#Corporate Photography New York

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Modern Approaches to Headshots for Executives and Creative Professionals

Dorothy Shi, a renowned corporate headshot photographer, can help you get stunning headshots that create a lasting impression on the viewer! 

In the past few years, the transformation and revolutionization each industry has gone through is note-worthy. The world has been through a pandemic, got back up, and that has caused the digital world to shoot up. There is social media dominance, remote work, and virtual collaborations that have gotten industry leaders to come up with ideas and opportunities that promote them and their companies digitally.     

When we talk about corporate headshots, they have always been important. A headshot is not just a simple picture- it is a digital impression, personal brands and often the gateway to new opportunities and collaborations. With professional, corporate headshots, you get pictures that reflect authority, confidence, professionalism, personality, approachability and help you build credibility. 

With constantly evolving trends, traditional headshots are being replaced by dynamic and personalised images that reflect the changing world we live in. Let us explore the modern approaches to headshots and how they meet the needs of today’s executives and creative professionals. 

The Shift in Headshot Expectations

Speaking in a traditional sense, headshots used to be formal affairs- dark suits, naturalised backgrounds and a stern expression. The only focus was to communicate the job role and professional expectations. These headshots lack personality and individuality- this is where modern headshots come into the picture. In higher conservative corporate setups, modern headshots are taken to tell a story- a story beyond just the job title of the person. 

For individuals in leadership roles or entrepreneurial roles, the headshot is seen as an extension of their leadership brand. It needs to capture confidence, vision and approachability. Whereas people in creative fields like artists are often looking for headshots that capture their personality and creativity, making it a perfect blend of professionalism and artistic flair. 

Key Elements of a Modern Headshot

Authenticity Over Stiffness

Stiff poses and stern expressions are not something that work in today’s landscape. The main focus of modern headshots is authenticity. People want to see the real you, connect with you, and so genuine expressions work better. Whether a smile, a gaze, an approachable look, all of them work. The idea is to showcase a personality while maintaining professional aura. For executives, this might mean a confident yet approachable smile, for creatives, it reflects playfulness and curiosity.

Natural Lighting and Environment

For modern headshots, natural light has become the hallmark. Harsh and strong lights make the person seem somewhat washed away or overly processed, and that won’t look good when you see the final result. Soft and neutral light creates a warmer, more flattering look. A headshot taken outdoors or in a relaxed indoor environment gives a sense of transparency. Again, for creative professionals, the environment can be used to tell a story- incorporating artistic elements, such as colorful backdrops or unique architecture, can give insight into the person’s creative process or aesthetic.

Dynamic Composition

Speaking of the past, headshots were captured in a  static, straightforward manner. The subject would be looking directly at the camera, with almost no room for creative composition. Today, the scene has changed. The photographers now play with angels, depth and the body language of the subject. For example, a slight tilt of the head or a pose that suggests movement can make the image feel more dynamic and engaging. For executives, this approach communicates confidence and vitality, while for creative professionals, it might underscore their innovative spirit.

Color and Wardrobe Choices

Wardrobe and color choices are important in modern headshots. For executives, classic, neutral tones—blues, blacks, and grays—are still a popular choice as they reflect  authority and professionalism. However, many executives are opting for outfits that are slightly less formal, such as a smart jacket without a tie or a shirt with a subtle pattern, to convey a sense of approachability. For creative professionals, the wardrobe can be an opportunity to inject personality into the headshot. Bright, bold colors or unique fashion choices can reflect creativity, innovation, and individuality, making the image feel more personal and relatable.

Minimalism and Clean Backgrounds

A background with many props may distract the viewer from the main subject, and no one wants that. To avoid this, modern photographers use clean, simple backgrounds that allow the main focus to be on the subject.  This background can be natural, or a solid color. For executives, a neutral or blurred background maybe ideal, and for creative professionals something that reflects creativity and offers subtle hints of the work or personality without overwhelming the viewer. 

Incorporating Personal Elements

A major change in modern headshots is the inclusion of personal elements that reflect who the person is. It can mean incorporating some props like a camera, an instrument or a sketchbook that reflects the work they have done. Do not use a lot of elements in a single shot. It will give a cluttered look. For executives, a subtle nod to their leadership style or industry—such as a clean, organized desk, or a shot in a creative workspace—can make a headshot feel more connected to the person’s daily life and their professional identity.

Why Dorothy Shi is the Perfect Photographer for the Job

When you think about creating a modern, impactful headshot, it is not just about creating a photo, it is about capturing the essence of the person behind the lens. This is where an expert corporate headshot photographer like Dorothy Shi comes in. Dorothy Shi specialises in crafting headshots for executives and creative professionals, tailoring each session to the unique needs and personality of the individual. She has a keen understanding of detail, and makes her clients feel at ease and comfort by communicating with them. This allows their authenticity to shine throughout the session. 

What sets Dorothy’s skills apart is her ability to combine skill with an intuitive approach to photography. She has the perfect understanding of how to use light, composition, and color to create images that are not just visually stunning but also aligned with the client's personal brand image. Whether she’s photographing a CEO who needs a confident, professional headshot or a designer who wants to show off their creative flair, Dorothy has a knack for capturing the right balance of professionalism and personality.

The sessions are all collaborative. Dorothy Shi takes the time to get to know each client, understanding the vision, values and the message they want their headshot to convey. This personalized approach ensures that the final result is a reflection of the individual—not just a generic photo.

Additionally, Dorothy’s expertise in post-production means that each headshot is meticulously edited to enhance the subject’s best features while maintaining an authentic, natural look. Her work avoids the overly-retouched, cookie-cutter approach often seen in corporate headshots, creating images that feel real and relatable.

