot and map the buildings so that I could travel up to UOP in the fall and know which buildings had to be photographed at the right time of day to match the early-morning-backlit-in-the-fall lighting look we had created in the studio.

So…for a drizzly 48 hours in November, digital tech @evlasic and I flew up to Stockton and hunted for trees with fall leaves, brick buildings, bell towers and a little bit of warm, backlit sunshine, after setting up shop on a couple of garbage bins.

Thank yous, bravos and cudos are due to everyone who worked on this project (and who weren’t shouted out in the previous post).

@lizlangproduction and the crew she put together for making it all happen so seamlessly!

@citizen_of_the_universe and @reevesm2 from @leroyandrose for carefully and methodically shaping and finishing the creative.

@danaflax, #erindenniston, @paris.aliyazdi and @craigcalefate from HBO who were so supportive and open to my creative suggestions.

And many thanks to #stevecarell who was such a willing subject and kept pushing his look to capture the essence of the character.Coincidentally, Steve brought that same commitment to the movie poster for “The 40 Year Old Virgin” that he and I collaborated on 20 years and four months before we worked on “Rooster” together last August.

@hob @hbomax @humorme #rooster #stevecarell

And the result?This is the key art for the new HBO limited series “Rooster” starring Steve Carell!Every element of this final artwork was shot separately and composed beautifully by the folks at @leroyandrose.

Steve Carell was photographed on a stage at @quixotestudios last August, the day after the show wrapped.We also photographed sixteen background extras as students all carrying various props (backpacks, skateboards, cups of coffee, etc.). And we photographed the streetlamps, fall leaves on the ground, park benches and banner poles in the studio.

Then we needed to capture fall trees and college campus background plates, which had to be photographed at the same location where the series had been shot.

We sent the intrepid @lensluthor to the University of the Pacific in September to shoot and map the buildings so that I could travel up to UOP in the fall and know which buildings had to be photographed at the right time of day to match the early-morning-backlit-in-the-fall lighting look we had created in the studio.

So…for a drizzly 48 hours in November, digital tech @evlasic and I flew up to Stockton and hunted for trees with fall leaves, brick buildings, bell towers and a little bit of warm, backlit sunshine, after setting up shop on a couple of garbage bins.

Thank yous, bravos and cudos are due to everyone who worked on this project (and who weren’t shouted out in the previous post).

@lizlangproduction and the crew she put together for making it all happen so seamlessly!

@citizen_of_the_universe and @reevesm2 from @leroyandrose for carefully and methodically shaping and finishing the creative.

@danaflax, #erindenniston, @paris.aliyazdi and @craigcalefate from HBO who were so supportive and open to my creative suggestions.

And many thanks to #stevecarell who was such a willing subject and kept pushing his look to capture the essence of the character.Coincidentally, Steve brought that same commitment to the movie poster for “The 40 Year Old Virgin” that he and I collaborated on 20 years and four months before we worked on “Rooster” together last August.

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

It’s been a long time since we rock and rolled and I’ve got A LOT to post.Let’s start with a shoot from last August for “Rooster,” the new, limited series on HBO starring Steve Carell!

What an amazing, professional experience to work with the folks at HBO, Leroy & Rose and Liz Lang Productions.From concepting to the shoot day to the finishing of the final artwork, every aspect of this project was handled thoughtfully, effectively and efficiently which maximized the creative.

We shot into three concepts, all of which involved Carell’s character, an author who is roped into teaching at a small, liberal arts college in the Northeast, walking / running / being carried down a campus mall / promenade.

So we had to create a daylight look that evoked a fall morning & could transition into late afternoon.And Carell had to be MOVING, so the light needed to carry and travel.

That’s where @jtergo comes in.JT mounted a @profoto bitube head with a white P50 dish modifier (and a sheet of ½ CTStraw to warm up the scene) on a scissor lift and “made” the sun, which we raised and lowered for our early morning and later afternoon primary back light options.

Then the rest of the A-Team; @evanmulling @anthonyavellano @samanassefi and intern @estudiosolozano.co, put up 6 @elinchrom_limited octobanks (all bitubes) as the “ambient” daylight.

When I realized we needed a bit of shape for our talent I asked JT to figure out a way for a beauty dish to travel as Carell moved down the path.So JT rigged a beauty dish to a 20’ speed rail and @anthonyavellano pulled it along the rail with a rope. Voila!

The @edmurphy_setdesign team brought in the “pavement”, fall leaves, streetlamps, park benches and banner poles which we photographed as background plates.

Finally, digital tech extraordinaire @evlasic and I traveled to the UOP campus in Stockton CA, where the show’s exteriors were shot, to photograph background plates of the buildings and fall leaves…where we set up shop on a couple of garbage bins.

Please see next post for the results and more insights!

@hob @hbomax @humorme #rooster #stevecarell

From the fall of 1989 thru the fall of 1993 @glyniscostin and I were the co-Bureau Chiefs in the Milan office of Women’s Wear Daily and W Magazine.Our “beat” was the world of Italian fashion…and just about everything else of cultural note from the Alps in the north to the boot and Sicily in the south.

Our daily work life consisted of covering the houses of Armani, Versace, Ferre, Krizia, Missoni, (all in Northern Italy) and…Valentino in Rome.

Valentino Garavani was the last of the great European designers of that era and better known as “The Emperor”. (Check out Matt Tyrnauer’s documentary: “Valentino: The Last Emperor” to understand Valentino’s place in the firmament.

To quote GC’s post, “He was a true perfectionist who love beautiful things, beautiful women and beautiful clothes - and of course, his signature color, red.He was a true gentleman and seemed almost…royal.It was not uncommon to find attendants spraying fragrance throughout his Rome headquarters (atelier, offices and home)…and you would often hear the ‘click-clack’ of his beloved pugs’ toenails on the villa’s marble floors.”

What’s additionally remarkable to me as I look back at these portraits is how they were made; on film, one light, no lights, no assistants, no fuss.GC did the interviews and I made the portraits.We had access and we had time with our subjects.And we were often invited to stay, sit and eat…to be served lunch by white-gloved staff.Offers we simply could NOT refuse.

Thank you @realmrvalentino for being so consistently willing, regal and elegant.

