making of

B&W BTS Vol. 2

Another installment of b&w bts, this one ranging over quite a few months and an array of shoots. The last two rows were digitized using my new Lightpad/Negative Lab Pro scanning process (which I may make a separate post about). Very excited about the results i’m getting. The final three images are also from the first roll of 120 that i’ve developed myself.

The cameras used here are - Olympus OM-2n, Minolta XD11, Olympus Stylus Epic Zoom 80, Bronica Etrsi. All shot on Illford HP5+, with the exception of the final 3 medium format frames shot on Ultrafine Extreme 400. All pushed 2 stops.

Better Oblivion Community Center "Dylan Thomas" Music Video

A quick word about working on the first video for Conor Oberst and Phoebe Bridgers’ Better Oblivion Community Center. Director Michelle Zauner came to me with an expansive treatment that we developed into a color saturated visual, pulling references from Kubrick’s Eyes Wide Shut and Cary Joji Fukunaga’s Maniac. Translating that on set in LA with a crew of (mostly) new faces was a fun challenge. On a personal note, i’d been a fan of Conor’s since first hearing his album Fevers and Mirrors in 2002, so obviously I was excited to be on set with him.

Check out some bts below, taken from a series of photos by the talented Dustin Liu, who’s work you can see here: www.dustinzliu.com

Making one of the 10 Best Music Videos of the Year (according to Pitchfork)

Boyish was named #10 on Pitchfork’s Best Music Videos of 2018 list. To have something that Michelle and I made be listed alongside Director/Dp teams like Rian Johnson & Steve Yedlin or Hiro Murai & Larkin Seiple is frankly overwhelming.

Below are some bts images from Boyish. The team that made this video is comprised of some of the most kind and talented people that i’ve ever had the pleasure to share a set with, and their hard work is entirely why this project has found the success that it has.

Source: https://pitchfork.com/features/lists-and-g...

Feature BTS - June/July 2018

Photos taken behind the scenes over twenty-something days with an incredible crew. Presented chronologically across 4 rolls of film.

All shot on the Olympus OM-2n with Fuji Superia 800