Conclusion

Modern headshots are no longer just a standard portrait, they are an essential part of a professional’s brand image. Executives and creative professionals alike are now looking for images that reflect their personality, leadership qualities, and creativity. This shift has led to a more dynamic, authentic, and personalized approach to headshots.In this changing landscape, Dorothy Shi stands out as a photographer who is not only skilled in capturing beautiful images but also understands the nuanced needs of today’s professionals. If you are looking for a corporate event photographer in New York, Dorthy Shi is the best person for it.

[oldnewyorklandia]

New York (N.Y.). Board of Transportation / Brooklyn-Manhattan Transit Corporation. Bridge Street and/near Willoughby Street, Brooklyn, 1922.

[nyphotony]

theheadshot

[capturely12]

Capturely: Elevate Your Professional Image in Just 10 Minutes

Looking for corporate headshot photographer near you in California? Capturely offers expert answers for all your professional imaging needs, including tremendous headshots that decorate your emblem. Our skilled crew knows the importance of a strong first impact, and we deliver studio-quality results speedy and successfully. With transparent pricing, we make it easy to apprehend the fee of an expert headshot without hidden costs. Whether you want character graphics or crew snap shots, our customized approach ensures your photographs replicate your specific corporate identification. Elevate your professional image with Capturely’s pinnacle-notch services right on your location!

If you search forcompany photography near me, you may find Capturely to deliver professional and fantastic imagery that enhances your logo's photograph and tells your tale efficiently.

[admirablejewels11]

Corporate Portrait Photographer: Tips to Look Your Best!

Dorothy Shi Photography is proficient in corporate portrait photographer, delivering business organizations in New York with stunning, truly representing their professionalism. Taking into account the significance of effective branding, Dorothy effectively captures the spirit of people and teams which helps to create a memorable initial impression. Largely, Dorothy pays much attention to making the target subject comfortable before and during the session, thus, producing candid shots. She was able to light and compose the shots to capture each person’s personality and they are not just pretty images but represent the corporate spirit. Whether it is a portrait session or team pictures, Dorothy engages with the client to determine their goals fully. She has contributed articles to various corporate publications and websites with the professionalism and creativity that is in her. Thus, working with Dorothy Shi Photography, companies will be able to level up their visual content and leave an impressive mark in the sphere of corporate relations.

Visit more information

Website -  

Phone Number - +1 212-864-5931

Email id - shishotme@gmail.com

[anjali12]

Capturing Childhood Magic: Beautiful Portraits by a Professional Child Photographer in NYC

Every parent knows how quickly childhood flies by. One minute, your little one is a giggling newborn, and the next, they're off to kindergarten, brimming with personality and boundless energy. As a Professional Child photographer in NYC, I have the privilege of capturing these precious moments in time, creating beautiful portraits that tell the unique story of each child.

NYC: A Backdrop for Memories

New York City is a vibrant playground, and what better place to capture the spirit of your child than amidst its iconic landmarks and hidden gems? Whether it's a playful photo shoot in Central Park, a candid portrait with the Brooklyn Bridge as a backdrop, or a whimsical session in a charming brownstone stoop, the city itself becomes a character in your child's story. As a professional child photographer in NYC, I'm familiar with the city's diverse locations and know how to leverage their unique charm to create stunning portraits.

Beyond the Studio: Capturing Real Moments

While studio photography offers a controlled environment, I believe the true magic of childhood photography lies in capturing genuine moments. This is why I often prefer on-location shoots. As a professional child photographer in NYC, I love capturing the joy of a child splashing in a fountain, the wonder in their eyes as they explore a new neighborhood, or the warmth of a family hug against a bustling city street.

Creating a Fun and Relaxed Atmosphere

Working with children requires patience, creativity, and a playful spirit. My goal is to create a fun and relaxed atmosphere where your child feels comfortable and can express themselves freely. As a professional child photographer in NYC with years of experience, I've developed a range of techniques to engage children and bring out their natural smiles. From silly games and playful prompts to incorporating their favorite toys or activities, I ensure the session is an enjoyable experience for everyone involved.

More Than Just a Snapshot: Capturing Personalities

The best child portraits go beyond a simple snapshot. They capture the essence of your child – their infectious laughter, their mischievous twinkle, or their quiet contemplation. As a professional child photographer in NYC, I strive to create portraits that reflect your child's unique personality and spirit. Through careful observation and gentle interaction, I aim to capture those fleeting moments and expressions that truly define them.

Collaboration for the Perfect Portrait

As a professional child photographer in NYC, I believe collaboration is key. Before any photo shoot, I discuss your vision and preferences with you. Do you have a specific location in mind? Are there any props or outfits you'd like to include? The more information you share, the better I can tailor the session to capture the essence of your child and your family.

Memories that Last a Lifetime

Investing in professional child photography is an investment in memories. These beautiful portraits will become treasured keepsakes for you and your family to cherish for years to come. Looking back at these photographs, you'll relive the joy of your child's laughter, the wonder in their eyes as they explore the world, and the deep love you share.

Ready to Capture Your Child's Story?

If you're looking for a professional Child photographer in NYC, I'd love to chat with you! Contact Darcey Stone Photography today to schedule a consultation and discuss how we can create beautiful portraits that capture the magic of your child's personality.

Let's work together to freeze these precious moments in time, creating stunning portraits that tell the unique story of your child in the heart of New York City.

[jahnvikhurana]

Elevate Your Professional Image with Corporate Headshot Photography at Dorothy Shi Photography

In today's fast-paced business world, first impressions are more important than ever. Whether it's for your LinkedIn profile, company website, or professional portfolio, a high-quality corporate headshot photography is essential to convey professionalism, approachability, and confidence. At Dorothy Shi Photography, we specialize in creating stunning corporate headshots that help you stand out in your industry.