And thank you to @carlossouza1311, @noonasmithpetersen and @ginacarlogiametti for sharing Mr. Valentino with us.

NOTE:Scroll to see young pup journalists with Mr. Valentino AND one of my favorite Oscar backstage moments with Julia Roberts and her Oscar in 2001 wearing custom Valentino Couture.

From the fall of 1989 thru the fall of 1993 @glyniscostin and I were the co-Bureau Chiefs in the Milan office of Women’s Wear Daily and W Magazine.Our “beat” was the world of Italian fashion…and just about everything else of cultural note from the Alps in the north to the boot and Sicily in the south.

Our daily work life consisted of covering the houses of Armani, Versace, Ferre, Krizia, Missoni, (all in Northern Italy) and…Valentino in Rome.

Valentino Garavani was the last of the great European designers of that era and better known as “The Emperor”. (Check out Matt Tyrnauer’s documentary: “Valentino: The Last Emperor” to understand Valentino’s place in the firmament.

To quote GC’s post, “He was a true perfectionist who love beautiful things, beautiful women and beautiful clothes - and of course, his signature color, red.He was a true gentleman and seemed almost…royal.It was not uncommon to find attendants spraying fragrance throughout his Rome headquarters (atelier, offices and home)…and you would often hear the ‘click-clack’ of his beloved pugs’ toenails on the villa’s marble floors.”

What’s additionally remarkable to me as I look back at these portraits is how they were made; on film, one light, no lights, no assistants, no fuss.GC did the interviews and I made the portraits.We had access and we had time with our subjects.And we were often invited to stay, sit and eat…to be served lunch by white-gloved staff.Offers we simply could NOT refuse.

Thank you @realmrvalentino for being so consistently willing, regal and elegant.

And thank you to @carlossouza1311, @noonasmithpetersen and @ginacarlogiametti for sharing Mr. Valentino with us.

NOTE:Scroll to see young pup journalists with Mr. Valentino AND one of my favorite Oscar backstage moments with Julia Roberts and her Oscar in 2001 wearing custom Valentino Couture.

From the fall of 1989 thru the fall of 1993 @glyniscostin and I were the co-Bureau Chiefs in the Milan office of Women’s Wear Daily and W Magazine.Our “beat” was the world of Italian fashion…and just about everything else of cultural note from the Alps in the north to the boot and Sicily in the south.

Our daily work life consisted of covering the houses of Armani, Versace, Ferre, Krizia, Missoni, (all in Northern Italy) and…Valentino in Rome.

Valentino Garavani was the last of the great European designers of that era and better known as “The Emperor”. (Check out Matt Tyrnauer’s documentary: “Valentino: The Last Emperor” to understand Valentino’s place in the firmament.

To quote GC’s post, “He was a true perfectionist who love beautiful things, beautiful women and beautiful clothes - and of course, his signature color, red.He was a true gentleman and seemed almost…royal.It was not uncommon to find attendants spraying fragrance throughout his Rome headquarters (atelier, offices and home)…and you would often hear the ‘click-clack’ of his beloved pugs’ toenails on the villa’s marble floors.”

What’s additionally remarkable to me as I look back at these portraits is how they were made; on film, one light, no lights, no assistants, no fuss.GC did the interviews and I made the portraits.We had access and we had time with our subjects.And we were often invited to stay, sit and eat…to be served lunch by white-gloved staff.Offers we simply could NOT refuse.

Thank you @realmrvalentino for being so consistently willing, regal and elegant.

And thank you to @carlossouza1311, @noonasmithpetersen and @ginacarlogiametti for sharing Mr. Valentino with us.

NOTE:Scroll to see young pup journalists with Mr. Valentino AND one of my favorite Oscar backstage moments with Julia Roberts and her Oscar in 2001 wearing custom Valentino Couture.

From the fall of 1989 thru the fall of 1993 @glyniscostin and I were the co-Bureau Chiefs in the Milan office of Women’s Wear Daily and W Magazine.Our “beat” was the world of Italian fashion…and just about everything else of cultural note from the Alps in the north to the boot and Sicily in the south.

Our daily work life consisted of covering the houses of Armani, Versace, Ferre, Krizia, Missoni, (all in Northern Italy) and…Valentino in Rome.

Valentino Garavani was the last of the great European designers of that era and better known as “The Emperor”. (Check out Matt Tyrnauer’s documentary: “Valentino: The Last Emperor” to understand Valentino’s place in the firmament.

To quote GC’s post, “He was a true perfectionist who love beautiful things, beautiful women and beautiful clothes - and of course, his signature color, red.He was a true gentleman and seemed almost…royal.It was not uncommon to find attendants spraying fragrance throughout his Rome headquarters (atelier, offices and home)…and you would often hear the ‘click-clack’ of his beloved pugs’ toenails on the villa’s marble floors.”

What’s additionally remarkable to me as I look back at these portraits is how they were made; on film, one light, no lights, no assistants, no fuss.GC did the interviews and I made the portraits.We had access and we had time with our subjects.And we were often invited to stay, sit and eat…to be served lunch by white-gloved staff.Offers we simply could NOT refuse.

Thank you @realmrvalentino for being so consistently willing, regal and elegant.

And thank you to @carlossouza1311, @noonasmithpetersen and @ginacarlogiametti for sharing Mr. Valentino with us.

NOTE:Scroll to see young pup journalists with Mr. Valentino AND one of my favorite Oscar backstage moments with Julia Roberts and her Oscar in 2001 wearing custom Valentino Couture.

From the fall of 1989 thru the fall of 1993 @glyniscostin and I were the co-Bureau Chiefs in the Milan office of Women’s Wear Daily and W Magazine.Our “beat” was the world of Italian fashion…and just about everything else of cultural note from the Alps in the north to the boot and Sicily in the south.

Our daily work life consisted of covering the houses of Armani, Versace, Ferre, Krizia, Missoni, (all in Northern Italy) and…Valentino in Rome.

Valentino Garavani was the last of the great European designers of that era and better known as “The Emperor”. (Check out Matt Tyrnauer’s documentary: “Valentino: The Last Emperor” to understand Valentino’s place in the firmament.

