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Photo Feature Friday: Daniel Gordon
A long time ago, I went to Madrid.
Alone.
It was 1997, and my first trip to Europe.
Each thing I saw was new, and mind-bending, but I was far from the suave, capable traveler I am today.
If there was a way to get it wrong, (without crashing and burning entirely,) I was likely to land on it.
So during my visit to the Reina Sofia Museum, I cocked up the entrance to Picasso’s masterpiece, “Guernica,” and got the exhibition backwards.
Geurnica, Pablo Picasso, courtesy of Museo Reina Sofia The curators arranged it so you saw his studies, all the work that went into the final piece, and then the finished article.
I came in the back door, (before I was an artist or a critic,) saw “Guernica,” and then marveled at all the effort that went into creating it.
The methodical, workman-like practice of a mad genius.
It stuck with me.
I’m reminded today, because I’m doing a photography article, (as you surmised from the title,) but there will be no interview.
Rather, this all came together quickly, and I’m glad it did.
Just the other day, I opened a PR email from Nazarian/Curcio, a gallery in LA, but not one I’d interacted with before.
It got my attention, as Daniel Gordon is one of the photographers who achieved proper art world success this Millennium, but I must confess I remember him for the wrong reasons.
Sometime 20 years ago, I saw work of him swan diving off of cliffs or bluffs in California.
(Like a latter-day Yves Klein.)
No Title #`13, 2004, partial image courtesy of danielgordonprojects.com At least I assume he was the subject, but I guess someone was photographed in mid-air.
It stuck with me.
(Looking now, I see digital, but must not have paid enough attention back then.)
That said, regardless of why I opened the email, once I did, I totally loved the picture they shared.
Colorful, vivid, trippy, engaging, off-putting, well-constructed, obviously constructed…
… I was impressed, for sure.
Medusa Plant With Artichokes and Root Vegetables, 2024. All images courtesy of Nazarian/Curcio There were no other pictures on the gallery website, so I took a chance, and requested a set to share with you today.
(In particular, because the gallery is opening an exhibition of the work next weekend.)
Fortunately for us, they said yes, and here we are.
I loved the group even more than I thought I would.
They just feel so damn 2024.
What’s real, what’s fake, does it matter, how do we know, of course we have to know, what happens if we can’t tell, oh my god the colors are nice and I want to look at this, but something in the back of my mind is telling me that I should be able to tell what’s real and what’s not, but it’s so hard, it’s just so so hard to know, and should I care what I know and don’t know, you know?
That’s what I got looking at the work.
I thought, this is quite a leap from the guy I heard of because he leaped off of things. (Or someone did digitally, anyway.)
Turns out, if you go directly to Daniel Gordon’s website, and click on photographs, you’ll see he’s been working like this, with constructions and manipulations, the entire Millennium.
This is his thing.
As I mistakenly got Picasso backwards, seems I did with Daniel Gordon as well.
Admittedly I scrolled, but still, looking at his evolution, I think this new stuff gets his ideas just right.
The formalism, color palette, symbol choice, it’s all snug.
(Gestalt effect for sure.)
So big props to Daniel Gordon for showing me photography in 2024 that feels like 2024.
If you’re around SoCal, Orange Sunrise with Flowers and Fruit opens on Saturday, April 20th at Nazarian/Curcio from 6-8 pm, and will be on view through May 25th.
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I’m With Chuck: Bibi Out
Another Snowy Morning in Taos First things first.
All of my grandparents, and one of my great-grandparents, were born in America.
My family line has been here for more than 110 years.
That makes me pretty American, by any consideration.
I’m also Jewish, on both sides, and was raised in the culture and religion.
(Though begrudgingly on the Hebrew School part, like every other smart Jewish kid in America.)
When it comes to my identity, being Jewish-American doesn’t hit the day to day that much, with respect to religion or culture, as I don’t attend synagogue, pray in Hebrew, or make Jewish food on a regular basis.
So make of that what you will.
Being 50, the Holocaust was not-yet-30 years behind us when I was born, but my family was mostly insulated, as there were no bonds with the Old Country, and all the extended family lived in the US.
It was the defining event of Jewish life, though, having 6 million people exterminated.
But that was then.
Now, as I said, I’m 50, and the defining event of Jewish life has been the aftermath of October 7th.
Holy Shit, has this been bad for Jews everywhere.
Chuck Schumer came out against Netanyahu a couple of weeks ago.
He said common sense things, and it’s clear Joe Biden agrees.
Regime Change.
I last wrote about the Israel Hamas War a couple of months ago, and said Bibi should stand down.
But Chuck was far more forceful than I was.
