Storyboard

February 12, 2013 4,986 notes

Exploring the Crystal Desert: Antarctica Through a Photographer’s Lens
Christopher Michel doesn’t like to sit still. Despite a career that includes gigs as a Naval flight officer, tech investor, entrepreneur, journalist, and government science advisor, Michel has managed to steady his hands long enough to also hone his skills as a photographer. His pursuit of the perfect image has taken him from Mount Everest to Papua New Guinea to the Korean Demilitarized Zone — and even, in 2010, to the edge of space (inside a U-2 spy plane). His most recent journey, however, is to a place he deems most magnificent of all: the frigid waters of Antarctica’s so-called “Crystal Desert.” On board a giant ship chartered by Harvard (his alma mater), Michel photographed icebergs as they froze, melted, and refroze. We managed to slow Michel down long enough to ask him a few questions about his polar voyage.
What kind of photography equipment do you recommend for extreme environments like Antarctica?
Antarctica and camera equipment aren’t friendly. From the inevitable Zodiac sea spray of the Southern Ocean to the battery-draining deep freeze, a smart photographer needs to come prepared with backup equipment, extra power, and protective everything.
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You’ve had a number of careers — U.S. Naval flight officer, photographer, entrepreneur. How would you describe what you do?
Apparently I have a bit of wanderlust. I’d say I’m focused on spending time with interesting people on problems that matter. I’ve been fortunate to work with incredibly remarkable people in so many fields — from government to business to science and art.
What are some of the themes you try to explore in your photography?
A recurring theme is the intersection of man and nature — whether it’s struggle or symbiosis, there are incredible stories to be told in almost every corner of the globe.
How did this particular trip come about?
This is my third trip to Antarctica, this one hosted by Harvard University. We traveled aboard the Corinthian II, a 57-cabin ship accommodating up to 114 guests. It was chartered by Harvard for an expedition led by Michael McElroy, one of the nation’s leading climate scientists. Of all the trips I’ve ever taken in my life, Antarctica is, by far, the most compelling — it’s nature at its rawest, without the heavy hand of humans.
What kind of clothes does one wear for a trip to a place that cold?
Temperatures ranged from 20-40 degrees Fareinheit — positively balmy compared to points south. The right gear is essential to photograph on the continent. The key there, as well as anyplace cold, is layering … thermals, fleeces, outer layers … as well as excellent boots, gloves, and eyewear. The sun’s UV rays are particularly strong in Antarctica and require constant vigilance to protect against eye damage.
What was the most difficult shot for you to take, and how did you make it work?
There wasn’t one most difficult shot, but there was certainly a most difficult shoot, and that was a sunset that lasted hours and hours in the freezing winds of the Lemaire Passage on the deck of the ship. I probably shot 5,000 images and nearly suffered frostbite to capture one of the most incredible sunsets of my life along a graveyard of icebergs.
— Jeremy Kressmann

Exploring the Crystal Desert: Antarctica Through a Photographer’s Lens

Christopher Michel doesn’t like to sit still. Despite a career that includes gigs as a Naval flight officer, tech investor, entrepreneur, journalist, and government science advisor, Michel has managed to steady his hands long enough to also hone his skills as a photographer. His pursuit of the perfect image has taken him from Mount Everest to Papua New Guinea to the Korean Demilitarized Zone — and even, in 2010, to the edge of space (inside a U-2 spy plane). His most recent journey, however, is to a place he deems most magnificent of all: the frigid waters of Antarctica’s so-called “Crystal Desert.” On board a giant ship chartered by Harvard (his alma mater), Michel photographed icebergs as they froze, melted, and refroze. We managed to slow Michel down long enough to ask him a few questions about his polar voyage.

What kind of photography equipment do you recommend for extreme environments like Antarctica?

Antarctica and camera equipment aren’t friendly. From the inevitable Zodiac sea spray of the Southern Ocean to the battery-draining deep freeze, a smart photographer needs to come prepared with backup equipment, extra power, and protective everything.

View post 4,986 notes

January 4, 2013 2,632 notes

The Creators of NYC: Polaroid Photographer Mikael Kennedy
Josh Wool spent a decade as an executive chef, opening restaurants across the south. But all that changed in 2010, when the carpal tunnel in his hands meant he could no longer work. To keep from going stir crazy, he picked up a camera and found his next calling. Two years, thousands of portraits, and a move to New York later, Wool is documenting the people who inspire him on a daily basis. Welcome to Creators of NYC.
Mikael Kennedy
Mikael Kennedy is a travel-adventure photographer who specializes in Polaroids. He has documented his life and travels — from the jungles of Puerto Rico to the woods of Maine — for more than a decade, all housed on a travel blog called Passport to Trespass. I met with Mikael in his Greenpoint apartment to turn the lens on him.
What drew you to Polaroids?
The initial interest was purely aesthetic and functional; nothing else looked like a Polaroid, and as I was travelling and broke I didn’t have access to a darkroom. Polaroid being a self-contained process was a huge draw. There is also something inherently magical about a Polaroid; it’s a tactile experience. You are holding a photograph in your hand while it develops.