To quote GC’s post, “He was a true perfectionist who love beautiful things, beautiful women and beautiful clothes - and of course, his signature color, red.He was a true gentleman and seemed almost…royal.It was not uncommon to find attendants spraying fragrance throughout his Rome headquarters (atelier, offices and home)…and you would often hear the ‘click-clack’ of his beloved pugs’ toenails on the villa’s marble floors.”

What’s additionally remarkable to me as I look back at these portraits is how they were made; on film, one light, no lights, no assistants, no fuss.GC did the interviews and I made the portraits.We had access and we had time with our subjects.And we were often invited to stay, sit and eat…to be served lunch by white-gloved staff.Offers we simply could NOT refuse.

Thank you @realmrvalentino for being so consistently willing, regal and elegant.

And thank you to @carlossouza1311, @noonasmithpetersen and @ginacarlogiametti for sharing Mr. Valentino with us.

NOTE:Scroll to see young pup journalists with Mr. Valentino AND one of my favorite Oscar backstage moments with Julia Roberts and her Oscar in 2001 wearing custom Valentino Couture.

From the fall of 1989 thru the fall of 1993 @glyniscostin and I were the co-Bureau Chiefs in the Milan office of Women’s Wear Daily and W Magazine.Our “beat” was the world of Italian fashion…and just about everything else of cultural note from the Alps in the north to the boot and Sicily in the south.

Our daily work life consisted of covering the houses of Armani, Versace, Ferre, Krizia, Missoni, (all in Northern Italy) and…Valentino in Rome.

Valentino Garavani was the last of the great European designers of that era and better known as “The Emperor”. (Check out Matt Tyrnauer’s documentary: “Valentino: The Last Emperor” to understand Valentino’s place in the firmament.

To quote GC’s post, “He was a true perfectionist who love beautiful things, beautiful women and beautiful clothes - and of course, his signature color, red.He was a true gentleman and seemed almost…royal.It was not uncommon to find attendants spraying fragrance throughout his Rome headquarters (atelier, offices and home)…and you would often hear the ‘click-clack’ of his beloved pugs’ toenails on the villa’s marble floors.”

What’s additionally remarkable to me as I look back at these portraits is how they were made; on film, one light, no lights, no assistants, no fuss.GC did the interviews and I made the portraits.We had access and we had time with our subjects.And we were often invited to stay, sit and eat…to be served lunch by white-gloved staff.Offers we simply could NOT refuse.

Thank you @realmrvalentino for being so consistently willing, regal and elegant.

And thank you to @carlossouza1311, @noonasmithpetersen and @ginacarlogiametti for sharing Mr. Valentino with us.

NOTE:Scroll to see young pup journalists with Mr. Valentino AND one of my favorite Oscar backstage moments with Julia Roberts and her Oscar in 2001 wearing custom Valentino Couture.

From the fall of 1989 thru the fall of 1993 @glyniscostin and I were the co-Bureau Chiefs in the Milan office of Women’s Wear Daily and W Magazine.Our “beat” was the world of Italian fashion…and just about everything else of cultural note from the Alps in the north to the boot and Sicily in the south.

Our daily work life consisted of covering the houses of Armani, Versace, Ferre, Krizia, Missoni, (all in Northern Italy) and…Valentino in Rome.

Valentino Garavani was the last of the great European designers of that era and better known as “The Emperor”. (Check out Matt Tyrnauer’s documentary: “Valentino: The Last Emperor” to understand Valentino’s place in the firmament.

To quote GC’s post, “He was a true perfectionist who love beautiful things, beautiful women and beautiful clothes - and of course, his signature color, red.He was a true gentleman and seemed almost…royal.It was not uncommon to find attendants spraying fragrance throughout his Rome headquarters (atelier, offices and home)…and you would often hear the ‘click-clack’ of his beloved pugs’ toenails on the villa’s marble floors.”

What’s additionally remarkable to me as I look back at these portraits is how they were made; on film, one light, no lights, no assistants, no fuss.GC did the interviews and I made the portraits.We had access and we had time with our subjects.And we were often invited to stay, sit and eat…to be served lunch by white-gloved staff.Offers we simply could NOT refuse.

Thank you @realmrvalentino for being so consistently willing, regal and elegant.

And thank you to @carlossouza1311, @noonasmithpetersen and @ginacarlogiametti for sharing Mr. Valentino with us.

NOTE:Scroll to see young pup journalists with Mr. Valentino AND one of my favorite Oscar backstage moments with Julia Roberts and her Oscar in 2001 wearing custom Valentino Couture.

From the fall of 1989 thru the fall of 1993 @glyniscostin and I were the co-Bureau Chiefs in the Milan office of Women’s Wear Daily and W Magazine.Our “beat” was the world of Italian fashion…and just about everything else of cultural note from the Alps in the north to the boot and Sicily in the south.

Our daily work life consisted of covering the houses of Armani, Versace, Ferre, Krizia, Missoni, (all in Northern Italy) and…Valentino in Rome.

Valentino Garavani was the last of the great European designers of that era and better known as “The Emperor”. (Check out Matt Tyrnauer’s documentary: “Valentino: The Last Emperor” to understand Valentino’s place in the firmament.

To quote GC’s post, “He was a true perfectionist who love beautiful things, beautiful women and beautiful clothes - and of course, his signature color, red.He was a true gentleman and seemed almost…royal.It was not uncommon to find attendants spraying fragrance throughout his Rome headquarters (atelier, offices and home)…and you would often hear the ‘click-clack’ of his beloved pugs’ toenails on the villa’s marble floors.”

What’s additionally remarkable to me as I look back at these portraits is how they were made; on film, one light, no lights, no assistants, no fuss.GC did the interviews and I made the portraits.We had access and we had time with our subjects.And we were often invited to stay, sit and eat…to be served lunch by white-gloved staff.Offers we simply could NOT refuse.

Thank you @realmrvalentino for being so consistently willing, regal and elegant.

And thank you to @carlossouza1311, @noonasmithpetersen and @ginacarlogiametti for sharing Mr. Valentino with us.

NOTE:Scroll to see young pup journalists with Mr. Valentino AND one of my favorite Oscar backstage moments with Julia Roberts and her Oscar in 2001 wearing custom Valentino Couture.