Time for everyone to get some more skin in the game, I say.
So I will.
Israel: man the fuck up and oust your War Criminal President.
Enough is enough.
No matter what Hamas did, and it was beyond terrible, starving a powerless population to the point that aid groups are necessary is not acceptable human behavior.
(Not to mention starving them after bombing them.)
José Andrés and his World Central Kitchen are like the best people in the world.
They don’t only feed Gaza.
They go around feeding all crisis zones, and have done for years.
They had to organize food aid only because Israel is not doing it.
That crosses a red line of moral decency.
It’s not that the international lives are worth more than Gazan ones.
But when you start killing people who are trying to help the people you’re intentionally starving…
… it’s time to re-think the strategy.
Jews in the Diaspora are, and will be targeted because Israel is no longer acting rationally.
This may be just a blog post, but it’s also my voice.
My public vote.
I do not support Israel’s War in Gaza, as it is currently being fought.
If a cease-fire means that Hamas retains capability to harm, then Israel still has one more enemy.
No one, bar Putin and Xi, gets to decide when and where an enemy goes down.
(And if Trump comes back, we may have to add him to the list.)
Anyway, job done here.
Bibi out.
Israel, please stand up and do the right thing before the rest of the world hates Jews so much they start killing us again.
See you Friday.
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Photo Feature Friday: Erin Hoyt
My life is rather different than a few years ago.
(If you’ve been reading the blog since the beginning, you know this.)
Or perhaps you’re new to Sunshine and Olly, but know my writing from previous incarnations at the NYT or APE?
If so, you might find it surprising I generate so little of my income from the photo industry these days.
After 20 years of making a go as a freelance creative, (photographer, writer, editor, teacher, professor, mentor, consultant, artist,) 2023 wiped that away, as it did to many of my colleagues.
Fortunately, I was a journalist covering the photo industry, so I was able to see the writing on the wall, and I’ve tried to pivot as best I can.
But the truth is, the Pandemic disturbed life, society, industry, and individual career trajectories far more than most of us fully realize.
For years, I was fortunate to travel to photography festivals around the US, meet with artists, share feedback about their work, and then publish the best of it in my weekly APE column.
But that was then.
At this point, it’s been a year since I went to Oklahoma for HuffPost, so those jet-setting days are a distant memory.
Looking back, of all the festivals I attended over the years, I became closest with the team that runs the Filter Photo Festival in Chicago.
Downtown Chicago, 2022 I attended, as a portfolio reviewer, in 2015-17, 2019, online in 2020, and then in-person in 2022.
(Seven times, all together.)
As I said, sometimes it seems it happened to someone else, but there were so many nights I ran around Chicago, hitting up great bars, listening to amazing music, laughing my face off.
Life is more complicated now, but I spent enough time in the Filter-verse to vouch for the experience they create once a year, and the artistic support they provide to the Chicago photo community year round.
Lake Michigan Beach, 2016 
Earlier in 2024, Erin Hoyt, (who was Director of Operations forever,) stepped into the Executive Director role formerly held by Jennifer Murray.
Erin and I go way back, and seeing someone promoted from within made me happy. (She’s also a successful wedding photographer.)
Even in tough times like these, Festivals are the industry’s lifeblood, as they offer people the chance to exchange creativity and positive energy.
Networking, idea generation, inspiration, joy… they’re all possible, if you hit the right spot with the right intention.
Reviewers Break at Filter, 2022 With that in mind, as I’ve decided to focus Fridays on the photo industry again, (as I did for 11 years,) I wanted to check in with Erin, to see how she plans to take Filter deeper into the 2020’s.
Thanks for taking the time, Erin! And best wishes to your husband, curator Greg Harris, as well. (He’s mentioned in the interview, so here’s your context.)
Jonathan Blaustein: I know you’ve been with Filter for more than a decade, but you’ve only recently taken on the Executive Director duties for the first time.
Since you’ve got such a deep perspective, how would you describe Filter as an organization, and how important is the annual festival to your mission?Erin Hoyt: Yes! I recently stepped into the role of Executive Director, and previously served as Director of Operations for over a decade. I do think it has uniquely positioned me to see our organization’s growth over the years, and where I believe we could push further and expand.
Filter Photo is an organization that was created by artists, for artists, that focuses on professional practices for fine art and documentary photographers.
Festival images courtesy of Filter Photo Festival With our year-round programming and exhibition opportunities, we see our mission to be a resource for artists through critique groups, exhibitions, workshops, artist talks, and other diverse programming centered around contemporary photography.
