Posted by Elizabeth Stacy | Posted in Foto Care Interviews
Posted on July 24, 2011

I was introduced to Elizabeth Perrin’s work only a few months ago and she is an amazingly creative person.  In just the past few months I have seen her work expand and grow into a extraordinary form of fashion photography.  I am happy to share with you her growth.

© Elizabeth Perrin

Tell us about yourself and how you got into this field.

Fortunately, getting into the arts and photography was a part of my genetics. My mother is a painter, my father a documentary cameraman and photographer, my aunt a ceramicist, my cousin a filmmaker, and the list goes on.  I started out as a model in New York and Paris but realized I preferred being behind the camera instead. I left the Paris fashion world to finish college. From there I immediately started working in the film industry, where I eventually ended up in Hollywood. Five years ago I moved to New York to seriously pursue a career in photography.

© Elizabeth Perrin

What do you draw from for your creative inspiration?

I always love this question, as it really is the crux of who I am as an artist. I look to cinematography for inspiration and most definitely music. Music is often the first element selected for my video work and sets the tone for the entire film.

Of course, my most poignant or relevant stories come from my own experience. I process all situations through a creative, transformative filter creating a two-fold benefit for my work. Firstly, it is a catalyst for a cathartic, emotional release that allows a new perspective on the event. And secondly, I end up with a fashion exposé, a true exposure of my inner reflections.

© Elizabeth Perrin

© Elizabeth Perrin

What equipment are you currently using to produce your work?

I prefer using the Canon 5D Mark II or 7D but have not fully abandoned using “old school” film.  I still experiment with a Holga, pinhole camera, or my Nikon F100, a true 35mm warhorse.  I am in great need of new gear but am waiting for the next generation Canon camera release.  Actually, I recently bought the Canon S95, an amazing little camera that shoots incredible high definition video.

© Elizabeth Perrin

How has your worked changed over the past few years?

When I first moved to New York, I was in an exploratory stage. I shot what I wanted however I wanted. As an artist, this is exhilarating as well as necessary but there comes a moment when you must decide – what is my signature style? With time, I’ve been able to establish my voice and branding. I consider myself a cinematic, narrative fashion photographer and filmmaker. What does that mean? It means that my stories take you into a scene and drop you off. It’s a place you can explore and have your own realization. Think visual hypnotism.

© Elizabeth Perrin

Where is your work heading next? Where do you see yourself in the future?

My career and style is just getting going. Having only recently found the appropriate road map, I’ll stay on course to develop a solid, and aesthetically consistent body of work. I’d like to be shooting ad campaigns as well as art projects.  I also see long form filmmaking in the crystal ball.

© Elizabeth Perrin

How did you first learn about Foto Care and what keeps you coming back?

Stephane Coutelle, an old photographer friend, suggested I go to Foto Care when I was in search of a new camera.  I found the staff to be so courteous, knowledgeable and calm I kept going back. I don’t feel like I’m being rushed or that I’m standing in the middle of Times Square when I’m there.  And, they are open on Saturdays!

© Elizabeth Perrin

If you would like to see more of Elizabeth’s work visit her website, www.elizabethperrin.com

Posted by Elizabeth Stacy | Posted in Foto Care Interviews
Posted on June 9, 2011

Helena V. de Vengoechea is a New York City based photographer and digital designer creating interesting, creative, unique images used by some of the leading companies in the world today such as Ralph Lauren, Cosmo and Travel + Leisure. Her lighthearted enthusiasm  and down-to-earth personality really shine through in her photography and designs.  It is a refreshing, colorful view on commercial product photography.  Helena took time to speak to us about her career, images and her future plans.

© Helena V. de Vengoechea

Tell us about yourself and how you got into this field?

I have been a passionate photographer since I was a child. By the age of 10 I was our local pharmacies best customer for photo development.  When I went to college I studied photography for two years at the University of Colorado and continued pursuing it here in New York, by building a fine art concept titled The Museum of Messages, photographs of inspiring messages I see around the city.

© Helena V. de Vengoechea

What was your break out job that helped launch your career?

I had several exhibits of my Museum of Messages series and a chance meeting at one of the openings with the marketing manager from Simmons Jewelry Co. gave me my first commercial job. He approached me, asking if I could photograph high-end jewelry to be published in a book titled Toys for Girls (no gentlemen, it’s not what you think).

How has your work changed in the last few years?

