Tag Archives: David Martinez

Information on David Martinez Studio and his photography

by - 1 Comment

Whose Playlist is this?

At a recent breakfast with David Martinez, we brainstormed about some ideas for a blog post.  We went back and forth on ideas and I knew none of them were inspiring him.  When I suggested sharing a playlist from his shoots, I could tell he was excited.  So much so that I received the post before the end of that very same day.  Thank you David!

Here is what he had to share:

“Who’s playlist is this?” It’s a question I hear all the time on set when shooting. I’m lucky to work  with so many creative and dynamic people every day – each with their own array of talents, tastes and party tricks.  Their  musical leanings are equally diverse.   There is the stylist who loves the Magnetic Fields, the makeup artist with a soft spot for Gloria Gaynor and the photo assistant that knows every lyric in the Beatles catalogue. Everyone’s got their own track to add.

Music plays a really important part of how we create a happy, productive work space.  With programs like Spotify, it’s so easy to share and  learn about new music and get into the deeper cuts of long time favorite artists (Bob Dylan has a Christmas Album?!). When it’s my turn to DJ – I usually put on this mix – 1300 songs that seems to stay fresh no matter how many times I listen to them – a playlist that has little something for everyone.

 

by - 0 comments

Even when nature doesn’t cooperate, David Martinez finds warmth for his imagery.

After a recent shoot with Lucy Activewear, David Martinez sent along these images and his thoughts on the shoot for us to share with you.

“As a photographer who shoots a lot both in studio and on location, I’ve always loved the inherent conditions each environments brings – the science of shooting in studio and the trials of being at the mercy of weather and nature outdoors. On a recent shoot in Point Reyes for Lucy Activewear, Northern California weather conditions were less than favorable – rain, wind and cold – a veritable ‘wintry mix’.  Our stellar crew and hardy models made the shoot a real success. We smiled the whole way thorough despite the calamity of cold. I think you can feel this warmth in the images – even if nature didn’t provide it to us on those days on location.”

by - 0 comments

Out and About with David Martinez.

On a recent trip to Los Angeles, David Martinez saw some of his work out there in the world.  Here is what he had to say about it:

“It’s always great to see your work living out in the world. It’s so easy to forget that the images we make do migrate from the capture station to magazine pages, packages and billboards. While scouting recently in Los Angeles, I saw a familiar friendly face staring back at me on the freeway. It was Alejandro – who I had worked with a month before on a project done in conjunction with the agency Sargent + Berman for UCLA Health System. We saw over 200 talent to find the yogini with the most skillful back bend and the businessman with the perfect smile. If only all faces on the Los Angeles freeway looked so friendly!”

by - 0 comments

That in between place as described by David Martinez in his own words.

This slideshow requires JavaScript.

I love it when photographers take time for themselves to shoot what has been on their mind.  I love it even more when it is not in their own backyard and they venture out to chase their vision.  David Martinez recently headed east and was thrilled with what he discovered.  Here is what he had to share about it.

“I had wanted to do a personal project on New York City surf culture for some time now. After a little talking around, it seemed like Rockaway Beach was the place –  a beach accessible by subway from Manhattan. My producer and I arrived in New York City on one of the hottest weekends of the year.  As temperatures rise in the city, so do the number of Manhattanites wanting to take the A train out to Rockaway. It was going to be a busy weekend out there.

3 trains, 2 transfers and 6 bottles of water later, we arrived in Rockaway. We had done a little research before the shoot and through a dizzying tangle of personal connections, we found who we had heard was the unofficial mayor of Rockaway Beach. TJ, was a local guy, a lifelong surfer who was kind of enough to meet us at the subway stop and show a couple of us left-coasters around his neighborhood. Among hoards of other city people, we surfed, ate at the local taco shop, and met TJ’s Uncle Rick on the boardwalk (pictured above). Late in the afternoon – blazing sun and humidity turned to torrential downpour- and all 6 of us piled into TJ’s truck to head to the local pub for shelter. I was a little disappointed at first that the weather had turned just when the surf was about to get good.

Amongst the running and laughter and cursing the rain as we piled into TJ’s truck, a beautiful thing happened that always makes for the most interesting and dynamic images. We all just let go. We stopped trying to get on the perfect wave, get the perfect angle, the sun in just the right place.   It happens that most of my favorite images from the trip were created in this way.

