The new issue is on the table. Eight weeks of contact sheets from three shoots — a theatre troupe at rehearsal, a pigment study commissioned by a paint conservator, and a long weekend on the Newark ferry slip — are narrowed to the handful of frames that will carry No. 8. The sequencing room smells […]
The photograph that opens No. 8 was an accident of scheduling. The company rehearsed in a second-floor studio with a west window, and at noon the barre work turned the whole room into a silhouette. We shot four rolls handheld, available light only. The plate selected for the issue — and for the open print […]
A conservator friend let us photograph her pigment table: raw cadmium, lead white, a jar of chrome yellow older than the studio. The brief was simple — photograph color as material, not as decoration. ‘Study in Chrome Yellow’ printed as the No. 7 cover plate. It remains the most requested print of the year.
Between assignments, the working table gets its own portrait: negs to sleeve, two cameras back from service, a proof of the Issue No. 7 slipcase pinned above the blotter. Readers ask what camera matters. The honest answer is the table. Everything a picture will become happens there.
For ‘Cameras, West-Bound Light’ we arranged the kit itself — three bodies, a light meter, film boxes — on a west-facing sill and let the evening do the lighting. No stands, no flags. The plate closes the gear chapter of No. 5 and is available as an open print. Editions of twenty-five remain for the […]
The green room at the theatre had twelve mirrors and one sitter. We spent a morning walking the geometry until the reflections agreed to behave. ‘Mirrors, Green Room’ appears in No. 4 and taught us the lesson we repeat in every pitch meeting: give the picture one idea, then get out of its way.