Why Choose Dorothy Shi Photography?

1. Expertise and Experience: Dorothy Shi brings years of experience in photography, with a keen eye for detail and a deep understanding of how to capture the essence of her subjects. Her expertise ensures that every shot is meticulously crafted to highlight your best features while maintaining a professional and polished look.

2. Personalized Approach: At Dorothy Shi Photography, we understand that each client is unique. We take the time to get to know you, understand your personal brand, and tailor the session to meet your specific needs. Whether you're looking for a classic, formal headshot or a more relaxed, contemporary style, we work with you to achieve the perfect image.

3. Professional Studio Environment: Our state-of-the-art studio is equipped with the latest photography equipment and lighting. This ensures that your headshots are captured with the highest quality possible, providing crisp, clear, and vibrant images that make a lasting impression.

4. Comprehensive Pre-Session Consultation: Before your session, we offer a comprehensive consultation to discuss your goals and preferences. This includes advice on wardrobe choices, background selection, and any specific requirements you might have. We aim to make you feel comfortable and confident, so you can shine in front of the camera.

The Headshot Experience

Step 1: Pre-Session Consultation Your journey begins with a detailed consultation where we discuss your vision, preferred style, and any specific needs. This ensures we are fully prepared to deliver headshots that align with your personal or corporate brand.

Step 2: The Photoshoot On the day of the shoot, our professional team will guide you through the process, offering tips on posing and expression to help you look your best. Our studio environment is designed to be welcoming and relaxed, making the experience enjoyable and stress-free.

Step 3: Review and Selection After the session, you will have the opportunity to review the photos and select your favorites. Dorothy will provide expert advice to help you choose the images that best represent you and your professional image.

Step 4: Professional Retouching Once you've made your selections, we will professionally retouch the images to ensure they are flawless. Our retouching process enhances your natural features while maintaining a natural and authentic look.

Step 5: Final Delivery Your final images will be delivered in high-resolution digital format, ready for use across all your professional platforms. We also offer options for printing if needed.

Benefits of a Professional Headshot

1. Enhance Your Professional Brand: A professional headshot is a powerful tool for establishing and reinforcing your personal brand. It communicates credibility and professionalism, which can be crucial in making a positive impression on potential employers, clients, and colleagues.

2. Boost Your Online Presence: In the digital age, your online presence is often the first point of contact with potential connections. A high-quality headshot can make your profile stand out on LinkedIn, social media, and professional networks.

3. Increase Engagement: Profiles with professional headshots receive more views and engagement. People are more likely to connect with and trust individuals who present themselves professionally.

4. Showcase Confidence: A well-crafted headshot portrays confidence and competence, qualities that are highly valued in the business world. It helps to establish trust and can open doors to new opportunities.

Book Your Session Today

Investing in a professional corporate headshot is an investment in your career. At Dorothy Shi Photography, we are dedicated to helping you put your best face forward. Contact us today to schedule your session and take the first step towards elevating your professional image.

For more information and to view our portfolio, visit our website at Dorothy Shi Photography. Follow us on social media for the latest updates and tips on making the most of your corporate headshot session.

Find us at 400 Central Park W, New York, NY 10025, United States. Reach out to us at +1 212-864-5931. Contact us today!

[woddity]

Unlocking the Power of Brand Photography: A Guide to Elevating Your Brand's Image

In the vibrant and ever-evolving world of marketing and branding, the term ‘brand photography’ is increasingly taking center stage. But what is brand photography? Simply put, it’s a specialized area of photography focused on capturing the essence, personality, and unique qualities of a brand. Whether it’s for a corporate giant, a sprouting small business, or an individual crafting a personal…

[almostarts]

Gaetano Pesce (8 November 1939 – 3 April 2024)

Moving against the stream of rational, functional modernism in the 1960s and early 70s, Mr. Pesce experimented with materials and production methods to create furniture pieces imbued with political or religious meaning for brands from Cassina to B&B Italia.

Many would go on to become icons of Italian design including the Up5 chair – an innovative vacuum-packed chair designed to resemble a female prisoner – which he designed for B&B Italia precursor C&B.

Pesce moved to New York in 1983 and began to move away from mass production to create "standardised series" in everyday materials like resin, adapting conventional production techniques to create varied and imperfect outcomes.

The result are pieces such as the 1884 Pratt chair, which toe the line between functional design and decorative art, helping to create a new category that would later become collectible design.

Mr. Pesce was born in the Italian city of La Spezia in November 1939, only two months after the start of world war two.

As was common at the time, he trained in both architecture and design, studying first at the University of Venice and later at the Venice Institute of Industrial Design.

Among his architecture projects is the Organic Building in Osaka from 1993, with its plant-covered facade made of orange fiberglass that served as a precursor to today's vegetation-covered green walls.

But Mr. Pesce's most pioneering and well-known work happened in the world of design. In the late 1960s, he became one of the leaders of Italy's Radical Design movement, rejecting modernism's rigid focus on forms dictated by function.

Instead, Pesce focused on the idea that functional objects, much like art, could carry a deeper message.

One of the most famous examples is the controversial Up5 chair from 1969, which manufacturer B&B Italia describes as "the first product of Italian design with a political meaning".

Rest In Power !