After shooting the jewelry for Simmons Jewelry Co., I chose to expand into product photography pursuing magazines and clothing companies.  Now, I have worked with Polo Ralph Lauren, Cosmo, Allure, Marie Claire and more. A few years ago I decided to start assisting photographers, to learn more about the business while still photographing in my own studio, and building my portfolio. Currently, I am creating a photography and design studio to combine all of my skills.

© Helena V. de Vengoechea

Where is your work heading next? Where do you see yourself in the future?

I think I have good photo, design and people skills. I see myself promoting companies that have colorful and vibrant products.

Now that Video is working its way into our market, do you see yourself stepping into the Hybrid video market in the near future?

Yes. Someone said to me the other day, “remember the days when film photographers said that digital will never take over? Well I think the same thing is happening with still photography vs. video.” If one wants to survive, one must move forward with the market.  I have already done some video, my first shoot was a REACH toothbrush campaign for photographer Michel Tcherevkoff and J. Walter Thompson an advertising agency in New York City. I shot the campaign using the Canon 5D Mark II and found a new interest.

© Helena V. de Vengoechea

How did you first hear about Foto Care and what keeps you coming back?

I first heard of Foto Care when I assisted David Lazarus on a photo shoot for Aerosoles in 2009. I went to buy some supplies for the job and they immediately welcomed me, they couldn’t have been any more helpful. I keep going back because they have excellent customer service – the best I have received in any photo store – and they are very friendly. After entering the shop you are welcomed by Sabrina Cates’ smiling face. She will direct you to whomever you need to talk to, depending on what you are looking to research or buy. Then you are on your way to being educated by professionals in the industry. Not only is their service amazing but they also offer seminars that help photographers learn more about “what’s new” in the industry. Oh, and they have rockin’ end of the year holiday parties!

© Helena V. de Vengoechea

If you would like to see more of Helena’s work visit her website.

Posted by Elizabeth Stacy | Posted in Foto Care Interviews
Posted on May 14, 2011

Kate Orne is a New York based photographer who it seems has it in her blood.  She began as a fashion editor at Interview magazine which gave her a foot in the door for becoming the wonderful photographer she is today.  Being raised around photographers she understands the importance of light and composition but has an incredible way of catching the emotion from her subject.  We are happy to share her experiences of becoming a photographer and her goals for the future.

© Kate Orne

Tell us about yourself and how you got into this field?

Since I was raised in a family of photographers, photography was present in my life since childhood, playing in my Granddad’s studio. However, I was intimidated by the technical aspect so I never saw myself as becoming a photographer. While I was a fashion editor at Interview Magazine,  I worked with the late Bob Richardson and his son Terry whom at that time worked as a team. Bob and I took a liking to one another, he saw some of the photographs I had done while traveling and told me he wanted to mentor me. He told me, “You have a gift and its your responsibility to nurture it”. He was very instrumental in opening my mind and letting go of my fears. We never spoke about the technical aspect in our weekly sessions but instead about the heart of the photograph. He gave me the encouragement to follow a dream I never thought was realistic. Funny enough the technical aspect of photography became one of the parts I fell in love with along the way.  It’s amazing how fear can hold us back.

© Kate Orne

What was your break out job that helped launch your career?

Probably my cross country trip with a model friend of mine in 1999. We took off for 3 weeks camping across the US with a bag of fashion. The images were very well received both in the US and in Europe and was published as a big story in Italian Glamour magazine. Since then I have been referred to as a photographer interested in intimacy and the wide open landscape- both which fits me perfectly. Photography has definitely been my tool to explore the world in ways that would maybe have been difficult or more limiting without it. I am also interested in the responsibility aspect that comes along with being a photographer. After all, images have an impact on the viewer no matter if its a 15 year old on the verge of starving herself to fit in or to tell the truth about social injustice.

© Kate Orne

Where do you find your inspiration?

Movies, Music, Art, Life… My interest is a balancing act between fashion and social issues which might seem like a stretch to some. To me one focus feeds the other, creatively. To focus on one aspect of photography makes me more narrow minded, my heart and vision need a wider perspective to remain deeply stimulated.  Since I am drawn to dignity and beauty – both which are reflected in my work – it doesn’t matter what I focus my camera on. To explore subject matters over long periods of time is very gratifying. It allows me to grow intimate with the subject- no matter if its fashion, portraits, social documentary or nature.

© Kate Orne

© Kate Orne

How has your work changed in the last few years?