Moments between moments.

When the veracity of feeling replaces orchestration. All of these images were made in this space in between….”

To see more of David Martinez’s work, please link here.

by - 2 Comments

Evolving printed portfolios with our new glasses. Thank you David Martinez and Leigh Beisch for sharing your new designs

When Leigh Beisch and David Martinez first decided to redo their portfolios we had long conversations about how creatives that were interested in their work would be using those tools.  Times had changed and we wanted to make sure if they were investing all of that time and money into new tools that they were relevant.

We reminded them that the last time they had redone their portfolios the trend was to show a wide range of imagery that told the entire photographer’s story.  Even though websites were the go to place to see work, creatives were still calling in books.  The idea was that you had to make sure your book told as wide of a story as the website did just to make sure you were covered.

The result was big books (or multiple books) and lots of images.  It was not uncommon for some of the portfolios in our group to be 50 or so pages each.

Now, creatives rarely call in portfolios and rely solely on the web.  So, when a portfolio is actually requested, the photographer is of course seriously being considered.  That means the portfolio not only needs to be outstanding all on its own but it needs to outshine whoever else is on the table.

What we finally landed on for their portfolios were ones that could communicate to creatives that they understood how they reviewed photography for their clients.

• Instead of a large library of images, we showed a small, select group of relevant work.

•  Instead of a linear flow of imagery we divided the spreads into the same categories as the clients used to describe their own business.  For example, for Leigh Beisch we used categories such as breakfast food, coffee, wine, desserts, ice cream, etc.   For David Martinez, we modeled the categories after what people saw on his site; Wellness, Golden Years, Graceful, Wonder Years and Vision.  We recognized that if clients were calling in their portfolios, they already knew they were capable.  We did not need to prove that to them in the portfolio.  Instead we wanted their viewing experience to be relevant to their project and their client.

•  Instead of just including single images on each page, we utilized design elements and text as a way for Leigh and David to share their personalities.   Leigh’s work is soft and beautiful and so is her portfolio.  David’s work is full of movement and beauty.  His imagery is full of life and style and so is his portfolio.

•  So many of Leigh’s clients like to know what projects she has recently photographed.  The tear sheet section help illustrate that best.  As well, since the food industry is so loyal and word of mouth dependant, it is helpful to have a client testimonial section.

•  Since David Martinez has been shooting video for many of his clients now it was important to be able to show that off in the portfolio.  On the last page of his book we now have a video page where clients can watch the actual videos without having to go online.  It has been a huge hit.  If you want to see it for yourself, email us and we will send it right out to you.

As the other photographers in our group begin to change their portfolios, it has been fun to watch what new elements they incorporate.  Stay tuned soon for new portfolios from Andy Anderson and Ron Berg.

by - 0 comments

Notes from a Rep’s Journal. Observations from Le Book’s Connection NYC

For those of you who do not know Lauranne Lospalluto, she has been working with me for almost 15 years now.  She and I are the perfect compliment for each other.  There is no one that could compare to Lauranne.   So, when I found myself unable to attend the recent Le Book Connections event in NY, it was natural that she would pair up with Henrietta Pertuz (our NY associate) and handle the event without me.

Lauranne of course came home excited about how it went and wanted to share her observations.  Here is what she had to say.

“After our recent success at LeBook’s Connections LA event in January we decided to jump on board for LeBook Connections NYC.  It was hosted in a beautiful light-filled loft in SoHo and did not disappoint. I would consider it a huge success for our group.

Here are some of my observations at the event:

New work is still crucial

New work was again a big request and thankfully most of our photographers had recently updated their portfolios.  The Connections show in NY is larger than LA so creatives that are familiar with your work already will easily pass by your booth if new and interesting work isn’t front and center.  It was not uncommon for visitors to our booth to ask to show them “just what was new.”  David Martinez‘s portfolio was a big hit because he upped the ante and installed a video page to his portfolio; which was a huge success and draw for the entire group.

Shifting trends in photography

I heard from many creatives that they were “looking to shake things up for their clients”.  I heard that so often that it began to feel like a trend.  I found several high-end fashion companies wanting to move away from high fashion and get more “natural and down to earth.” We wouldn’t typically target our photographers to high fashion so I was surprised and excited when these clients asked to be added to our lists.  When a representative from Perry Ellis International asked to be added to Richard Schultz’s mailing list, I knew things were changing out there.  As a result, I walked away with a new experience once again due to the power of good photography.\

IPads or Portfolios?