"Up 5 & 6" Dressed Up Chair & Ottoman, 1969 – 2014, Polyurethane foam, fabric, Height: 40.5 in (102.87 cm)Width: 47 in (119.38 cm)Depth: 51 in (129.54 cm)Seat Height: 16 in (40.64 cm),

“Square Airport Lamp” (1986/1994). Photography by Elizabeth Carababas/The Future Perfect. Light sculpture consisting of a flexible rubber membrane studded with small light bulbs. Although made from a mold, no two lamps are alike, due to the imperfections that arise from the hand-mixing and pouring of colored urethane. H 92 - W 65 Cm,

"Feltri" Armchair for Cassina, 1980 -1989, Felt, Fabric, Resin, Width: 156 cm, Depth: 80 cm, Height: 129 cm, Seat height:42 cm, Courtesy: Oldera,

"Pratt Chair #7," 1984 2018 (purple), 2018, Transparent polyurethane, :93 x 53 x 53 cm. (36.6 x 20.9 x 20.9 in.),

"The Cabinet of The Tired Man," 2018, Photo: Courtesy of Salon 94 Design and Gaetano Pesce,

"Tramonto a New York" three-door screen, for Cassina, Made of coloured resin, hinges and feet in burnished brass, Width: 221, Height: 199,

"Organic" Building, Osaka, Japan, Completed in 1993 to embody the corporate ideal of Oguraya Yamamoto Co., Ltd,

"La In-Portante" Modular Bookshelf from the "Abbraccio" Series, 2010. Comprising 57 adjustable polyurethane resin shelves. Produced by Le Fablier, Italy. Polyurethane resin, painted wood, lacquered metal, 86½ x 118¾ x 16⅞ in. (219.7 x 301.6 x 42.6 cm) Courtesy of Sotheby's,

La Michetta Modular Sofa,Compostion of 8 by Meritalia, Structure in Lacquered Wood Seat with Elastic Belts, Flexible Polyurethane & Fiberfill Padding, Dimensions: W370 x D245cm,

Unique 'Ireland' table, Made of polyurethane and metal. The table was made and exhibited in 1996 by Gallery Mourmans, Knokke-Zoute, Belgium. It was part of a series of 'EU tables', where all 15 member countries were represented as a table, in this case Ireland. The top of the table has the shape of the outlines of the country and it stands on legs in the shape of question marks. W.80.71 in;H.28.74 in;D.57.09 in; (W.205 cm;H.73 cm;D.145 cm), Courtesy: Incollect.

[motivelinks]

Mastering Event Photography: Capturing Speakers and Key Moments with Precision

There are so many things a host has to worry about while planning an event- photography shouldn’t be one of them if you have an expert photographer!

Event photography demands a keen eye to detail. It requires an understanding of the event’s flow, and most importantly- the ability to capture the crucial moments. Events can range from anything from a corporate seminar, a conference, or keynote addresses. The goal remains the same- to create compelling images that tell the story of both the speakers and the ambience. 

In this article, let us explore the best techniques for photographing speakers and key moments during events, and how expert corporate event photographers like Dorothy Shi can elevate your experience to the next level. 

The Importance of Event Photography

When it comes to event photography, it is more than just documentation. It is a record of all the moments in an event that go in legacy. Whether it is a powerful moment of inspiration during a speech or the reaction of an engaged audience, the correct shot can evoke the entire feeling of an event, allowing it to feel relatable for days to come. To achieve this perfectly, you need to capture the essence of the speaker, the energy of the room, the vibe, and the critical moments that define the event. Here is our attempt to tell you how you can do it:

1. Know the Event’s Flow and Narrative

First things first, you have to understand that you need to know what the event is going to be like. Every event is different, and has its own unique structure. There are going to be keynote speeches, panel discussions, networking breaks, award ceremonies and more, and all of these require different approaches to be captured. 

Research the speakers: Learn and know about who is going to be speaking and when. You should know when the significant moments are lined up because understanding the tone of the event will help you anticipate key emotional moments.

Create a timeline: Ask the host about the event’s schedule beforehand. This will ensure that you are in the right place at the right time- whether it’s capturing a motivational, powerful quote, an applause worthy moment, or the speaker’s genuine reaction to an audience’s engagement to their speech. 

Look for the narrative arc: You have to pay attention always! If you miss a moment, it isn’t coming back. So follow the tension, and climax. 

2. Get the Best Angle for Speakers

Needless to say, a speaker’s impact is largely determined by how they are presented to the crowd. For dynamic and stunning photos, it is crucial to capture them from the best angles. 

Eye-level shots: When you take a shot from eye-level with the speaker, you get an image that makes the viewer feel relatable to it. It feels as if the viewer is reliving the speech, or if they haven’t heard it, it makes them feel like they were at the event. 

Wide-angle shots: Capture wide angle shots that capture not only the speaker but also the audience. These shots help the viewer scale the event and the vibe of the crowd. 

Over-the-shoulder shots: These shots give the audience perspective, showing what the speaker sees as they engage with the crowd. These types of images can offer an intimate insight into the event.

Close-ups for emotion: Close-up shots of the speaker’s face capture the nuances of emotion—whether it’s a moment of inspiration, humor, or seriousness. These images often convey the impact of their words more strongly than wide shots.

3. Leverage Natural and Artificial Light

When it comes to mastering corporate event photography, you have to understand that lighting is crucial. Lighting, in many events, changes throughout the day. From bright stages to dim networking areas or banquet halls, an expert corporate event photographer will know how to navigate these varying conditions. 

Know your lighting: You should try to use the available light to your advantage. When you are capturing a conference setting, the lighting is designed to spotlight the speaker. In these cases, you should avoid using flash as it can create harsh contrasts. Instead, you should rely on the lighting that is set on the stage and set your camera accordingly. 