Not sure it has changed that much except the natural growth that comes with being an engaged shooter. My interests and focus remains the same. Sometimes we produce our best work under the most difficult situations, other times things go as smooth as honey. That’s the beauty of photography, we think we have control but in the end no matter how much we plan and pre-visualize the  present moment will produce the ultimate image. There are simply too many things we can’t control and allowing for those unexpected, unplanned moments to happen is an amazing experience, even if I am deeply engaged in the pre-planning aspect.

© Kate Orne

Where is your work heading next? Where do you see yourself in the future?

I live and photograph in the present- am focused on the here and now. Planning work or my future far in advance is not of much interest to me. I remain, as always, open to new equipment, new inspiration and wherever that may take me. Since 2005, I have been extremely interested in the equality issues in Pakistan. When I began taking photos of the women I never expected it to become such a long term project but it has been a profound experience, as a fellow human being and as a photographer.

So, I continue to remain open to whatever presents itself. For the moment I am having a great time shooting fashion , beauty and portraits and will continue to focus on things that are inspiring, touching and fun.

Do you see yourself stepping into the Hybrid Video market in the near future?

I love the video aspect. It allows me the opportunity to capture all those in-between moments and tell at times a richer story. Directing comes natural to me and I am sure as time allows I will explore it further. I can’t help but ask if in 10-20 years time, will video take the place of photography? With the speed we are moving forward these past years with technology – who knows what the future hold. It’s all very exciting, and fun, since we get to explore and learn new aspects of our craft.

© Kate Orne

How did you first hear about Foto Care?

I bought my first camera, a Rolleiflex, when Jeff was on Broadway in like 1991 or 1992. Then Jeff introduced me to Fred in rentals and the rest is history. I consider Foto Care to be very much a part of my team. I trust their expertise, their deep knowledge and I always know no matter where I am in the world they have my back whatever it takes.

What is it about FotoCare that brings your back?

The people! Foto Care is very much family, no matter if its on the phone , in person or via email – they are always there to help resolve issues, advise me on equipment or simply put a smile on my face. What else can one ask for?

To see more of Kate’s work visit, www.kateorne.com

Posted by Elizabeth Stacy | Posted in Foto Care Interviews
Posted on April 10, 2011

Carolina Palmgren is a New York City based fashion photographer.  Carolina has had many years of experience in the fashion and photography industry first starting as a model, then becoming an Art Director.  It was a natural transition for her to become a photographer.  Her work is creative, innovative and fresh.  We had a chance to speak with Carolina about her career development and her future ideas.

Tell us about yourself and how you got into this field?

I’m a self-taught photographer with a background in graphic design and fine art. I began my career as a model, which gave me immense amounts of experience with photography.  After working as a Model I became a Senior Art Director giving me the foot in the door I needed to launch out as a photographer.   Starting to shoot professionally was a natural progression for me.

What was your break out job that helped launch your career?

It was not really just one job. It was more of a small body of work I put together in a tiny studio in Soho over 6 months or so to convince some of my art direction contacts how capable I was as a photographer.  The first shoot I did was of an IMG model, a friend; it got me in with some of the top agencies in the city that helped tremendously. A gorgeous girl is half the battle.

What equipment are you currently using to produce your work?

I mostly use a Canon 5D Mark II or the Hasselbad H4D.   For lights I’m getting hooked on Broncolor but I often use Profoto or my own Dynalight kits (if the budgets are tight).

What equipment would you most like to own but don’t yet have?

My wish list includes a bunch of Canon lenses, Broncolor & HMI lighting, Hazylight and a Hasselblad digital system (as well as film).   I unquestionably make it a point to rent or try out anything I may be considering purchasing and I tend to add things slowly. Since I don’t currently have a studio on my own I really don’t mind renting. I also find that it’s easier to bill the clients for rental equipment versus your own so there is no rush yet.

Where are you drawing you inspiration?

For client work I create appropriate inspiration based on their objectives but otherwise from things around me such as art, current events in my life and others.  Also I am strongly inspired by textures, patterns and designs I see around everyday.

How has your work changed in the last few years?

It is continuously evolving.  Even just a few years ago I was experimenting more with lighting and equipment.  I’m now focusing much more on content and idea rather than the technical aspects.  I think that in the next year even my work will have been reinvented again.

Where is your work heading next? Where do you see yourself in the future?