The annual Festival held each September in downtown Chicago hosts a robust week of programming, including portfolio reviews, workshops, exhibition receptions and more! We see the Festival as an annual gathering to celebrate photography, to support the photographic communities, and highlight Chicago as a vital center of the national photographic community.
JB: In my travels, I always felt festivals that capture the local culture, and share that with attendees, were my favorites.
Chicago is such an amazing city, though its vibe is perhaps less-well-known than New York or LA, America’s other mega-cities.
Blue collar, down to earth, big people, immaculate architecture, friendly folks.
What are some of your favorite things about Chicago, and what do you think makes it special?
Arugula Salad and Olives at Eataly, 2022 EH: I grew up in Michigan, so Chicago always felt like a second home. It’s great because it has everything you would want from a big city, without the grind.
And the food scene here is incredible.
If you visit, be sure to check out the local neighborhoods, and venture outside the downtown area. I love Cafe Lula in Logan Square, and if you hit The Girl and the Goat in West Loop, your tummy will thank you.
If you’re into breweries as much as Greg and I are, Uptown has a great cluster to keep you busy. In the summer, take advantage of the city’s free concerts in the Millennium Park, and its sprawling lakefront beaches with a dip in Lake Michigan.
Honestly, there is just so much to see, do and eat in this magical city.
Filter is hosted downtown, within walking distance to the all the museums, parks and the lakefront. (Being centrally located allows our attendees to really explore and engage with Chicago.)
The local art scene is also vibrant and collaborative, and we like to show this off by offering curator’s tours of exhibitions, print viewings from museum collections, and a gallery walk in West Town’s arts district.
JB: In my column at APE, as I was wrapping things up in my time there, I remember specifically mentioning that Filter had strong relationships with Chicago’s local art schools, (Columbia College, SAIC…) and it allowed for a youth pipeline that seemed to keep the energy fresh.Do you think that’s a fair assessment, and is it something you’d like to continue going forward?
EH: We’ve always prioritized engaging with students during the annual Festival, and this year we will be headquartered at Columbia College Chicago’s Student Center for reviews, workshops, and artist talks.
Unlike other Festivals, most of our programming is free and open to the public. Hosting our events at the Student Center allows us to engage with students, while remaining to be open and accessible to all of our attendees.
We also offer student scholarships for high school and college students to cover the costs of attending the reviews.
JB: Are there any particular ideas or agendas you’d like to pursue, now that you’re occupying the leadership role?
EH: Reengaging with audience, and showing the value of in-person gatherings is a focus as we lead up to the annual festival.
At Filter Space, (our gallery,) we continue our mission to build it into an open center for photography through our exhibition schedule and social, educational, and professional development activities. Looking forward, we’d like to expand the year-round programming, and include more community focused events through exhibition tours, in-person critique groups, and book club.
Filter is also currently planning to open an artist-in-residency program that would offer programming and exhibition support to contemporary photographers.
JB: Finally, I’ve reported here on many occasions how hard it is these days, in the photography industry.
So many jobs lost and resources cut from the scene.
But I’ve always been positive about festivals as a way to bring people together.
Are you optimistic about the future of American photography, from your perch atop one of its most important festivals?
EH: I’m very optimistic about the future.
With programming now being offered online and in-person, people can choose their own adventure, and it’s allowed for a wider audience to participate.
I agree festivals are a great way to bring people together.
In my opinion, you can’t beat the opportunities and relationships created that in-person gatherings provide. We aspire to bring artists and patrons together to celebrate photography, and walk away with connections that expand their resources and community.
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Big Thoughts On A Cold Morning
I just pulled on a sweater to fight the chill.
Because it’s 26 degrees outside.
Cold, gray, with patches of snow on the ground, after the last few days of storms.
We’re ending our fifth month of Winter here in Taos, and if you’ve been reading Sunshine and Olly since its inception, you’ll know it’s a year-time that makes people batty and bitter.
Not only because we’re five months in; worse, there’s still a month to go.
It’s super-unpleasant outside If one skies or snowboards, it’s heaven.
(I used to, and back then, it was all good.)
Now, though, being cold for this long makes me ornery.
And being stuck inside gets me thinking.
After my morning smoothie, and a bit of marijuana, I got to musing about the state of the world in 2024.
(As one is wont to do in such situations.)
The Russia-China alliance is the biggest thorn in the side of The West these days.
And it only hardened once we began spending untold billions to defend Ukraine, which we absolutely had to do.
(Good bless those tough bastards.)
But Russia and China are uneasy bedfellows; two superpowers who share a long border, and equal global ambitions.
Those two get along about as well as the US and the USSR did, when we were allies in WWII.
Hard for the youngins’ to believe, but we were allies in war, and then on opposite sides of the Cold War, once the spoils were divided.
