Imagine Magazine - Johns Hopkins - November/December 2008 - (Page 36) they have projects, they rent what they need and have everything delivered and picked up from the location they’re working at. However, I own the majority of my gear. All equipment is different, and I like to know what the capabilities are, as well as its history. Aside from the essentials, how do you go about determining what you’ll need to bring on a shoot? I’m somewhat of a minimalist, but it really depends on the type of project we’re working on: is it going to be a journalistic-type approach where I’m going to be crawling around with just a camera and a tripod? Or is it going to be a production-oriented shoot where I’m going to need models and assistants? Also, what’s the feel we’re after—do we need to light? Whenever possible I play off natural light. If we have to add light, I set my key (or main light) to mimic the existing direction of the sun. What’s the craziest thing you ever did for your photography? I’ve been on projects in India where they’ve given us Steam Trains to play with, and campaigns in Italy where we had to rent the Central Train Station in Milan, Stazione Centrale di Milano. How does one go about renting out the Milan train station? To the lay person, this would be pretty daunting. Whenever I travel to locations I’m unfamiliar with or where I need support help, I hire producers (or “fixers”) beforehand. They’re local to the area, and help coordinate the logistics of that particular project before we arrive. For the Italy project, I hired a woman from Rome who coordinated with the powers-that-be at the Stazione Centrale di Milano. The forms I needed to sign could be handled through fax and the Internet, payments were made through wire transfers, and I was able to start working in the train station the day after arriving in Milan. It was actually pretty simple. What do you think would be the best way for a teenager interested in photography to get into the business? Other than taking photos, and possibly interning part-time with a photographer after school, look at as much photography as you can, and at as many paintings. Pay attention to things like how images are constructed, times-of-day depicted, direction of light, and emotion. It all translates when you make your own images. i To find out more about Cade and his photography, check out his website: www.cademartin.com 36 imagine November/December 2008 http://www.cademartin.com
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