I hope to start traveling more often and shooting big editorial campaigns. As well as spending more time doing video work, directing and I always hope to make time for my personal work.  I absolutely plan on making a break into video! Currently, I am conceptualizing and pre-planning several video shoots. Its very exciting and I believe it will soon be an expected skill as a still photographer.

How did you first hear about Foto Care and what keeps you coming back?

Through research, I was looking for some hard to find item – perhaps it was a blimp or an underwater case.  Once I went, I kept going back for the excellent customer service and personalized attention everyone receives.

I would like to thank Carolina for her and to see more of her work visit www.carolinapalmgrenphotography.com

Posted by Elizabeth Stacy | Posted in Foto Care Interviews, Photographers
Posted on March 16, 2011

We followed Jodi Jones during fashion week last month.  She submitted her daily diary of thoughts, images, and stories.  Below is her entry for day two which was just as crazy and busy as the first.

DAY 2 – Friday, February 11, 2011

Today I had a full schedule from 9:00am – 9:00pm. The agenda included 11 different designers on different stages and studios. Our schedule began with Ruffian and Perry Ellis. Following later was; Farah Angsana, Buckler, Rebecca Taylor, Rebecca Minkoff, Nicole Miller, Joy Cioci, Cynthia Rowley, Academy of Art University and Venexiana.

© Jodi Jones

I had Shawn cover the first show of the day (Ruffian) in the studio while I went to get in line for Perry Ellis in the stage.  There was already a long line of photographers waiting in the holding area but I had a pass waiting for me from the PR, as I was on the backstage list. So, I was able to avoid the line and go right to the backstage area for a coffee, then into the venue ahead of the photographers.  For Perry Ellis, I shot video with the 5d Mark II.  My video camera settings for the show were: ISO 1000, 1/50 sec at an f16 with the 70-200mm lens.  I had to shoot at an f16 in order to get the fast moving model on the runway in focus with a white balance of 3200 Kelvin.  I always dial in the color temperature manually for each show. Most of the time the venue lighting is tungsten.  Occasionally there are daylight spots or a mixture of tungsten and daylight, making it difficult to use the default settings.

© Jodi Jones

My day was pretty much running from show to show, with the occasional break to get a glass of wine and to give my CF card(s) to my assistants Stefano and Leriam for download then send straight to AP (Associated Press).  The final shows of the day were Academy of Art University and Venexiana.

© Jodi Jones

Stayed tuned to as the Diary of a Fashion Photographer: Jodi Jones continues.

see the beginning here

Posted by Elizabeth Stacy | Posted in Foto Care Interviews
Posted on March 14, 2011

Michael Lisnet is a New York City based DP (director of photography) and photographer.  Born in Montreal and raised in Connecticut Michael has always had an interest in photography.  He began with an interest in fashion photography which grew into an interest in video, since then he has began to merge the two. His work is an incredible array of creativity and imagination.

Timelapse © Michael Lisnet

Tell us about yourself and how you got into this field?

My interest in Photography started when my roommate in college showed me pictures that he had taken at night shots using long exposures and I thought that I was looking into a dream. I saw for myself what the power of experimenting with photography could produce. Up until that moment I had never touched a camera with any real intent. My main interest right now is how video and still photography relate to each other.  Separately and together they are a powerful form of expression and communication but I want to discover possibilities of them working together.

What was your break out job that helped launch your career?

When I first started, I assisted a runway photographer and my job was to hold and secure his place amongst the other 100 or so photographers who were all vying for a better spot. That got boring really fast so I would sneak backstage to all the really big shows and photograph the super models. Some of which include the major super models the time, Naomi Campbell, Lindas Evangelista, Chrisy Turlington. Tyra Banks, etc.  All of these images led to getting noticed by Vogue Magazine giving me editorial work that has lasted up until this day.

© Michael Lisnet

So, began your career in photography and now have moved further in the field to video.  Are their any video projects you are most proud or found most inspiring?

In 2006, my time spent in N.Y.C. was rewarded with the creation of a video art piece called “Siempre”. This art piece I did with my partner, Sophie Sindhal-Invernesse.  It is one of the pieces that I am most proud of. “Siempre” explores the the control religion and the media have over gender training. The piece is both intense and beautiful. It has laid the groundwork for our next art piece “Gender Adapter” which will deal with war in contemporary America.   Just this year, our work has been shown at Art bridge ArtFair Miami 2006, and The WCA International Video Shorts Festival curated by the Walker Art Center in Minneapolis. In November 2006 we had a solo exhibition of our video installation in the project room at Dillon Gallery which also represent us Video Artists and Photographers.