(It’s how the Soviet Union got Eastern Europe and split Germany.)
Meanwhile, we’ve been cozying up to a blatantly racist and potentially genocidal India, a hedge against China, which I also get.
We have to do it, in the world of realpolitik.
But isn’t the smarter play to try to divide Russia and China?
How do we go about doing that?
Better yet, let’s look at how America built allies the last time the world was this uncertain.
The ashes of WWII gave us The Marshall Plan, in which America helped rebuild Germany and Japan, committing both nations to peace for the past 80 years.
Only now, they’ll each have to build up militaries again, to counter Russia and China.
And speaking of Marshall Plans, given that the US can literally print money, and we have spent billions of subsidy dollars on bombs in Ukraine and Gaza…
…how about a Marshall Plan to end homelessness in the US?
A New-Deal-style project that just says, we’re going to do it.
We’ll spend what it takes.
Americans deserve better than to die on the street of fentanyl addictions.
Baking in stinky tents.
By the millions.
Or 20-somethings, for whom living in their cars or vans is just normal.
What if we collectively as a nation just said, “Come on, America! We’re better than this!”
We’re going to have to build a whole new bridge in Baltimore, at the fucking port from “The Wire,” so maybe it’s time we rebuild our national pride, left and right.
And find or build housing for everyone.
RIP Frank Sobotka and the FSK Bridge (image courtesy of Indy100) OK, I’m done.
See you Friday.
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Photo Feature Friday: Danny Duarte
I never planned to take a year off from writing about photography.
When it comes to the Creativity Gods, though, I try to listen to what they say, and stay as open as possible.
The time away did me well, (and I wrote about other things,) but now it’s time to share cool photography again.
As I said last week, Scott McDermott’s PR email about his celebrity chef photos was enough to push me from considering doing this, to actually doing it.
Luckily, not long after I arranged Scott’s piece, a new, intriguing email popped up.
Danny Duarte, a young Guatemalan-American photographer from Greater LA, reached out with a PR email of his own.
So I clicked.
I’ve always been a sucker for pictures that show us piercing vision of a place in time, and Danny’s not just from LA, he’s from The Valley; a place famous in its own right, but most people don’t know why.
(Beyond Cobra Kai.)
Danny’s series, (which we’re featuring below, along with his interview,) was made in Reseda his home town.
I love his pride, and the vibrancy of his photographs.
The piercing California light.
I’m sure you’ll dig the work too.
Jonathan Blaustein: I know you’re proud to rep the 818, and Reseda, where you’re from.
All images courtesy of Danny Duarte The series we’re showing is called “Hub of the West Valley,” with refers to Reseda, a town in the San Fernando Valley that’s probably most famous for being where Daniel LaRusso moved in the original Karate Kid.
Given that our readers are spread out around the world, would you mind giving the most basic breakdown of how the Valley works?
Danny Duarte: The San Fernando Valley is even more of an urban sprawl than Central Los Angeles. Most would say it’s one big suburb, but I’d argue it’s a strange mix of urban and suburb. It’s unique. I have yet to see something like it anywhere else. It’s usually hotter, less dense, not well known, and looked down upon at times by those on the other side of the mountains, which is what initially inspired the series.
People would ask me where I’m from I would say “Reseda” and always followed by “Where’s that?”. I never took offense, but I was surprised that a lot of people in Los Angeles were not very knowledgeable about the Valley or Reseda at all. I started to photograph where I grew up to show everyone and it became a wonderful journey that would make me think about the environment I was raised in, how I remembered it as a kid, and how I see it now.
I explored where I used to live and walked around places, I had only experienced from the perspective of being in a car. Experiencing the neighborhood I had lived for over 30 years on my own since I wasn’t an outgoing kid growing up. Not only do I get to show people where I’m from, but I also get to rediscover it, which made me appreciate it more.
JB: How it’s different than LA proper?
DD: The Valley is separated from the rest of Los Angeles by mountains so it can feel like another city. A lot of people are not aware that the Valley (except for Burbank and San Fernando) are part of the city, not just county, of Los Angeles.
There’s A LOT of parking compared to the rest of Los Angeles. I’m not a fan of it but people say that’s one thing they enjoy about visiting the Valley.
I don’t see that much of a difference since most of Los Angeles is not so tall apartments and single-family homes. The main difference is that the streets are wider, and the buildings aren’t as tall in the Valley, so it feels a lot more spread out.
JB: (Is it as simple as rich folks in the hills, and poorer folks live down below, where it’s hotter?)