And the result?Yuletide Snoop!This is the key art and publicity for the Christmas Day Game 2 Netflix NFL Half Time Party hosted by Snoop Dogg!

We photographed Snoop on the Tuesday after Thanksgiving as he made the fantastic promotional ad for the Halftime show, directed by @gregoryohrel and produced by the folks at @doomsdayent.

For NFL fans… As of the 2025 season, there have been 35 Christmas Day games in the NFL’s history, all broadcast nationally.Yesterday, Snoop performed during halftime in Minnesota where the Vikings hosted the Lions.The Vikings vs. Lions rivalry has been played 129 times, with the Minnesota Vikings winning 82 games and the Detroit Lions winning 45 games. They have also tied 2 times.And…the Vikings are 2-3 on Christmas Day, while the Lions are 0-3 on Christmas Day.Snoop is 1-0 on Christmas Day.

For PhotoDorks… First, we photographed Snoop with a variety of props on a grey set using a 12x12 day gray muslin as the backdrop. (Canon EOS R5-2 / ISO 400 / 1/160th @ F8.)

The bulk of the TV commercial was shot on a beautiful living room set where we also had to photograph The Dogg in two different locations. We spent a good part of the pre-light day figuring out how best to drag in the motion team’s ambient light on the living room set and supplement with our strobes.

But on the shoot day the schedule got SO tight that we didn’t have time to bring in our supplemental strobes for one of the set ups - so we called an audible and shot Snoop in the living room chair using ONLY the beautiful light created by the motion team, which they kindly tweaked IN THE MOMENT to our specs. (Canon EOS R5-2 / ISO 640 / 1/50th @ F3.5)

The bottom line…on these kinds of shoots, especially when talent is shooting on-air promos and/or EPK and digital/social assets, our team has to be OPTIMALLY PREPARED and OPTIMALLY FLEXIBLE.

Holiday thank yous to the Netflix folks: @thekace, who brilliantly creatively produced this project, @dam_world who was working the schedule like a pro and our creative leader Jean Tanis.

@snoopdogg @netflixsports @vikings @nfl

And the result?Yuletide Snoop!This is the key art and publicity for the Christmas Day Game 2 Netflix NFL Half Time Party hosted by Snoop Dogg!

We photographed Snoop on the Tuesday after Thanksgiving as he made the fantastic promotional ad for the Halftime show, directed by @gregoryohrel and produced by the folks at @doomsdayent.

For NFL fans… As of the 2025 season, there have been 35 Christmas Day games in the NFL’s history, all broadcast nationally.Yesterday, Snoop performed during halftime in Minnesota where the Vikings hosted the Lions.The Vikings vs. Lions rivalry has been played 129 times, with the Minnesota Vikings winning 82 games and the Detroit Lions winning 45 games. They have also tied 2 times.And…the Vikings are 2-3 on Christmas Day, while the Lions are 0-3 on Christmas Day.Snoop is 1-0 on Christmas Day.

For PhotoDorks… First, we photographed Snoop with a variety of props on a grey set using a 12x12 day gray muslin as the backdrop. (Canon EOS R5-2 / ISO 400 / 1/160th @ F8.)

The bulk of the TV commercial was shot on a beautiful living room set where we also had to photograph The Dogg in two different locations. We spent a good part of the pre-light day figuring out how best to drag in the motion team’s ambient light on the living room set and supplement with our strobes.

But on the shoot day the schedule got SO tight that we didn’t have time to bring in our supplemental strobes for one of the set ups - so we called an audible and shot Snoop in the living room chair using ONLY the beautiful light created by the motion team, which they kindly tweaked IN THE MOMENT to our specs. (Canon EOS R5-2 / ISO 640 / 1/50th @ F3.5)

The bottom line…on these kinds of shoots, especially when talent is shooting on-air promos and/or EPK and digital/social assets, our team has to be OPTIMALLY PREPARED and OPTIMALLY FLEXIBLE.

Holiday thank yous to the Netflix folks: @thekace, who brilliantly creatively produced this project, @dam_world who was working the schedule like a pro and our creative leader Jean Tanis.

@snoopdogg @netflixsports @vikings @nfl

And the result?Yuletide Snoop!This is the key art and publicity for the Christmas Day Game 2 Netflix NFL Half Time Party hosted by Snoop Dogg!

We photographed Snoop on the Tuesday after Thanksgiving as he made the fantastic promotional ad for the Halftime show, directed by @gregoryohrel and produced by the folks at @doomsdayent.

For NFL fans… As of the 2025 season, there have been 35 Christmas Day games in the NFL’s history, all broadcast nationally.Yesterday, Snoop performed during halftime in Minnesota where the Vikings hosted the Lions.The Vikings vs. Lions rivalry has been played 129 times, with the Minnesota Vikings winning 82 games and the Detroit Lions winning 45 games. They have also tied 2 times.And…the Vikings are 2-3 on Christmas Day, while the Lions are 0-3 on Christmas Day.Snoop is 1-0 on Christmas Day.

For PhotoDorks… First, we photographed Snoop with a variety of props on a grey set using a 12x12 day gray muslin as the backdrop. (Canon EOS R5-2 / ISO 400 / 1/160th @ F8.)

The bulk of the TV commercial was shot on a beautiful living room set where we also had to photograph The Dogg in two different locations. We spent a good part of the pre-light day figuring out how best to drag in the motion team’s ambient light on the living room set and supplement with our strobes.

But on the shoot day the schedule got SO tight that we didn’t have time to bring in our supplemental strobes for one of the set ups - so we called an audible and shot Snoop in the living room chair using ONLY the beautiful light created by the motion team, which they kindly tweaked IN THE MOMENT to our specs. (Canon EOS R5-2 / ISO 640 / 1/50th @ F3.5)

The bottom line…on these kinds of shoots, especially when talent is shooting on-air promos and/or EPK and digital/social assets, our team has to be OPTIMALLY PREPARED and OPTIMALLY FLEXIBLE.

Holiday thank yous to the Netflix folks: @thekace, who brilliantly creatively produced this project, @dam_world who was working the schedule like a pro and our creative leader Jean Tanis.

@snoopdogg @netflixsports @vikings @nfl

And the result?Yuletide Snoop!This is the key art and publicity for the Christmas Day Game 2 Netflix NFL Half Time Party hosted by Snoop Dogg!