From my NY experience nothing beats the printed book.  We were fortunate to have Richard Schultz’s large 18”x24” book with vivid colors as a centerpiece and it drew in many people.  Once we had the captivated audience it was easy to share other work as well.  We used the iPad to show video skills of our photographer and also categorize them in groups (food, product, lifestyle, cars, etc).  This was helpful when someone only wanted to see car work for example and didn’t have time to look through multiple portfolios.   Seeing how many exhibitors were present, I am sure the variety of presentations at each booth was appreciated.

The size was manageable and the event well attended

You would think this would not need to be an observation but we had never participated on the NY event and people often talked about how “it is a bit overwhelming.”  After our positive experience in LA we were curious to see  how and if NY differed.

We must admit the days started off slow but eventually people started to arrive.   Maybe it was the 95+ degree that caused the slow start , but as the day progressed, there was always a steady stream of people.  There was never a time we felt unable to attend to our booth fully.   As for the attendees, many of them mentioned that it was the best one yet!

Visual cues at your booth are important

When Heather and I designed our banner, we did so choosing images that worked well visually together and represented the most interesting of the work of that particular photographer.  We chose the most creative and graphic images that we thought would stand out on the banner best.  The result was that our food photographer’s image wasn’t a plated food image, our car photographer’s image wasn’t  a car and our product photographer’s image wasn’t a literal product image.   We noticed that on a few occasions, creatives would look at the banner as a literal guide to what was in our group.  If we hadn’t engaged them to determine what it was they were looking for and then redirect them, there was the potential they would pass us by.  Next time our imagery will be more literal for sure!

Europe was well represented

After our experience in LA, we knew that people traveled from all over to attend.  At the west coast event there were not as many European visitors as were in NYC for obvious reasons.  We made several new connections from Europe, Mexico and South America.

The variety of attendees was appreciated

There was a great mix of advertising clients, client direct, editorial, graphic design, freelancer, interactive and digital media companies.   Since many of these clients are hard to research we were grateful for the opportunity to meet them.  It was nice to be in the position of being approached rather than the other way around as is typical.

Once again we were given the opportunity to connect with friends, clients and collegues and make new connections.  And, in this ever changing industry having direct access to all of those people under one roof was powerful.  Thank you Le Book.”

by - 0 comments

We have launched our stock inspiration site; a whole new way to approach looking for stock.

Over the years, art buyers and clients have reached out to us in the hopes of finding unique imagery to purchase for their projects.    Thanks to the branding we put into our original stock website people thought of us as a resource and we often got calls.

What we realized over the years was that in order for a stock website to be successful, it had to be updated constantly.  There were many times we would get requests that we fulfilled directly rather than online since the group did not have the time to keep up with the necessary updates.

Add to that the fact that Andy Anderson and Ann Elliott Cutting started their own stock site and Richard Schultz, Ann Elliott Cutting and Leigh Beisch all had images with other stock houses.  It became harder and harder to maintain a site with enough images to make an impact.

It became apparent to us that we did not need our website to be the place where someone could see every one of the available images.  We only needed to communicate that we had strong imagery for consideration so that we could get a call for a custom search.

Understanding this led to the evolution of our site from a searchable site to one that offers access to the photographer’s own image collections; even if they are available for license through independent stock agencies.

Since our site is not searchable by keyword and all searches are custom, we call our website a stock inspiration site.   It was designed with the understanding that you want deeper access to our photographers libraries and the understanding that it is difficult to search each of their personal and stock websites independently.  The purpose is to inspire clients with our images and motivate them to contact us for a customized stock photography search.

To demonstrate that we understand how clients choose imagery, each portfolio on our site illustrates a different word.  For example, in the Denial portfolio, we included images that showcase each photographer’s interpretation of that word.  Scrolling over the Licensing Info option, reveals the availability of the imagery, any relevant stock house notes and where to find more information.

When clients have a request, it is easy for them to reach us.   They are directed to click on the Contact link on the bottom of each page anywhere on the site or on the email link within the Licensing Info.  We then will create a custom search by pulling from our photographer’s images available in all of their different stock libraries.

Some have asked why we would want to send the sale away from us and to the independent stock houses.  My response to that is simple.  It is more important for us that our photographers are considered than it is for us to make the sale.  The easier we can make it for our photographers to be considered, the more it will happen.