DD: Pretty much. Usually, the north and south towards the mountains are where the rich live and it gradually shifts inward down the hills. It’s not as clear as saying south/north/east/west of a certain street. It’s hot all over the Valley but the richer areas do have more greenery than the rest.
Danny made us a map, with green areas being wealthier, and red areas being poorer. JB: With respect to Reseda, and this series, we see a lot of signage.
The town’s name is a repeating motif.
I just looked it up, and in Spanish it means “prescription.”
Do you want to the word to have double meaning?
And in general, what attracts you to including text within the imagery?
DD: Originally inhabited by the indigenous Tongva people, the name “Reseda” originated from a plant found in regions with a similar climate.
There’s no double meaning. I love the different typography and graphic usage of Reseda. I also wanted to show it as much as possible, so people remember the name. It’s another chance to elevate the neighborhood.
JB: I’ve spent a ton of time in SoCal over the years, but am ashamed to admit I only know the Valley from driving through, between San Francisco and LA.
One time, the traffic was so bad, I actually went up and over Malibu canyon, at night, just to get out of there. (This was 20+ years ago.)
Another time, I remember just baking, as I was stuck in traffic.
Cooking in merciless sun.
Though I know you gave your description of the Valley above, I know it’s more or less surrounded by mountains, and I imagine climate change has been making things hot as heck in summer.
So that’s my question.
Is the changing weather changing the culture or vibe at all?
DD: Oh yeah. The Valley is HOT. It has always been hot for as long as I can remember so the vibe out here has always been the same. You go down to the beach or accept the heat and try to adapt for a couple months until it cools down. They have started painting some of the streets gray as an attempt to cool us down. They are also trying to plant more trees to provide the Valley with shade so hopefully that will help.
JB: In the series, when we see people at all, it’s the lone figure, set against an architectural background.
Or in one case, a mother and her two kids.
Given the sunny color palette, it gives a sense of isolation, and loneliness, despite all that solar intensity.
Is this just because of car culture, or it something more specific to the place and time?
DD: I think Los Angeles can be an isolating city even though there’s millions of people here. It’s insanely spread out and almost everyone drives so I’d say car culture is one of the main reasons for that. And when you get to the Valley it gets even more spread out.
You don’t see a lot of people walking in the Valley. I bike, walk, and ride the bus and the sidewalks are bare most of the time or there’s one person walking and it’s usually to their car. Compared to other cities I have visited where there’s people walking everywhere it can feel lonely out here when you’re the only person outside and everyone else is in their car.
I could go on for hours about the negative impacts of building a city around cars but the photographs of people by themselves is how I have always felt growing up in Los Angeles. Surrounded only by the sun, concrete, asphalt, and stucco.
Although, I don’t view it entirely as a negative. There is peace and quiet that comes with it which I do enjoy. Sometimes you need to be alone to recharge and it helps a lot when the sun is always shining.
JB: Finally, you’re a young guy. What do you hope to accomplish in your photography career?
What are some of the goals you’ve set for yourself?
Or is it more about enjoying the process, and seeing what happens?
DD: I want to create and show work in print and galleries that expresses how I feel and see the world around me and to hopefully encourage others to slow down and be more aware of their surroundings because there’s a lot of beautiful moments and architecture we miss out on. Teaching is also something I have thought about. I have always loved helping people with their photography, designing books, retouching, and lighting. It’s very fulfilling.
Thank you for taking the time to look at my work. It means a lot.
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Injury Rehab Sucks, Unless you Lean In
I bashed my knee on my 50th birthday.
Smashed it good during jiu jitsu class, and it’s been bothering me ever since.
Most long-time martial artists learn how to heal their injuries, and listen to their bodies, so by the next day, I was pretty sure I had a bone bruise in my patella, and a sprained LCL ligament. (On the left side of my right knee.)
Back in the day, I used to train through injuries, and sometimes, I still do. (Having taped up my foot for four months, after slightly tearing ligaments below my right big toe.)
Knees are a different story though. You don’t fuck with the knees.
I’m sure you don’t want to hear the details of my personal injury history, though.
That would be boring as hell.
Since I took the time to blog about it, though, there must be a point to this post…
…right?
Yes, there is, and maybe I’ll get to it, and keep things short today.
I hurt that knee ligament for a reason.
It was overdeveloped, having had to compensate from the faulty alignment I carry from a long-ago surgery.
Weak right hip, weak muscles on the outside of my right leg, means overdeveloped inner-right knee ligaments, to pivot the body.
And I have learned…
…Just as at other stages of my BJJ journey, the injuries always seem to open up locked fascia that was keeping my muscles trapped in the wrong place.
The breaking points are never random.