Adjust to ambient light: If you are photographing large scale events that go on for a full day, you may find that the lighting in the room changes as the day progresses. In this case, check your white balance and ISO settings to adapt to shifting conditions.

Use bounce flash: Sometimes the room might be poorly lit, and in this scenario you should use a bounce flash technique. This diffuses the light and reduces the harshness, creating a more flattering result. A soft, indirect flash will prevent unwanted shadows and ensure that the subject is evenly lit without overexposing the surroundings.

4. Capture Audience Reactions and Engagement

While the speakers are of prime importance, do not forget an event means nothing without its audience. Capture the audience’s reactions carefully as genuine reactions make for the best shots. 

Look for emotional reactions: Whether it is a laugh, happy tears, a moment of deep thought or applause, all these reactions have to be documented in corporate event photography sessions. Stay alert and be ready to capture the energy in the room as it unfolds. 

Wide shots of the crowd: As mentioned earlier, you should use wide shots that showcase the entire room. This helps offer contact and help convey how the speaker’s message is being received.

Group shots: Group shots reflect the credibility of the event. You can capture like minded people engaged in conversations, networking, and more. This shows the overall success and engagement of the event. 

5. Tell a Story with Your Composition

Event photography is all about storytelling. An expert corporate event photographer will want to document it in a way that allows people to relive it through your images.

Rule of thirds: One of the basic principles of composition is the rule of thirds. Placing the speaker or key moment off-center while maintaining balance in the background creates an aesthetically pleasing and dynamic photograph.

Framing: Pay attention to how elements in the room can frame your subject. For example, doorways, windows, and other objects can create a natural frame for a speaker, emphasizing them in the shot.

Include environmental context: While focusing on the speaker or the moment, consider the environment. Whether it’s a branded banner, an audience in awe, or the podium, these elements give the image more depth and context, reinforcing the event’s atmosphere.

6. Post-Processing to Enhance the Story

When you are done capturing the key moments and the event is successful, then comes the major task of editing. The post production process or editing is a crucial part and enhances the mood of event photos. While raw images are useful, post-processing helps bring out the vibrancy of the scene and ensures the photos align with the tone of the event.

Correct exposure and color balance: Always adjust the exposure and color balance to create a consistent look throughout the event photos. It’s essential to make sure your final images feel cohesive, especially if they’ll be used in promotional material.

Crop and straighten: Ensure that the composition remains tight. Cropping can help remove distractions and focus attention on the key elements of the photo.

Dorothy Shi: Elevating Your Event Photography Experience

While almost anyone can snap a photo at an event, capturing the true essence and energy of a speaker or key moment takes a trained eye and expertise. Dorothy Shi is a seasoned event photographer in NYC with a  whopping experience of 25 years covering corporate events, and many other forms of photography. She knows how to seamlessly blend technical skill with a deep understanding of storytelling. 

From expertly timed shots of speakers to candid audience reactions, Dorothy has the experience and intuition to deliver powerful photographs that elevate your brand and capture the heart of your event. Her attention to detail, creative compositions, and proficiency with lighting ensure your event is captured in the most dynamic and engaging way possible.

If you are looking for a corporate event photographer in NYC, you should definitely think about Dorothy Shi. Explore her portfolio and book a session today! 

Final Thoughts

When it comes to event photography, you should know it is an intricate blend of skill and vision. By carefully understanding the event of the flow, capturing crucial moments, and using the correct settings, composition and techniques, you can ensure that your photographs tell the story in a way that resonates. And when you enlist the help of professionals like Dorothy Shi, you can elevate your event photography, leaving you with images that reflect the full impact and energy of your event.

[fibula-rasa]

(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)

Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar

Direction: Ferdinand Pinney Earle; assisted by Walter Mayo

Scenario: Ferdinand P. Earle

Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)

Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald 

Production Manager: Winthrop Kelly

Camera: Georges Benoit

Still Photography: Edward S. Curtis

Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock

Composer: Charles Wakefield Cadman

Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)

Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis

Character Designer: Louis Hels

Choreography: Ramon Novarro (credited as Ramon Samaniegos)

Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock

Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)

Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle

Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)

Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)

Length:  Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels,  5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)

Synopsis (synthesized from magazine summaries of the plot):

Omar Khayyam:

Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.

A Lover’s Oath:

The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]

Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):

Celestial sequences featuring stars and planets moving through the cosmos

Angels spinning in a cyclone up to the heavens

A Potters’ shop sequence (relevant to a specific section of the poems)

Harem dance sequence choreographed by Novarro

Locations: palace gardens, street and marketplace scenes, ancient ruins

Points of Interest:

“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”

Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922

The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.

When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:

William E. Wing writing for Camera, 9 September 1922, wrote:

“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.”  … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”

As quoted in an ad in Film Year Book, 1923:

“Ferdinand Earle has set a new standard of production to live up to.”

Rex Ingram

“Fifty years ahead of the time.” 

Marshall Neilan

The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.

So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)

The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!

Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.

In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen. 

Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.

Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.

Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:

see all gifs here

Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.

Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.

By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.

Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.

However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.

Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.

One reviewer for The Register, Adelaide, SA, wrote:

“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”

While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified. 

A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!

Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.

That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.

What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider. 

The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.

It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.

This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.

VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.

VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella,  has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!

Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists. 

United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.

Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done. 

Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.

Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:

MAGNA CHARTA

Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.

Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.

The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.

Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.

Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.

In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.

In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.

Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.

Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?

We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!

The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.

Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!

One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.

How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.

When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight. 

What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?

Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.

A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.

The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?

“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.

FERDINAND EARLE.

---

☕Appreciate my work? Buy me a coffee! ☕

Transcribed Sources & Annotations over on the WMM Blog!