We photographed Snoop on the Tuesday after Thanksgiving as he made the fantastic promotional ad for the Halftime show, directed by @gregoryohrel and produced by the folks at @doomsdayent.

For NFL fans… As of the 2025 season, there have been 35 Christmas Day games in the NFL’s history, all broadcast nationally.Yesterday, Snoop performed during halftime in Minnesota where the Vikings hosted the Lions.The Vikings vs. Lions rivalry has been played 129 times, with the Minnesota Vikings winning 82 games and the Detroit Lions winning 45 games. They have also tied 2 times.And…the Vikings are 2-3 on Christmas Day, while the Lions are 0-3 on Christmas Day.Snoop is 1-0 on Christmas Day.

For PhotoDorks… First, we photographed Snoop with a variety of props on a grey set using a 12x12 day gray muslin as the backdrop. (Canon EOS R5-2 / ISO 400 / 1/160th @ F8.)

The bulk of the TV commercial was shot on a beautiful living room set where we also had to photograph The Dogg in two different locations. We spent a good part of the pre-light day figuring out how best to drag in the motion team’s ambient light on the living room set and supplement with our strobes.

But on the shoot day the schedule got SO tight that we didn’t have time to bring in our supplemental strobes for one of the set ups - so we called an audible and shot Snoop in the living room chair using ONLY the beautiful light created by the motion team, which they kindly tweaked IN THE MOMENT to our specs. (Canon EOS R5-2 / ISO 640 / 1/50th @ F3.5)

The bottom line…on these kinds of shoots, especially when talent is shooting on-air promos and/or EPK and digital/social assets, our team has to be OPTIMALLY PREPARED and OPTIMALLY FLEXIBLE.

Holiday thank yous to the Netflix folks: @thekace, who brilliantly creatively produced this project, @dam_world who was working the schedule like a pro and our creative leader Jean Tanis.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

Yesterday on Christmas Day, for the 35th year in a row, there were a couple of NFL games on TV.Netflix streamed two of those games and at halftime during the second game (Lions at Vikings), Snoop Dogg put on a halftime show…or rather…a half time PARTY!

This is the making of the marketing and promotional imagery for the halftime show.

Way back on December 1st, the Monday after Thanksgiving, a crack squad consisting of @evanmulling, @leemorganphoto, @samanassefi, intern @chloechristine.co and digital maestro @evlasic, entered Stage 1 at Sunset Bronson Studios (home to “Gunsmoke” and “The Dating Game,” among other historic television shows).

The crew built out a grey “seamless” set up consisting of a beauty dish - octobank combo as the main, with a double large softbox fill, two medium strips with blue gels as edges and a gridded medium strip with a blue gel as a hair light.

“Seamless” is in quotation marks because we’ve sworn off the 12’ rolls of paper which are ALWAYS buckled, warped or wavy, in favor of 12x12 or 12x20 day grey or nite grey muslins.Once the muz is stretched around it’s frame, it looks FAB YOU LUSS.Then we put down steel deck covered in 9’ grey seamless and cover the seamless with clear plexi.

When the grey set up was complete, we worked on the AV’s living room set to see how we could drag in the motion team’s existing light and to figure out how our strobes could roll in and out quickly.Time with Snoop would be short and we’d have to be extremely nimble as we worked side by side with motion.

We found two set ups in the living room: Snoop in the chair, and Snoop by the fireplace. (Please note the blue gelled bare bulb out the window that fell beautifully onto the floor of the living room.)

But when we finally got Snoop in the living room, time was SO tight for the chair set up that we ONLY used the beautiful light created by the motion for that shot. (More details in next post.)

Please scroll to see the team unpeeling the plexi protective cover, @evanmulling’s favorite crafty item, and @leemorganphoto with two-hands-full on our tear down, as @samanassefi does the heavy lifting.

@snoopdogg @netflixsports @vikings @nfl

UPCOMING EVENT: LACP’s Holiday Fundraiser: Supporting Visual Storytelling

📸 Photo of Lady Gaga by Art Streiber - @aspictures
📆 Date: Sunday, December 14th, 11-1 pm PST
📍Bel Air Country Club

LACP is thrilled to announce an intimate reception and artist talk by famed photographer Art Streiber. Join us at the Bel Air Country Club to mark the end of a busy year at LACP and toast all that is yet to come. Connect with leading photographers while supporting our non-profit on its mission to better lives through the power of creative expression.

About Art Streiber:
Art Streiber is a Los Angeles-based freelance photographer specializing in portrait, reportage, entertainment, and advertising photography. Streiber’s portraits have been published on the cover of Vanity Fair, Empire, Entertainment Weekly, Wired, The New York Times Magazine, Esquire and Variety, and for years his imagery has been selected to appear in American Photography and Communication Arts Photography Annual.

Streiber has photographed one sheets and key art for multiple television networks, motion picture studios and streaming services including NBC, CBS, ABC, ESPN, CNN, Paramount+ Netflix, Apple, Amazon, Universal, Warner Bros, Paramount and Focus Features. He has shot advertising campaigns for Fabletics, Flecha Azul Tequila, STILL G.I.N., Mazda, Chase and Oakley.

Streiber’s fine art prints are represented by The Photo Gallery in Halmsted Sweden and upon request with The Fahey Klein Gallery in Los Angeles.

🔗 TICKETS ARE LIMITED! Learn more and register via the link in bio.
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#artstreiber #lacp #lacphoto #ladygaga #famousphotographer #belaircountryclub #photocenter #nonprofit

And the result?This is the mid-launch refresh Key Art for “Tulsa King” Season 3, now streaming on Paramount+, photographed in Atlanta, in June.

For this setup we photographed four of the leads together, @martinstarr, @garretthedlund, @jay_will9 and @mckennaquigleyharrington and we photographed @officialslystallone separately.

And we shot plates of the throne AND YES, we shot all those barrels in the background…two at a time.Truth: We only shot a dozen barrels, two at a time, on a furniture dollie, spinning them about 45 degrees and shooting them again and again so that the designers at @canyondesignla could turn 12 barrels into 1200.