©Michael Lisnet & Sophie Sindhal-Invernesse

What equipment are you currently using to produce your work?  Do you find it easier renting equipment?

I use the Canon 5d mark II for the majority of my work but I also have the Panasonic HVX 200 that I use sometimes.  For post-production I use Adobe After Effects and Final Cut Pro.  I always try renting equipment before making a purchase.  Sometimes though, the camera or light I want hasn’t even been created. If it is out and Fred,  the Foto Care rental manager, doesn’t have it yet, I will usually try to find a way to get him to buy it for Foto Care. (Haha)

Now that Video is working its way into our market, what do you predict to be the next step in Hybrid Video?

I think uncompressed 4:4:4 videos in a small body, that has sound input (still waiting for this) is the final destination and maybe with a couple more steps along the way. The red camera has many of qualities of the future but it is too big for the type of work I do.

Prada Event © Michael Lisnet

Where are you drawing your inspiration?

My inspiration comes from the fact that we all now have the tools in front of us to do anything we imagine. The Internet and the computer have produced endless possibilities in terms of creativity. All you need is vision.

How has your work changed in the last few years and where is your work headed next?

I became interested in video 15 years ago. A friend, who owns a production company, began working with Def Jam records shooting music videos and I wanted in.  Video for me became an extremely powerful way to extend the dream from just a moment in time to a dreamscape.  I think the Canon revolution has upped the ante for me in terms of size and quality. I can now be anywhere unobtrusive and mobile while still shooting beautiful video.  In the future I think content is key. For me, it is about what I can create that is uniquely mine. The future is still unwritten so my plan as of now is to become a writer.

Tucge Opener © Michael Lisnet

How did you first hear about Foto Care?

A little elf from Alkit (remember them) told me about this hard ass, named Fred, that might actually be able to provide what most businesses don’t, customer service.

What is it about Foto Care that brings your back?

Hmmm, what brings me back…Dave Boogie’s Facebook postings, Brian’s knowledge of obscure bands, Jon’s taste in books, Fred’s unending wit, Nobi’s changed name, Jeff’s sarcasm, Rob’s medical condition and last but not least the happy service and respectful personnel!

To see more of Michael Lisnet visit his website, www.michaellisnet.com

Posted by Elizabeth Stacy | Posted in Foto Care Interviews, Photographers
Posted on March 8, 2011

Meet Jodi Jones:

Jodi is a photographer and film director based out of New York City. The television show “Women on Top” did a full episode on her as a top female runway and fashion photographer in a male dominated field. Her photography has been published worldwide in magazines such as American Vogue, Time, Vanity Fair, Newsweek and People. She shoots both video and still photography – developing imagery and concepts for advertising campaigns, look-books and catalogs. Her clients include fashion houses, fashion retailers, cosmetic companies and ad agencies. Jodi also contributes fashion images and editorials to magazines and is a contracted photographer for AP (Associated Press).

PRE-FASHION WEEK PREP DAY- Wednesday, February 9, 2011

I arrived at lincoln center to pick up my credential… there was a long line and it was very cold outside.  Luckily, the amazing Michael who works for IMG, saw me in line, and went to retrieve my badge so i wouldn’t have to wait.  After picking up my credential at lincoln center I headed over to fotocare’s rental department to pick out the equipment needed for the week.  Fred, manager of Foto Care’s rental department had everything all ready for me.  Fred is awesome!  This fashion week I was expected to shoot both stills and video so I decided upon getting the Canon 5D Mark 11.  I was really hoping to shoot backstage only this season and use the Hasseblad H4D with the 120 macro lens for amazing beauty shots, but a magazine last minute hired me to shoot 71 runway shows…. (that’s insane, by the way)… so it looks like the hasselblad backstage will have to wait until next season.

The gear I chose to shoot the shows:  Canon 5d Mark 11, a 70-200mm IS 2.8 lens for shooting runway, and a 16-35mm 2.8 for shooting wide angle scene shots and for the presentation shows.

DAY 1 - Thursday, February 10, 2011

Woke up about 6am… and I’m not a morning person at all. So for me it is quite hard to be truly alive before 10am, but luckily this season I had italian photographer Stefano Ortega, aka, greeting me in the morning with “Buongiorno!” and a coffee.  Such a nice way to start the day. We arrived for the first day of the shows at about 8am, at the tents.  SR Hayes, my shooting partner, had arrived the night before to mark my spot.  Life Saver!!  Photographers “mark their spot” by putting tape down in the riser and writing their affiliation on the tape. We mark about a 12×12 inch spot.  This season I was shooting for AP, ZUMA Press and Vivrant Magazine.
My first show of the day was BCBG.  Here is a shot from the BCBG show.

