Nicholas LaClair Photographer and Director for Print and Film

Popular Photography – the good guys

The other day I got an email from Larry, a writer with Popular Photography magazine. He wants to feature me in a one-page column called"Creative Thinking", which will run one of my photos and an interview about the process behind that particular image, and the overall method behind my madness.

I'm really proud they found me and like my work enough to want to write about it - though what really bowls me over about the whole thing is that they're offering to pay me for it. In an age when photographers are being asked to shoot covers nearly for free  because it will benefit their book,  when publications are slashing editorial budgets because who cares about content anyway. and when graphic designers are asked to break their backs to opportunities to work for nothing - (like Klondike bar commercials - "what would you do to slave your ass of for nothing?") ... in this climate, guys like Larry still exist - and demand the ability to pay for content - even when that content is free publicity. For guys like Larry, it's the principle of the thing - and god bless us all, there need to be more Larrys in this industry. Thanks Larry, from all of us!

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the next big thing …

Though I started as a photographer, I've since become a cinematographer and director, which opens many doors and poses many problems: little things, like an invoicing software that's photo specific and doesn't include things like "DP rate" and the ability to bill for a first AC (assist. camera). One of the other big pains is how to include video on a photography website. More still photographers are doing video - riding the wave of new technology and following the work into that realm. The gap is shrinking, as new technology threatens to bring us all together. It's the next big turn in the road - what photoshop skills and composite photos were five or ten years ago. And though sites like flickr are embracing video, most photography portfolio sites aren't up to speed ... because - of course - you're either one or the other. (We all know playing on both sides of the fence is nothing new - Lindbergh directed, Danny Clinch directs ... and we all unfortunately know Polanski shot stills ...).

So I have to throw some love out to Dripbook, who I currently use for my site. Dripbook started as an online answer to Blackbook, LeBook and the like - one-stop print references for creative professionals. What was meant to be an invite-only spot for creative directors to search for talent, has become so much more. I'm not sure how much the industry actually goes to Dripbook to find the people to hire for the next big ad job, but as soon as the site began offering flash exports of the online books, it's gotten crazy popular among creatives (especially those who are relatively new to the scene) because it offers a $25/month site while others like Livebooks are charging $1,000's annually. Granted, Livebooks is still king, and has functionality most others don't have. However, for those who are still building up operating expenses and getting some wheels under their business, alternatives are nice.

So ... as someone new and hungry in the field, I feel I have to take a minute and give some huge credit to Alex and everyone at Dripbook. When my first video was in post, I got in touch with him about how he could convince me to stay with his site though it only supports images. And though Dripbook didn't plan to make video live for a while, he allowed my account access so it could go up in time for my next marketing push ... he's even tolerated me calling while he's on vacation. So Alex, cheers to you and your fantastic product. (Hopefully when he realizes what a goldmine he has and starts charging 2-4x more for it, he'll remember this post.)

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love time on set

I'm in the director's chair this week on a commercial job, stepping way outside still photography work and playing with the bigger, badder, more expensive tools of cinema. I'm hooked ...

our AC Joe working his magic on the sound gear

Jesse, genius DP and Steve (who drove us a grip truck full of film set goodness) strap a $2500 canon DSLR onto an umpteen thousand dollar fisher dolly and jib arm.

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incommunicado …

... editing and pre-production, and busy doesn't even cover it ...

but for a hint of the job I'm working on  ....

(click on image to see animation)

not drawn by me ... just wait; all will be revealed.

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