A decade later, do they still have that same magic for you?
I am currently only exhibiting Polaroids because they have become art objects instead of photographs. I have very little interest in photography, actually, but being able to hang a piece in an exhibit and tell someone, “That’s it, that’s the only one in existence” is important to me. It’s like a painting. I like the fact that with a Polaroid you know, first of all there, that there is no manipulation in the image, there is no zoom lens — the person who took it stood there in that moment, that distance from the subject, and held that photo in their hands. We are over-saturated with images both in the real world and online that I think the weight of an image has changed, so it is important to me that what I am creating is a physical object.
You come from a DIY background. Does that approach still apply to your work?
The position I always took in making art, or books, or doing shows has always been based on the old punk rock DIY world that I grew up with. The idea was basically if we weren’t invited to your party, then we would make our own. We would set up our own shows, print our own books, albums, everything. I spent a lot of time wandering the U.S. with my friends’ bands, watching them play in basements or silkscreening their own T-shirts and record covers. They weren’t able or allowed or often interested in participating in the music industry that existed, so they just said “fuck it” and built their own community. So why couldn’t we do that with art? Why would you need someone’s permission to put on a show? My first book was printed after hours at a Kinko’s in Portland, Oregon, where a friend of mine worked. I’d send him the files and he would print the pages when no one was looking, and then shipped them back to me to assemble. These days it’s a more refined process, but I would rather have a handmade book or a limited zine from an artist I like than a book I bought at Barnes & Noble.
How has living in New York affected your art?
I have a weird relationship with NYC. I’m not here all that often, but I realize that in many ways it’s one of the only places I’m able to do what I do, to live my life like this, constantly on the road but still having a home. I always talk about leaving and moving back to the country, but there is that energy here that keeps me, and New York has really afforded me a lot of opportunities that I’m not sure would have happened anywhere else.
Has the internet age helped or hurt the art world?
The internet has been the great democratizer in many ways: bands don’t need labels, they can record and distribute their work on their own. Same with artists. Now because anyone can do these things there’s a lot of noise and clutter to sift through, but I kind of think you just put your head down and focus on what you are doing, and you will be fine.
Is it ever difficult to balance personal work and commercial projects?
You know, you hear photographers who start shooting commercially complain all the time about the lack of time or drive for personal work. I guess it really depends on what you’re in this for. My commercial work has in so many ways liberated my personal work or my art. It funds what I want to do artistically, and everybody has to have a job. There is something remarkably liberating in not caring about whether a show sells. It becomes entirely about the vision of the body of work, and nothing else. Of course things get busy, and sometimes I can’t always do exactly what I want at the time, but honestly my personal work is less based on photography and more on living my life … to me that is the art, so in the end it’s all the same, I just want to travel and explore and live a good life.
— Photos & text by Josh Wool

The Creators of NYC: Polaroid Photographer Mikael Kennedy

Josh Wool spent a decade as an executive chef, opening restaurants across the south. But all that changed in 2010, when the carpal tunnel in his hands meant he could no longer work. To keep from going stir crazy, he picked up a camera and found his next calling. Two years, thousands of portraits, and a move to New York later, Wool is documenting the people who inspire him on a daily basis. Welcome to Creators of NYC.

Mikael Kennedy

Mikael Kennedy is a travel-adventure photographer who specializes in Polaroids. He has documented his life and travels — from the jungles of Puerto Rico to the woods of Maine — for more than a decade, all housed on a travel blog called Passport to Trespass. I met with Mikael in his Greenpoint apartment to turn the lens on him.

What drew you to Polaroids?

The initial interest was purely aesthetic and functional; nothing else looked like a Polaroid, and as I was travelling and broke I didn’t have access to a darkroom. Polaroid being a self-contained process was a huge draw. There is also something inherently magical about a Polaroid; it’s a tactile experience. You are holding a photograph in your hand while it develops.

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December 28, 2012 5,099 notes

The Creators of NYC: Geometric Artist Aakash Nihalani
Josh Wool spent a decade as an executive chef, opening restaurants across the south. But all that changed in 2010, when the carpal tunnel in his hands meant he could no longer work. To keep from going stir crazy, he picked up a camera and found his next calling. Two years, thousands of portraits, and a move to New York later, Wool is documenting the people who inspire him on a daily basis. Welcome to Creators of NYC.
Aakash Nihalani
Aakash Nihalani is at the forefront of the next generation of modern artists working in New York. His work in spray paint and tape can be found not only on the walls of private collectors but in and around the streets of New York. I met up with Aakash in his Williamsburg studio, where he was preparing for a solo show.
How do you describe your art?
It’s hard … I usually direct people to look up an image on their phone. But I think at the barest, the work is about perspective, playing with our idea of three-dimensional space within a two-dimensional plane using tape as my primary medium, often in urban environments.