For all of us Photo Dorks (always capitalized), this setup was photographed on the Canon R5 with the 24-70mm F2.8 lens at 70mm.ISO 400, 160th @ F8.@canonusa

Could not have done what we did that day without @evanmulling and @evlasic who always are my greatest on-set support, and major, major, major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.They put the HOT in Hotlanta.

Making our day run like clockwork was 1st AD extraordinaire @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who brilliantly creatively directed me through the project from concept to execution.

Enormous thank yous to @timlivez, VP Head of Design for ideation and concepting and to SVP Brand Creative @kickinitwithkeka for leading the charge!

Beautiful finishing by @canyondesignla!

@tulsaking @officalslystallone

And the result?This is the mid-launch refresh Key Art for “Tulsa King” Season 3, now streaming on Paramount+, photographed in Atlanta, in June.

For this setup we photographed four of the leads together, @martinstarr, @garretthedlund, @jay_will9 and @mckennaquigleyharrington and we photographed @officialslystallone separately.

And we shot plates of the throne AND YES, we shot all those barrels in the background…two at a time.Truth: We only shot a dozen barrels, two at a time, on a furniture dollie, spinning them about 45 degrees and shooting them again and again so that the designers at @canyondesignla could turn 12 barrels into 1200.

For all of us Photo Dorks (always capitalized), this setup was photographed on the Canon R5 with the 24-70mm F2.8 lens at 70mm.ISO 400, 160th @ F8.@canonusa

Could not have done what we did that day without @evanmulling and @evlasic who always are my greatest on-set support, and major, major, major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.They put the HOT in Hotlanta.

Making our day run like clockwork was 1st AD extraordinaire @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who brilliantly creatively directed me through the project from concept to execution.

Enormous thank yous to @timlivez, VP Head of Design for ideation and concepting and to SVP Brand Creative @kickinitwithkeka for leading the charge!

Beautiful finishing by @canyondesignla!

@tulsaking @officalslystallone

And the result?This is the mid-launch refresh Key Art for “Tulsa King” Season 3, now streaming on Paramount+, photographed in Atlanta, in June.

For this setup we photographed four of the leads together, @martinstarr, @garretthedlund, @jay_will9 and @mckennaquigleyharrington and we photographed @officialslystallone separately.

And we shot plates of the throne AND YES, we shot all those barrels in the background…two at a time.Truth: We only shot a dozen barrels, two at a time, on a furniture dollie, spinning them about 45 degrees and shooting them again and again so that the designers at @canyondesignla could turn 12 barrels into 1200.

For all of us Photo Dorks (always capitalized), this setup was photographed on the Canon R5 with the 24-70mm F2.8 lens at 70mm.ISO 400, 160th @ F8.@canonusa

Could not have done what we did that day without @evanmulling and @evlasic who always are my greatest on-set support, and major, major, major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.They put the HOT in Hotlanta.

Making our day run like clockwork was 1st AD extraordinaire @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who brilliantly creatively directed me through the project from concept to execution.

Enormous thank yous to @timlivez, VP Head of Design for ideation and concepting and to SVP Brand Creative @kickinitwithkeka for leading the charge!

Beautiful finishing by @canyondesignla!

@tulsaking @officalslystallone

And the result?This is the mid-launch refresh Key Art for “Tulsa King” Season 3, now streaming on Paramount+, photographed in Atlanta, in June.

For this setup we photographed four of the leads together, @martinstarr, @garretthedlund, @jay_will9 and @mckennaquigleyharrington and we photographed @officialslystallone separately.

And we shot plates of the throne AND YES, we shot all those barrels in the background…two at a time.Truth: We only shot a dozen barrels, two at a time, on a furniture dollie, spinning them about 45 degrees and shooting them again and again so that the designers at @canyondesignla could turn 12 barrels into 1200.

For all of us Photo Dorks (always capitalized), this setup was photographed on the Canon R5 with the 24-70mm F2.8 lens at 70mm.ISO 400, 160th @ F8.@canonusa

Could not have done what we did that day without @evanmulling and @evlasic who always are my greatest on-set support, and major, major, major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.They put the HOT in Hotlanta.

Making our day run like clockwork was 1st AD extraordinaire @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who brilliantly creatively directed me through the project from concept to execution.

Enormous thank yous to @timlivez, VP Head of Design for ideation and concepting and to SVP Brand Creative @kickinitwithkeka for leading the charge!

Beautiful finishing by @canyondesignla!

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

In the last post, I mentioned “eight setups with seven talent.” This is another one of the setups…the making of the mid-launch refresh of the Key Art for “Tulsa King” Season 3, now streaming on Paramount+….and this is one of three set ups that we DIDN’T shoot on an existing set piece.

Our lighting “formula” for existing light / ambient light / location situations is to start with the ambient and add each light, one at a time.It’s cooking…and we’re adding each ingredient in a deliberate, measured, process.

When we’re lighting from scratch (with no existing or ambient light), we start with the light in back (or the hair light, or the edge light) then we add the main, then we add the fill.One light at a time.We’re still cooking, but without the ambient light.

For the barrel throne setup we started with the back light (a beauty dish to illuminate the smokey haze) then we added the main (two toppy octobanks for coverage), then we added the push (a small, gridded box for the talent furthest from the main), then we added the fill (a 12x unbleached muslin) at camera right.

Don’t miss: (once again) how the gear went from beautifully arranged to a total mess at the end of the project. Added a shot of the clean-up that @evanmulling I did at the end of a very long shoot day, after we had released the crew (in order to reduce OT).

Don’t miss Set Designer John Richards and his team building the throne of barrels.

Don’t miss @evanc290 making haze and blowing smoke.

Don’t miss the vertical barrel plates, shot on an easily rotatable furniture dolly.And don’t miss the throne plates, shot against a 12x20 day grey muslin and (after rolling out the day grey) shot against a plume of haze!

Making it all happen?Our tireless crew: @evanmulling on first and @evlasic catching. The locals covering the rest of the infield and the outfield? @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Major thank yous to Vice President of Photography @christineramage and Senior Creative Director @steveqchan who so thoughtfully creatively directed the entire project.

@tulsaking @officalslystallone

Trick or Treat #HalloweenMovie Actress Jamie Lee Curtis 📸Photographed by @aspictures

©Art Streiber
Premium images available for exclusive licensing • Please contact:info@augustimage.com for all licensing inquiries, including social media usage.