See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation

[twtd11]

And now for an actual Hallmark Christmas movie about lesbians.

Friends and Family Christmas:

Spoilers below the cut:

Compared to the Tello Films versions of Christmas-y romcoms, this movie has the budget of a Hollywood blockbuster. Also, there are no horse farms to be seen.

For this movie, we have our two protagonists:

Daniella and Amelia.

Daniella is half Hispanic (ikr?) and she’s moved to New York to follow her photography dreams. Her mom is a super famous author and her dad is a mathematician. Daniella has always come home for Christmas, but she’s in charge of a series of big events for the Brooklyn Art Something or Other (I don’t remember the exact name. It was some sort of non-profit incubator for artists).

Amelia is a high powered lawyer who’s about to be named as a partner at her dad’s big corporate law firm. She actually has a good relationship with her father. He’s supportive of her desire to be a partner and concerned that she’s working too much, so he forces her to come to the firm’s Christmas party. Clearly, she’s going to need a plus one.

Turns out Amelia’s dad and Daniella’s dad were college roommates. Obvious the solution to these two workaholics working too much is to set them up with each other. Amelia, of course, is still getting over her ex even though they broke up a year ago.

So Amelia and Daniella have coffee and they vaguely hit it off but they’re never going to see each other again. They’re both too busy and Amelia is still wounded.

Then surprise! Daneilla’s parents have decided to come visit her for Christmas!

Now, Amelia accidentally took Daniella’s gloves when they had their first coffee, so they meet to exchange gloves. Aaaaannnnnd Daniella’s parents crash their coffee. This leads to the movie’s driving trope: fake dating. After all, what’s the best way to get your parents off your back about your lack of social life? That’s right, invent one!

Fake dating shenanigans ensue. I won’t tell you about them because you should go watch the movie. The movie is adorable. Also, Daniella’s mom apologizes for not respecting her boundaries, which might have been the most surprising part of the whole movie. Also, no one moves home to the Christmas tree farm. Everyone who started the movie living in New York ends the movie living in New York. And everybody keeps their careers. And the main characters support each other in their ambitions without anyone really sacrificing anything.

It’s almost like they took all of those criticisms of Hallmark movies and tried to fix them. Or some of them. I mean, it’s still a Hallmark movie.

Anyway, bottom line: I enjoyed it and if you like cute little movies about people falling in love, you should go watch it.

[nyphotony]

GetHeadshots

[xtruss]

Meet The Woman Who Made Polaroid Into A Cultural Icon

Meroë Marston Morse, an Art History Undergraduate, Led and Transformed the Camera Company into a Brand Beloved by Photographers to This Day.

— By David M. Barreda | March 27, 2024

Meroë Marston Morse joined Polaroid just weeks after graduating from Smith College—and quickly rose to become one of the iconic company's most visionary leaders. She's seen here in a test photograph taken by Polaroid laboratory staff in the 1940s. Polaroid Corporation Records, Baker Library, Harvard Business School

Polaroid. The Tconic Camera brought photography into the hands of millions beginning in the 1940s. It made anyone a photographer with a push of a button, developing the pictures right in front of your eyes.

At a time when camera innovation was led almost exclusively by men, Polaroid was different in another way too: During her relatively short time at the company, a young art history grad named Meroë Marston Morse was one of Polaroid’s most important visionaries, ultimately rising to be director of the Special Photographic Research Division with 18 patents to her name.

As a senior photo editor at National Geographic, I have had a lifelong love for photography. Since I was a child, I remember watching family members use Polaroids to record the mundane moments of a vacation, while I used a Nikon camera with 35mm film. But when a photographer friend later showed me how to use a toothpick to push the dyes of a Polaroid that was mid-development—resulting in a more painterly, more impressionistic final image—I became a fan.

I know a fair bit about Polaroid and its founder, Edwin Land. But when I read Morse’s name for the first time recently, I was intrigued to learn more about role she played during her two decades there.

A New Kind of Camera Company

Morse joined Polaroid in 1945 just weeks after graduating from Smith College, having studied art history with Clarence Kennedy. A friend and associate of Edwin Land, Kennedy often recommended his best students to work at the camera company.

American scientist and inventor Edwin Herbert Land demonstrates his instant camera or Land Camera, manufactured by Polaroid, circa 1947. Photograph By Sam Falk, The New York Times/Redux

For Land, Morse became “a soul mate, a work mate, and a protector,” writes Victor K. McElheny in his biography of Edwin Land, Insisting on the Impossible. Morse was a natural to the Polaroid method, which McElheny quotes one of the company’s inventors as saying was, “to propose the hypothesis, to test the hypothesis, to modify the hypothesis, to test with another experiment—a sequential train moving at high speed, several hypotheses and experiments per hour.”

A few short months after her arrival, Morse was managing the black-and-white film division, where she led her team through round-the-clock shifts to transition the company away from monochromatic sepia prints to truly black and white Polaroid films.

The process was full of challenges. Not only did the crystals in the darkest areas of a print become reflective, but the paper they used collected fingerprints easily. Perhaps worst of all, some of the prints would fade after a few months. Chris Bonanos, whose book Instant documents the camera company’s history, writes that Land called the creation of black-and-white film “among the toughest things Polaroid ever pulled off.”

And Morse was at the center of it all, former Polaroid employees John and Mary McCann told me on a recent call. Morse’s team would analyze tiny incremental variances from a standard exposure Mary said, and Morse herself “had an eye for these differences” thanks to her art history training. “She and Land built it from the first experiments in the lab, all the way through the billion-dollars-worth of film they sold,” John adds.