Why tape?
I was part of a student exhibition where I exhibited a set of silkscreen studies involving the cube. I was using blue painter’s tape to hang the prints and noticed that the shadow cast off of a nearby pedestal matched the shape in my prints. Instinctively, I outlined an isometric rectangle in the shadow with the tape. When I started using it outside, I found it was a great medium because I could put up a line, and if I didn’t like it I could always just take it down … it’s innocuous, I didn’t have to damage anything to put up the art I wanted to see in the public. And after working on paintings in the studio for so long, the temporary nature of the tape was refreshing.
How did growing up in New York influence you as an artist?
I was born in Queens, but moved to Jersey when I was 2, so I mostly grew up in the suburbs. I came back to the city for college in 2004. I’ve always found New York to be a place to bust ass and believe in something different.
What’s a typical day like for you?
My day usually depends on the project i’m working on. With the show coming up I’ve tried getting into more of a routine: work out in the morning, then head to the studio to work on paintings till …
Where do you find inspiration?
Everywhere really. I’m mostly just motivated by the need to keep making work and getting better.
You’re about to have your first solo show in Chelsea. Is there a lot of pressure that comes along with that?
I don’t think the pressure I feel is from the fact that it’s in Chelsea, I’m excited about that. I’m more burdened with my own expectations of the work itself.
What can we expect to see there?
Large wall sculptures constructed from wood in a bold, bright palette. Paintings that shift foreground and background the longer you look at them.
— Photos and text by Josh Wool

The Creators of NYC: Geometric Artist Aakash Nihalani

Josh Wool spent a decade as an executive chef, opening restaurants across the south. But all that changed in 2010, when the carpal tunnel in his hands meant he could no longer work. To keep from going stir crazy, he picked up a camera and found his next calling. Two years, thousands of portraits, and a move to New York later, Wool is documenting the people who inspire him on a daily basis. Welcome to Creators of NYC.

Aakash Nihalani

Aakash Nihalani is at the forefront of the next generation of modern artists working in New York. His work in spray paint and tape can be found not only on the walls of private collectors but in and around the streets of New York. I met up with Aakash in his Williamsburg studio, where he was preparing for a solo show.

How do you describe your art?

It’s hard … I usually direct people to look up an image on their phone. But I think at the barest, the work is about perspective, playing with our idea of three-dimensional space within a two-dimensional plane using tape as my primary medium, often in urban environments.

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November 30, 2012 487 notes

The Creators of NYC: Comedians The Dependable Felons

Josh Wool spent a decade as an executive chef, opening restaurants across the south. But all that changed in 2010, when the carpal tunnel in his hands meant he could no longer work. To keep from going stir crazy, he picked up a camera and found his next calling. Two years, thousands of portraits, and a move to New York later, Wool is documenting the people who inspire him on a daily basis. Welcome to Creators of NYC.

The Dependable Felons

Comedians James Chupka and Murf Meyers met sometime around 2009, in a rat-infested row home in Northern Philly (their words). Now part of comedy troupe The Dependable Felons, the duo are making their way into the New York comedy scene with a particular brand of psychedelic absurdity — and a new tour that takes them into people’s living rooms. We caught up with them in their Park Slope stomping grounds.

Your newest gig is a called the Whiskey Tango Living Room Tour, which actually takes you into the homes of New Yorkers. Why host a comedy show in people’s living rooms?

The Felons were inspired by our lower-middle-class upbringing, where friends and family would gather in each others homes every weekend to share spirits, jokes, and stories. Cheaper than any movie or concert that would pass through Wilkes-Barre, Pennsylvania. With the Whiskey Tour, we want to make our shows more accessible.

Is it ever awkward being in the private homes of strangers?

Sometimes it takes a moment for both the performers and the audience to get used to the intimacy. But once everybody settles in, it becomes a funky experience. The weirdest thing we’ve dealt with was putting a host to bed. He clearly had too much to drink, so we escorted him to his bed and tucked him in. All in a night’s work.

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July 18, 2012 2,287 notes

Capturing Libya: Through a Hipstamatic Lens

To photojournalism purists, it was pure blasphemy: a prestigious prize, third place for photo of the year, granted to a New York Times photographer who’d used not a 35mm to document U.S. soldiers in Iraq, but simply, his iPhone — and an app called Hipstamatic. Immediately, traditionalists went berserk: “What we knew as photojournalism at its purest form is over,” one photojournalist lamented. Using Hipstamatic in a news report, another commentator proclaimed, was “cheating us all.”

And yet, to Ben Lowy, a conflict photographer who has made a career out of a certain brand of iPhonography — and will debut the first ever photojournalism-inspired Hipstamatic lens with his namesake later this year — the award was a well-needed wake-up call for photo fundamentalists. Last February, Lowy set out to capture the uprising in Libya from his iPhone, alongside millions of protesters who’d document the Arab Spring on their mobile devices. In October, Lowy’s Hipstamatic images of everyday life in wartime Kabul were published in the New York Times Magazine, prompting the magazine’s photo editor, Kathy Ryan, to defend their use on the paper’s 6th Floor blog. And since then, Lowy has published an iPhone photo a day — from dramatic images of war to mundane life in Brooklyn — on his Tumblr, captured under the title, iSee.

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