So while rehab sucks, for sure, and I really miss getting to train BJJ, I chose to see this as an opportunity.
Hours and hours, I’ve spent using foam rollers, (a clever birthday present from Jessie,) mercilessly breaking down the weak spots and locked fascia in my body.
Everything the knee ligament was over-working to support.
Furthermore, I chose to dive into weightlifting with gusto, getting a gym membership, and trying to build up all the muscles surrounding the knee.
The rehab plan was: release tension in the body, build up bigger muscles, and then I’ll be both stronger and better aligned.
I chose to work on balance and strength simultaneously, to support my BJJ, once I get back on the mats.
Rather than getting all hot and bothered, missing the Dojo, and lacking the proper physical outlet I’m used to.
So there you have it.
If you take each injury and look at why it happened, you can use the healing time to actually come back to your sport better than you left it.
Catch you next time.
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Photo Feature Friday: Scott McDermott
If you’re reading this, there’s a good chance you know I had a Friday photography column at A Photo Editor from 2011-23.
I’ve bobbed and weaved, when it comes to how I handle programming here at Sunshine and Olly, but after a year + away from the regular grind, I’ve decided to try to resurrect Photo Fridays.
(There are a few other stories in the pipeline already, so it seems doable, especially with a new, online Q&A format.)
To kick off the new column, I’m starting with a photographer I’ve never met, nor spoken to.
Scott McDermott got my attention when he sent out a PR email with some great pictures he shot of Mike Tyson for a cigar magazine.
Top notch, and I told him so.
It stuck in my mind, and when a new email came in, featuring “Les Chef,” of course I was impressed again.
Having seen every season of Top Chef, (except the first,) and worked in restaurants for years, this was my wheel house.
Yet again, Scott’s editorial/commercial work shines.
The dude is obviously a major pro, so I’m happy to share his pictures, and his thoughtful, (though diplomatic,) responses to my questions.
In the spirit of my long-time work at APE, the information below can definitely help photographers with their careers.
Thanks for being generous with your work, time, and knowledge, Scott!
Let’s get to it.
Jonathan Blaustein: Given that you’ve shot all sorts of celebrity types, did you notice any specific vibe, or personality type, to the celebrity chefs?
Scott McDermott: Celebrity chefs at this level are really CEOs. Many of them have upwards of 20 restaurants across all different brands. So they are quite media savvy, usually pretty outgoing and have done photo shoots many times before. They know the drill. It’s a part of the job. But unlike many CEOs they seem much more at ease and playful at a photoshoot, and a lot of times have fun ideas for shots. Like Jean-Georges just offered up “Do you want to go on the roof?” His restaurant is on the ground floor of a 52 story building at Columbus Circle.
The answer is always “Yes!”.
Jean-Georges Vongerichten JB: I worked for Bobby Flay for a couple of years in NYC, back in the day, and the dude had massive swagger. (Exaggeratedly so.) Did any of the chefs have next-level charisma, beyond all the rest?
SM: I would say they all have a baseline level of type A confidence that’s not uncommon for very successful people in any field. Most of the chefs I’ve shot are pretty cool and down to earth, but you can tell by how everyone around them acts that they are A VERY BIG DEAL in their world.
Having said that, most shoots happen during the day at one of their restaurants, with the idea being we get it done before they open that night. So it’s usually a morning situation for them at first, and mornings are not traditionally the best time for chefs.
A lot of time, they are pretty tired and not necessarily putting on a show for me. Not that they were up all night in the kitchen necessarily (There is a chef-de-cuisine for that,) but usually they just flew in from somewhere or had just hosted a big dinner at another of their restaurants or came from some event.
Then there is someone like Mario Carbone, who has what he calls the “Carbone Stare”. He doesn’t like how he looks when smiling, so he deliberately does the stare. He’s up front about it, so fair enough. So in his case he is kind of deliberately dialing down the charisma.
Mario Carbone 
Dan Barber JB: It’s been a while since he passed, (RIP!) but what was Tony Bourdain like, in the time you had with him?
SM: The shoot with Anthony Bourdain was for DIRECTV and the concept behind it was, he’s been everywhere, but where is his home turf? He chose a punk rock bar in NY’s East Village called Manitoba’s, which looked great and had a very authentic vibe. However, even though we were in his happy place, he was quite edgy and wary of me and the whole thing.
It wasn’t until after we sat at the bar and finished a pint together, while the crew was putting up some lighting, that he loosened up. After that, he relaxed considerably and we had a nice afternoon. The “Man’s Ruin” painting on the wall by the door was a cool background we both really liked for a shot. I was a huge fan of all of his shows, but after he passed, I can’t bring myself to watch them…
Hopefully this man needs no introduction. (RIP Tony.) 