A Marriage of Science and Art

John McCann tells me his time at Polaroid reminded him of the Renaissance, when “the best scientists were the best painters, and they did everything.” Artists at Polaroid were integral to science and experimentation, and their perspectives were as important as those of trained chemists.

Within Morse’s lab, there was a strong dedication to making technology to suit artists. She served as the liaison between scientists and the photographers who consulted for the companies—building relationships with fine art photographer Minor White, color art photography pioneer Marie Cosindas, and landscape photographer Ansel Adams.

Photographer Ansel Adams consulted with Polaroid in various capacities. In a letter to Morse in 1953, he complained about the company’s ads, which he said had, “served to place emphasis on the casual, amateur use of the camera and process which has, I think, minimized the more important aspects. Most people think of it as a semi-toy.” Photograph By Emmanuel Dunand, AFP/Getty Images

Adams was already a well-established, large-format, black-and-white photographer by the time he began to consult for Polaroid in 1948. His image, Monolith, the Face of Half Dome, Yosemite National Park, made in 1927, had landed him on the photography map. Yet Adams was very interested in Polaroid’s technology, particularly the cameras and the black-and-white film that Morse was developing. The two were in nearly constant contact.

Adams helped establish a process that photographers in the field used for feedback long before the advent of the digital camera: He would take a Polaroid to test the composition and exposure of an image before making a final image on the negative.

Legacy

Morse died from cancer in 1969 at the age of 46, before Polaroid had expanded into a global brand and cultural touch point, before the toy camera craze had peaked, and long before Polaroid filed for bankruptcy in 2001.

In a companywide memo announcing her passing, Polaroid executive Richard Young wrote, “To those who knew and loved Meroe, our lives were enriched and enlarged. Her kindness, concern and interest in everyone were exceeded by her generosity.”

By the 1970s and 80s, other camera companies started to emulate Polaroid’s point-and-shoot approach and aesthetic. In the late 2000s, photographers around the world went into mourning when the last Polaroid films hit their expiration dates after the company’s bankruptcy.

"9-Part Self Portrait," a collage of large-format Polapan prints by artist Chuck Close, is displayed at Sotheby's during a preview of The Polaroid Collection, a collection of fine art photographs that Land launched in the 1940s. Morse was key to building the company's relationships with artists in the collection. Photograph By Emmanuel Dunand, AFP/Getty Images

But in early 2008, as the last factories were winding down, Polaroid enthusiasts Florian ‘Doc’ Kaps and André Bosman raised over half a million dollars to rescue the factories, the film, and most importantly the chemistry knowledge of the company—and eventually they brought Polaroid film back to market.

Today, in a photography world where digital is king, the spirit that Morse and others brought to the company still lives on for photographers everywhere.

[tigerstrikesasteroidnetwork]

NY / &&&2

&&&2 January 6, 2024 – February 18, 2024  Opening Reception: Jan 6, Saturday 6-8PM  A talk with the artists will be scheduled in February

Tiger Strikes Asteroid New York is pleased to present &&&2, a bi-coastal exhibition that serves as both a survey and sequel to the collaborations of Ethan Greenbaum, David Kennedy Cutler and Sara Greenberger Rafferty.

Ten years ago, the artists initiated a series of meetings to talk about materials and techniques, based on their mutual interest in using photographic imagery to destabilize traditional art categories like painting, printmaking and sculpture.

The meetings resulted in an artist’s book titled &&&, in which the three artists imagined themselves as a fictional industrial supply firm. For Greenberger & Greenbaum & Cutler &, the fictional company had a veneer of prestige. For these capitalist outsiders, a corporate symbol of joint commercial enterprise was almost tantamount to success.

The book was released at Printed Matter’s NY Art Book Fair in 2013 in both a mass market paperback and a boxed, limited special edition print series based on swatch sample catalogs. The intention of the project was lost on nearly everyone, but a few key people became aware of the artists’ positioning themselves as a small movement.  This included the photography curator Dan Leers, who organized a show and catalog of their work, Beyond The Surface: Image as Object, at the Philadelphia Photo Arts Center in 2014. 

To commemorate the 10th anniversary of &&&, Sun You has invited Greenberger & Greenbaum & Cutler to mount an exhibition at TSA in Brooklyn, NY. There will also be a simultaneous version of the show at Ditch Projects in Springfield, OR.  The exhibitions at both artist-run spaces feature a backdrop that wraps the gallery with deconstructed pages from the original &&& book, over which the artists have installed works from 2013 and 2023.  The original book is also exhibited, as well as a new portfolio of prints (&&&2) to celebrate ten fruitful years of collaboration, hand wringing and friendship 

Ethan Greenbaum is a New York based artist. Selected exhibition venues include KANSAS, New York; Derek Eller Gallery, New York; Hauser and Wirth, New York; Marlborough Chelsea, New York, Higher Pictures, New York; New York; Marianne Boesky, New York, Circus Gallery, Los Angeles; Steve Turner, Los Angeles; The Suburban, Chicago; Michael Jon & Alan, Miami, The Aldrich Museum, Connecticut; Socrates Sculpture Park; Long Island City and Stems Gallery, Brussels. Recent projects include a solo presentation with Lyles & King and solo exhibitions at Galerie Pact, Paris and Super Dakota, Brussels.