#jamieleecurtis#entertainment#AugustImage#ImageLicensing

Trick or Treat #HalloweenMovie Actress Jamie Lee Curtis 📸Photographed by @aspictures

©Art Streiber
Premium images available for exclusive licensing • Please contact:info@augustimage.com for all licensing inquiries, including social media usage.

#jamieleecurtis#entertainment#AugustImage#ImageLicensing

And the result?Sooner Sovereign!Midwest Monarch!

These are the Key Art and character portraits for “Tulsa King” Season 3, now streaming on Paramount+! Shot back in June on the set of the show in Atlanta, these are two of the eight set ups we accomplished that day.

These projects are complex and multilayered and necessitate both intense preparation and adroit flexibility.We were tasked with lighting / executing three key art concepts, two on the show’s sets, character singles, publicity groupings in a different part of the set AND a teaser poster of a leaking barrel of hooch.

For this key art stet up, we had the lead five talent, (@officialslystallone in the center, @martinstarr and @garretthedlund on camera left and @jay_will9 and @mckennaquigleyharrington on camera right). We shot Stallone by himself and the two left side talent together and the two right side talent together.

For all of us Photo Dorks (always capitalized), the key art was photographed on the Canon R5 with the 24-70mm F2.8 lens @ ISO 400, 160th @ F8.The character portraits were photographed on the Fuji GFX 100II with the Fuji GF 45-100mm F4 Lens @ ISO 400, 125th @ F7.1.@canonusa@fujifilmx_us

Could not have done what we did that day without @evanmulling and @evlasic who arealways my greatest on set support and major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage (with whom I first worked 15 years ago when she was at People Magazine) and Senior Creative Director @steveqchan who brilliantly creatively directed me through all of the set ups!And…@canyondesignla

And the result?Sooner Sovereign!Midwest Monarch!

These are the Key Art and character portraits for “Tulsa King” Season 3, now streaming on Paramount+! Shot back in June on the set of the show in Atlanta, these are two of the eight set ups we accomplished that day.

These projects are complex and multilayered and necessitate both intense preparation and adroit flexibility.We were tasked with lighting / executing three key art concepts, two on the show’s sets, character singles, publicity groupings in a different part of the set AND a teaser poster of a leaking barrel of hooch.

For this key art stet up, we had the lead five talent, (@officialslystallone in the center, @martinstarr and @garretthedlund on camera left and @jay_will9 and @mckennaquigleyharrington on camera right). We shot Stallone by himself and the two left side talent together and the two right side talent together.

For all of us Photo Dorks (always capitalized), the key art was photographed on the Canon R5 with the 24-70mm F2.8 lens @ ISO 400, 160th @ F8.The character portraits were photographed on the Fuji GFX 100II with the Fuji GF 45-100mm F4 Lens @ ISO 400, 125th @ F7.1.@canonusa@fujifilmx_us

Could not have done what we did that day without @evanmulling and @evlasic who arealways my greatest on set support and major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage (with whom I first worked 15 years ago when she was at People Magazine) and Senior Creative Director @steveqchan who brilliantly creatively directed me through all of the set ups!And…@canyondesignla

And the result?Sooner Sovereign!Midwest Monarch!

These are the Key Art and character portraits for “Tulsa King” Season 3, now streaming on Paramount+! Shot back in June on the set of the show in Atlanta, these are two of the eight set ups we accomplished that day.

These projects are complex and multilayered and necessitate both intense preparation and adroit flexibility.We were tasked with lighting / executing three key art concepts, two on the show’s sets, character singles, publicity groupings in a different part of the set AND a teaser poster of a leaking barrel of hooch.

For this key art stet up, we had the lead five talent, (@officialslystallone in the center, @martinstarr and @garretthedlund on camera left and @jay_will9 and @mckennaquigleyharrington on camera right). We shot Stallone by himself and the two left side talent together and the two right side talent together.

For all of us Photo Dorks (always capitalized), the key art was photographed on the Canon R5 with the 24-70mm F2.8 lens @ ISO 400, 160th @ F8.The character portraits were photographed on the Fuji GFX 100II with the Fuji GF 45-100mm F4 Lens @ ISO 400, 125th @ F7.1.@canonusa@fujifilmx_us

Could not have done what we did that day without @evanmulling and @evlasic who arealways my greatest on set support and major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage (with whom I first worked 15 years ago when she was at People Magazine) and Senior Creative Director @steveqchan who brilliantly creatively directed me through all of the set ups!And…@canyondesignla

And the result?Sooner Sovereign!Midwest Monarch!

These are the Key Art and character portraits for “Tulsa King” Season 3, now streaming on Paramount+! Shot back in June on the set of the show in Atlanta, these are two of the eight set ups we accomplished that day.

These projects are complex and multilayered and necessitate both intense preparation and adroit flexibility.We were tasked with lighting / executing three key art concepts, two on the show’s sets, character singles, publicity groupings in a different part of the set AND a teaser poster of a leaking barrel of hooch.

For this key art stet up, we had the lead five talent, (@officialslystallone in the center, @martinstarr and @garretthedlund on camera left and @jay_will9 and @mckennaquigleyharrington on camera right). We shot Stallone by himself and the two left side talent together and the two right side talent together.

For all of us Photo Dorks (always capitalized), the key art was photographed on the Canon R5 with the 24-70mm F2.8 lens @ ISO 400, 160th @ F8.The character portraits were photographed on the Fuji GFX 100II with the Fuji GF 45-100mm F4 Lens @ ISO 400, 125th @ F7.1.@canonusa@fujifilmx_us

Could not have done what we did that day without @evanmulling and @evlasic who arealways my greatest on set support and major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage (with whom I first worked 15 years ago when she was at People Magazine) and Senior Creative Director @steveqchan who brilliantly creatively directed me through all of the set ups!And…@canyondesignla

And the result?Sooner Sovereign!Midwest Monarch!

These are the Key Art and character portraits for “Tulsa King” Season 3, now streaming on Paramount+! Shot back in June on the set of the show in Atlanta, these are two of the eight set ups we accomplished that day.