For us, it is all about exposure for our photographers and how better to do that than to inspire the very people who are needing the imagery?

by - 5 Comments

In his own words, David Martinez explains how film can be more liberating that digital.

© David Martinez-www.davidmartinezstudio.com

David Martinez recently shared with me that he was working on a personal project photographing landscapes at dusk.  I know David’s work well and I knew that the imagery would be beautiful. I asked him when I would be able to see the images he laughed and said that it would be awhile.

He had shot film. 

It had been a long time since anyone in our group had shot film, so I was even more intrigued.  I asked David to write about it and here is what he had to say.

“I like shooting landscapes at dusk.   I see things that I normally wouldn’t in any other light and I wanted to explore that .  I am just beginning the series, and plan to keep adding to it.

When I recently went out to capture some imagery for this series, I was in Mexico.  There is a 5 mile stretch of beach that is slated for development in the next couple of years. It is one of my favorite places and I want to document it before it is gone. I have surfed this beach many a summer evening and really love the look of the light about an hour after sunset.

I remembered images I had made with film and the robust colors and rich textures that it would capture.  It made me question if digital could handle the subtle transitions of color.

I knew film would be the way to go.

I decided to shoot with my Mamiya 6 which hadn’t been used in 5 years. This is a wonderful camera.  I love how the lens is beautifully warm and sharp.  One of the greatest things about the camera is how simple it is.

Initially I shot a few rolls of random things like my wife and daughter.  I was getting reacquainted with film, so it was easy to just keep shooting. Oddly, it was liberating to shoot without the instant gratification of seeing what I had just shot. I kept going back to the location and over the course of a couple of weeks I had shot several rolls of film.

While I was in Mexico I was not anxious to get the film processed. However, when I got home I couldn’t wait to get to the lab.   It of course took a few days to have it processed and proofed.  So I just waited and wondered.

When I finally saw that first image, I was surprised at the emotion it brought up in me.  I was looking at an old friend, beautiful skin tones, smooth color transitions, and a subtle texture of grain.  I hadn’t realized how much I missed film, but upon seeing it again I remembered just how beautiful it is.  With each image I viewed, I became more impressed with the quality.

I was reminded that the look of film, as well as the process of shooting the pictures, was very different.

I no longer looked back and forth from the scene to the image on the back of the camera. I was just looking at what was in front of me and concentrating on creating a photograph.

It was very liberating to trust my eye and have to wait and see what I created.  Ironically, I was feeling more freedom shooting film than shooting digitally.

It had been about 5 years since I shot film, but the look of it was so familiar to me.  It was easy to see the appeal of it after not using it for so long.

I know that the practicality of digital has made it the medium of choice but there is a beauty to film that can’t be replicated.

I  have become so excited about using film again that on a recent cover shoot for San Francisco Magazine, I shot film as well as digital.

The art director preferred  the look of the film version but due to an extremely tight deadline ended up not being able to use it.

However, I was able to once again enjoy the freedom of film.

Resource for Film processing and fine art prints http://www.dickermanprints.com/

by - 0 comments

A very special note from a very special shoot.

David Martinez recently shot a very special project for Euro RSCG Life Chelsea and Atripla.  Atripla is an HIV drug that is changing the lives of many patients.  David and his team were fortunate enough to be able to photograph the actual patients.  Over the course of the shoot, they got to know the patients, heard their stories and became friends.  It was a powerfully unique shoot that will stay with them always.

So, when WE received the thank you note it just added to the positive experience we had with the client and the agency.

Since it is not everyday that a client sends US a thank you note, we felt compelled to share.






David, 

I want to send you and your whole team our sincere thanks for giving us exceptionally beautiful images for our Atripla campaign. We’ve never had a job with this much complexity and variety of scenes before. Many things could have gone wrong, but everything went right. Your team was highly professional, yet the true success of the experience came from everyone being so warm and giving 110% of themselves. Even the primary talent sent us emails saying what a truly amazing experience it was for them, having HIV yet being treated without the fear of stigma, and that in itself is another reason to be thankful.

Thank you all for a great experience. I feel like going back and doing it all over again…

 

Vicki Woliver
Associate Creative Director
Euro RSCG Life Chelsea
75 9th Avenue
New York,  NY  10011