His work has been discussed in The New York Times, Modern Painters, Artforum, BOMB Magazine, ArtReview and Interview Magazine, among others. Ethan is a co-founder and editor of thehighlights.org and his writings have appeared in the Brooklyn Rail, Wax Magazine, BOMB, Paper Monument and others. He has also curated and co-curated multiple exhibitions at venues including The Suburban, Chicago; Lyles & King, New York and Super Dakota, Brussels. Greenbaum is the recipient of the Queens Art Fund New Work Grant, the Silver Art Residency, The Keyholder Residency at the Lower East Side Printshop, Dieu Donne’s Workspace Residency, LMCC’s Workspace Program, The Robert Blackburn SIP Fellowship, The Socrates EAF Fellowship, The Edward Albee Foundation Residency and The Barry Schactman Painting Prize. He received an MFA in Painting from Yale School of Art.

David Kennedy Cutler is an artist, writer and performer who lives and works in Brooklyn, New York. Cutler received his BFA from The Rhode Island School of Design in 2001. He has had solo exhibitions at Derek Eller Gallery, New York; Halsey McKay Gallery, East Hampton; Essex Flowers, New York; The Centre for Contemporary Art, Tallinn, Estonia and Nice & Fit, Berlin, Germany. Cutler has performed in various spaces in New York including Klaus von Nichtssagend Gallery, Essex Flowers, Printed Matter, Halsey McKay, Derek Eller Gallery, and Flag Art Foundation, and internationally at the Center for Contemporary Arts Estonia, among others. His works are included in the permanent collections of the Wellin Museum at Hamilton College and The RISD Museum, and his artist’s books are included in the libraries of the Whitney Museum and the Brooklyn Museum. He has been reviewed and featured in The New York Times, Artforum, Art in America, The New Yorker and Modern Painter, among others. Cutler is represented by Derek Eller Gallery, NY and Halsey McKay Gallery, East Hampton. 

Sara Greenberger Rafferty produces image-based works in paper, plastic, glass, metal, fabric, and video. Her work is driven by an ongoing examination of contemporary and mid-20th century visual culture and considers the ever-changing implications for photographic images in the digital era. She’s also into comedy. 

Ditch Projects is a nonprofit artist-founded, artist-run studio, exhibition, and performance space providing contemporary art experiences in Springfield, Oregon. As a collective of artists and professionals committed to exhibiting experimental artists from diverse backgrounds, Ditch Projects provides opportunities for cultural exchange between experimental contemporary art and our local community, acting as an integral voice within contemporary art discourse in the Pacific Northwest. Since its founding in 2008, Ditch Projects has featured over 145 exhibitions and 275 artists. Growing organically out of the concerns of its artist members, Ditch provides contemporary visual arts practitioners with an opportunity to test out new ideas, processes, and approaches they might not otherwise attempt in a comparable urban center. Over the past decade, the primary focus of the artist collective has been on the production and presentation of new works by regional, national and international artists, with a consistent 10-12 solo, two-person or group exhibitions per season. Past exhibiting artists have included internationally renowned practitioners such as Amy Yao, Diana Thater, Scott Reeder, Laura Owens, Jessica Jackson Hutchinsons, and Vito Acconci, along with regionally acclaimed artists such as Ralph Pugay, Amy Bernstein, Lisa Radon, Tannaz Farsi, James Lavadour, and Kristen Kennedy. Exhibitions at Ditch Projects have been reviewed in Art Forum, Frieze, Art in America, and the New York Times. Ditch Projects has received grants from the Andy Warhol Foundation, The Miller Foundation, the Ford Family Foundation, the Oregon Arts Commision, the Oregon Cultural Trust, Oregon Community Foundation, and the WLS Spencer Foundation.

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Elevating Professionalism: The Importance of Corporate Headshots

In the digital age, first impressions are often made online, and corporate headshots play a crucial role in shaping how professionals are perceived by clients, colleagues, and employers. As a corporate headshot photographer, I understand the significance of creating images that convey professionalism, confidence, and credibility. Join me as we explore the importance of corporate headshots and uncover the artistry behind capturing the essence of professionals.

Making a Powerful First Impression

In today's competitive business world, a professional headshot is often the first point of contact between professionals and potential clients or employers. A polished and professional headshot conveys competence, reliability, and attention to detail, making a powerful first impression that sets the tone for future interactions. Whether it's on LinkedIn, business websites, or marketing materials, a well-executed headshot signals to others that you are serious about your work and committed to presenting yourself in the best possible light.

Building Trust and Credibility

Trust and credibility are essential elements in building successful professional relationships, and corporate headshots play a crucial role in establishing these qualities. A professional and approachable headshot creates an immediate sense of trust and rapport, making it easier to connect with clients, colleagues, and employers on a personal level. By presenting yourself in a professional manner, you inspire confidence in your abilities and expertise, laying the foundation for positive and productive interactions.

Reflecting Brand Identity

Corporate headshots not only showcase individual professionals but also reflect the values and identity of the companies they represent. Whether it's a formal corporate environment or a creative startup culture, headshots should align with the company's brand image and convey its unique personality and values. By ensuring consistency in style and presentation across all corporate headshots, companies can create a cohesive visual identity that strengthens their brand presence and resonates with their target audience.

Empowering Personal Branding

In today's competitive job market, personal branding has become increasingly important for professionals looking to stand out from the crowd. A well-crafted corporate headshot is an essential component of a strong personal brand, allowing individuals to differentiate themselves from their peers, attract new opportunities, and position themselves as industry leaders in their field. By investing in professional headshots, professionals can showcase their unique personality, professionalism, and expertise, making a memorable impression on potential clients, employers, and collaborators.

Conclusion

Corporate headshots are more than just photographs – they are powerful tools for making a lasting impression, building trust and credibility, reflecting brand identity, and empowering personal branding. By investing in professional headshots, professionals and companies alike can enhance their online presence, strengthen their brand identity, and make a memorable impression in the competitive world of business. Let us embrace the artistry of corporate headshots and unlock the full potential of our professional image.

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