These projects are complex and multilayered and necessitate both intense preparation and adroit flexibility.We were tasked with lighting / executing three key art concepts, two on the show’s sets, character singles, publicity groupings in a different part of the set AND a teaser poster of a leaking barrel of hooch.

For this key art stet up, we had the lead five talent, (@officialslystallone in the center, @martinstarr and @garretthedlund on camera left and @jay_will9 and @mckennaquigleyharrington on camera right). We shot Stallone by himself and the two left side talent together and the two right side talent together.

For all of us Photo Dorks (always capitalized), the key art was photographed on the Canon R5 with the 24-70mm F2.8 lens @ ISO 400, 160th @ F8.The character portraits were photographed on the Fuji GFX 100II with the Fuji GF 45-100mm F4 Lens @ ISO 400, 125th @ F7.1.@canonusa@fujifilmx_us

Could not have done what we did that day without @evanmulling and @evlasic who arealways my greatest on set support and major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage (with whom I first worked 15 years ago when she was at People Magazine) and Senior Creative Director @steveqchan who brilliantly creatively directed me through all of the set ups!And…@canyondesignla

And the result?Sooner Sovereign!Midwest Monarch!

These are the Key Art and character portraits for “Tulsa King” Season 3, now streaming on Paramount+! Shot back in June on the set of the show in Atlanta, these are two of the eight set ups we accomplished that day.

These projects are complex and multilayered and necessitate both intense preparation and adroit flexibility.We were tasked with lighting / executing three key art concepts, two on the show’s sets, character singles, publicity groupings in a different part of the set AND a teaser poster of a leaking barrel of hooch.

For this key art stet up, we had the lead five talent, (@officialslystallone in the center, @martinstarr and @garretthedlund on camera left and @jay_will9 and @mckennaquigleyharrington on camera right). We shot Stallone by himself and the two left side talent together and the two right side talent together.

For all of us Photo Dorks (always capitalized), the key art was photographed on the Canon R5 with the 24-70mm F2.8 lens @ ISO 400, 160th @ F8.The character portraits were photographed on the Fuji GFX 100II with the Fuji GF 45-100mm F4 Lens @ ISO 400, 125th @ F7.1.@canonusa@fujifilmx_us

Could not have done what we did that day without @evanmulling and @evlasic who arealways my greatest on set support and major shout outs to our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Thank you to all the folks at Paramount+ who were vital to making this shoot a success: @shadesny, @sassyflanny, @edwinalvarenga, Bruce Ventanilla, @_sarahcoulter, John Richards, @tommcMillen, Bobbi Shortell, @chrisdaviau and @jlamps52!

Extra special thanks to Vice President of Photography @christineramage (with whom I first worked 15 years ago when she was at People Magazine) and Senior Creative Director @steveqchan who brilliantly creatively directed me through all of the set ups!And…@canyondesignla

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

Hotlanta in June?Hollywood icon Sylvester Stallone? Eight set ups with seven talent and five background extras on existing set pieces?Yes please!

This is the making of the Key Art and character portraits for Season 3 of “Tulsa King,” on Paramount+, the story of a fish-out-of-water NY mafia captain who is forced into exile in Oklahoma but soon builds his own empire in the Sooner State.

Lighting existing set pieces with strobes is always a welcome challenge; we’re simultaneously honoring the light that the show’s DP and gaffer have meticulously crafted, while tweaking it slightly to work for the key art concept.

In the yard of the distillery set, we dragged in the existing light sources and arranged our strobes to mimic the “ambient” light…but added a hot source at back center to emulate the headlights of a truck.

We gave the talent a warm, hard, high, back/edge light, and used an @elinchrom_ltd octobank as our main with a gridded @chimeralighting as the “push” to get the light across the scene.The octobank behind the camera was the fill AND a gridded small box was the “chaser.” The 12x unbleached muslin at camera right is a warm, soft fill.

The talent was able to walk through their marks because the @profoto packs can keep up with the motor drive on the @canonusa R5MarkII.

The threatening extras were photographed one at a time, at the appropriate angle, with the light sourced from the right when they were on the left and from the left when they stood on the right.

Shout outs as always to @evanmulling and @evlasic for always being my greatest on set support and our local, talented crew; @kenschneiderman, @brettfalcon_photo, @keithanthonyphotography, @amandgreenphotographs and @ianstolo.

Don’t miss: how the gear went from beautifully arranged to a total disaster.The crew on a rare break.The lighting set up on the character portraits.And…Sly’s special set up.

Major thanks yous to Vice President of Photography @christineramage (with whom I first worked 15 years ago, when she was at People Magazine) and Senior Creative Director @steveqchan who expertly creatively directed the entire project.

@tulsaking @officalslystallone

And the result? In the blink of an eye, our first-born daughter reaches a birthday milestone!

A very, very Happy 30th birthday to @sienastreiber. Over the past 10,950 days, Siena has made us proud, made us laugh and made us dinner occasionally. Like her mother, Siena is wise, witty and beautiful and like her father, Siena is…everything else. Siena…here’s to another fabulous 30 years and another 30 after that! XO Dad

And the result? In the blink of an eye, our first-born daughter reaches a birthday milestone!

A very, very Happy 30th birthday to @sienastreiber. Over the past 10,950 days, Siena has made us proud, made us laugh and made us dinner occasionally. Like her mother, Siena is wise, witty and beautiful and like her father, Siena is…everything else. Siena…here’s to another fabulous 30 years and another 30 after that! XO Dad

And the result? In the blink of an eye, our first-born daughter reaches a birthday milestone!

A very, very Happy 30th birthday to @sienastreiber. Over the past 10,950 days, Siena has made us proud, made us laugh and made us dinner occasionally. Like her mother, Siena is wise, witty and beautiful and like her father, Siena is…everything else. Siena…here’s to another fabulous 30 years and another 30 after that! XO Dad

And the result? In the blink of an eye, our first-born daughter reaches a birthday milestone!

A very, very Happy 30th birthday to @sienastreiber. Over the past 10,950 days, Siena has made us proud, made us laugh and made us dinner occasionally. Like her mother, Siena is wise, witty and beautiful and like her father, Siena is…everything else. Siena…here’s to another fabulous 30 years and another 30 after that! XO Dad