© Jodi Jones

BCBG MAX AZRIA was the first show of the week in the “Theatre”.  At Lincoln Center they have 4 venues in the fashion tent:  THEATRE, STAGE, STUDIO, and the BOX.  The theatre is the biggest of the venues reserved for the biggest shows, so usually the line for them is the longest.

My schedule for the day was:

BCBG MAX AZRIA, RICHARD CHAI, DUCKIE BROWN (for video), LUCA LUCA, MARA HOFFMAN, TADASHI SHOJI (for video), EVA MINGE (for video), & CHRISTIAN SIRIANO.

© Jodi Jones

© Jodi Jones

Jodi Jones: Diary of a Fashion Photographer continues here

Posted by Elizabeth Stacy | Posted in Foto Care Interviews
Posted on February 22, 2011

Foto Care presents an exclusive interview with New York fashion and portrait photographer David Needleman.  Born and raised in New York City David began his life with an artistic mind.  His family opened him up to the arts which in turn opened his  eyes up to photography.  We are happy to share his work and ideas with you in the interview below.

All Images © David Needleman

Tell us about yourself and how you got into this field?

I always knew I’d inevitably work with art. Probably since the age of 5, I knew I where I was going. I had the support and encouragement of my family. They were always in the business of making art, whether it was writing music, singing, photography or advertising. Their support came with one condition: my art was not to be a hobby, but a life-dedicated career. So, following art school, I immediately started working for the fashion photographer, Steven Meisel. That turned into an eight-year apprenticeship, which turned out to be the most important education I could have ever asked for. And that is how I got into this field.

What equipment are you currently using to produce your work?

If I am lucky enough to work with film, I use a Nikon. But, in most cases it’s digital. So as a result, I became very comfortable with Canon. Regardless, as essential as the equipment is, it must not interfere with the actual process of taking pictures. I remind myself that it’s just a tool I need to get what I want. That’s the most important part of the equipment for me.

What was your break out job that helped launch your career?

That’s an interesting question. I’m not sure. I’ve been really fortunate to have worked with remarkable talent and exciting clients. But I think photographing Rodney Dangerfield for Abercrombie & Fitch taught me the most, and gave me the most insight into what I do. I’m not sure if that was a break out job or if it helped launch anything. But, personally, I learned the most from that experience.

Where are you drawing your inspiration?

I draw from the interactions in my life, mostly. But I try to watch as many television interviews as I possibly can. I find them very captivating; watching the way people speak, move and gesture constantly inspires me. I’m also fascinated by anything sci-fi and am drawn to the unknown. Years ago, when I was starting out, a great mentor of mine told me to listen and then speak. Therefore, I listen to as much as I can from my subjects to hear their perspectives – that inspires me the most.

How has your work changed in the last few years?

Well, without taking myself to seriously, I’ve been thinking a lot about this lately. If I take a step back and reflect over the past few years, I feel each picture I make means more to me, and has greater intent from these past few years. Actually, two and a half years ago I was diagnosed with colon cancer, and now I look at everything as before and after the cancer, including my pictures. If anything, I think my work is more about me than it’s ever been. The process of working, as well as the work itself has been evolving to a place that I’m very content with these days.

Where is your work heading next? Where do you see yourself in the future?

I hope my work will take me to places where I’m forced to learn and grow. I also, hope I always have that feeling of ridiculous anxiety before ever project. As for the future, I have no idea. I’m just taking every day as it comes. I’m grateful and appreciative of what I already have and have done.

Now that Video is working its way into our market, do you see yourself stepping into the Hybrid Video market in the near future?

I’m thinking about this. I admire and respect the medium, but am not sure just yet where I’d like to belong in it.

How did you first hear about Foto Care?

It was many years ago, one of my first few days working at Steven Meisel Studio. I asked his then-1st-assistant about renting a camera for a trip. His sincere and authoritative response was, “Call Fotocare. They can make anything happen for you.” He was right and I have been calling them for about 13 years now.

What is it about Foto Care that brings your back?

Before anything else, they are good people and it’s a complete pleasure to work with them all.

To see more of David’s work check out his website, www.davidneedleman.com