JB: Padma Lakshmi has gone on to assume Tony’s mantle, in a way, with her current Hulu food-travel series. Did you get to chat with her at all about food, or the Bravo-Top-Chef-world she helped create?
SM: I’ve been lucky enough to cross paths with Padma for a few different shoots. Her show on Hulu is fantastic, and is very much in the same vein as what Bourdain was doing, as you said. I think I’ve told her how much I enjoyed it on the last shoot.
But for Top Chef, there wasn’t a lot of time to chat. Those key art shoots for TV shows are a big production with a very tight schedule. You have to shoot all the contestants and the hosts in 2 different outfits on several sets.
The producers have spreadsheets with blocks of time designating who should be in front of the camera when and where and in what clothes, etc.
I was proud to have gotten to the end of the day still on schedule, at which point Padma asked if I could take a few shots of her in a new dress Roberto Cavalli had sent over for an upcoming award show. She wanted to see how it looked on camera.
Like I said before, the answer is always “Yes!”.
She started out as a model, and certainly knows what to do in front of the camera.
Padma Lakshmi JB: Of all the restaurants you’ve been in, which would you most like to dine, if money were no object?
SM: Honestly, all of them!
On a few occasions they ask if you want to stay for dinner, and that’s always a real treat. Daniel Boulud said “Would you like to have some pea soup and chicken?” – “Yes!”.
At his flagship restaurant Boulud, there is a skybox table that is in a kind of glass loft overlooking the kitchen. So my crew and I had an amazing meal in the skybox, which honestly we almost couldn’t tell which part was the pea soup and the chicken because each dish was so elaborate.
Daniel Boulud Torrisi is Rich Torrisi’s new restaurant in the Puck building that we shot at, and it’s been described as the most NY of the high end restaurants out there.
Rich Torrisi 11 Madison Park is the first restaurant to win 3 Michelin stars that is entirely plant based, I’m super curious about that.
Danny Meyer Daniel Humm is a rock star. Like I said, all of them.
JB: Did Morimoto wave that big blade around at all, or was it only out briefly for the shoot?
SM: Morimoto is a lot of fun, and is generally up for anything. I asked him if we could do a shot with a knife and he went in the kitchen and came back with what I would call a sword, used for slicing tuna.
He did some interesting poses with it, and the shots are much cooler than they would have been with a regular knife.
Morimoto When I was scouting his restaurant before the shoot, I noticed he had a lot of geese and chickens hanging in the fridge, and it made me think of the classic Albert Watson photograph of Alfred Hitchcock holding a goose in a very deadpan way.
So I asked him to do a similar pose in the freezer in, an homage to Mr. Watson.
After that, Morimoto said, “Why so serious?” and grabbed a tuna and started tossing it around.
JB: Finally, how would you describe your style of interaction, as a portrait photographer? How do you approach working with such high-profile people?
SM: Shooting celebrities is very much a transactional encounter. We are both there to do a job.
I try to be personable, relaxed and make a connection as much as possible, but I’m not under any illusion that we are going to be friends afterwards. Sometimes you hit off with someone, just like in any situation, but for the most part we do what we came to do and that’s it.
One thing they all appreciate, and something I pride myself on is that I shoot very fast. I know what I’m going for, get it quickly and then move on. Once they see that, a lot of people relax because they realize I’m not going to drag it out and be indecisive.
Once they are relaxed, then they start to collaborate, and that can be when it gets fun. I always have a few concepts in mind going in, and sometimes those need specific props or whatever to pull off, so you have to have those ready.
Then it’s a question of pitching the idea and being ready for what they say. A lot of times it’s “That’s kind of cool, but what if we did it like this instead?” And suddenly you have a shot you never thought of, that happened in the moment, like with Morimoto.
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Paying Attention to Haiti
In 2022, the eyes of the world were on Ukraine.
In 2024, any fool could tell you Israel’s war with Hamas, in Gaza, is the major international news story/catastrophe of the moment.
(All the while, Ukraine is still battling Putin, it’s just we care less.)
As Americans, both places are on the other side of the world.
Out of sight, but not out of mind.
Haiti, however, is barely off the coast of Florida.
(700 miles from Miami.)
The island country where Christopher Columbus first landed in the New World, (a land mass Haiti shares with the Dominican Republic,) is in possibly the worst shape of any society on Earth.
For all the terrible stories you might have heard after their Earthquake in 2010, what’s going on now is nearly unprecedented in this hemisphere.
Pure chaos, where armed gangs rule the streets, killing, stealing, maiming, and causing mayhem at will.
(President Jovenel Moïse was assassinated in 2021, in an as-yet-unsolved crime, and then no legal replacement government formed.)
According to news reports, these gangs control more than 80% of the capital, having attacked police stations, and the airport. And the unelected, replacement President was recently forced to resign, having been exiled to Puerto Rico.
The international community has done little, partly because there is so little publicity, so much misery fatigue, and so much chaos.
Frankly, I didn’t plan to write this post today.
Haiti is not my fight, though I have read the news reports daily, with a numbed-out-sadness.
Bodies left in the streets, rotting, so locals have to burn them, to kill the smell and disease. Dogs eating corpses.
Horror movie stuff, happening every day.
I AM writing about it, though, because a Haitian artist/art teacher I follow on IG reached out recently, (as a DM,) asking how I was doing.
You read that right.
Mario Pierre-Louis checked up on me.
From an anarchy zone.
Portrait of the Artist, Posted to IG March 12, 2024 
It’s the stuff of hacking dreams, so I will admit, I’m pretty sure it’s real, but can’t verify with my bare hands.
Let me back up a second.
I think Mario followed me first on IG in 2021, but if so, I followed right back. (And noted a couple of other photo-world-people followed him too.)
He DM’d to say “Hi,” so I did the same.
His folk art paintings, along with those of his students, were cool. Charming. Inspiring.
I know the account as Atis Art when I see it, and always look.
The dude has never asked me for money.
Not once.
Nor funneled me to a GoFundMe.
I remember thinking when I first learned of him, is he real? Or is it a scam?
He seems so positive. Too good to be true.
So I looked him up at the time, and this outsider art gallery page came up. Looked legit enough.
Now I googled again, and saw someone set up a GoFundMe for him and his students last summer, and it seems active.
I can’t vouch for it, though.
But I’ve seen the paintings come up in his feed for years. We’ve DM’d once or twice since 2021.
A painting posted February 15th Recently, I started seeing his photo posts of the chaos that said, no one is helping me.
If it IS real, then this Dude could use a lot of help.
And then he checks up on me? Asks how I’m doing?
Crazy stuff.
He seems like one of the nicest people ever, trapped in hell.
After I offered, he asked that I share some of his recent pictures from this week, so he sent them last night.
He wrote, “at the moment I am in the street by bandits have raided my house I am taking photos so that people can see what is happening here.
I have nothing to eat, I take photos so people can help me.”
Given that I can’t be 100% sure this is real, I can’t ask you to reach out, nor give money on GoFundMe.
As a journalist, I put this through a smell test in 2021, and again now, and feel comfortable sharing Mario’s photos, and his story as I’ve learned it, but I have not given any money.
At the moment, I’m choosing to believe this actual human being is on the ground in Port-au-Prince, and wants other people to know what’s going on.
Everyone there is suffering beyond belief.
So if there is a God, (and I hope there is,) we can only pray She/He/They sheds some kindness on Haiti.
If you can help in your own way, please do.
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I’m Sorry & How Can I Help?
I read a fascinating article the other week.
I’d suggest you read it too, but I’m not sure it’s available at the moment.
Because, as you might have heard, Road & Track, as a part of a program sponsored by an energy company, sent a freelance, millennial, socialist journalist named Kate Wagner on a first-class F1 junket to Austin, TX.
Given how blindingly obvious it was that she’d come out guns ablazin’, (and she did,) that Road & Track was surprised with the results proves that no one was paying the slightest bit of attention.
Once they figured out what they’d done, they pulled the article as if it had never existed.
Thankfully, it was saved as a .pdf, and I got to read it.
One line stuck with me, as I’d said it recently to Jessie, with respect to someone with whom I’ve got beef:
“They’d rather be right than happy.”In the case of the R&T article, the writer said it about herself.
Lately, I’ve found it harder and harder to be around people who have a low opinion of me.
People who insult me, or drag me down.
It’s exhausting, building up all this positive energy, only to have to rebuild it again, once someone has thrown all their punches in my direction.
My wife and I teach our children: if you’ve said or done something to offend a loved one, you apologize, take responsiblity, and move on.
It’s Sesame-Street-level human decency.
(Though I do hate that fucking Elmo. Larry David was right.)
Treat people well, and if you slip up, because you’re having a bad day, or there was a misunderstanding, then say sorry.
That’s it.
But some people see apologies as weakness, and simply refuse.
It’s what drives all those Trumpers.
The pole is slanted, AND the road is sloped. Both things can be true. Simultaneously, another person in my life with whom I have beef, said some really unkind things on my birthday.
Called me “crazy,” and implied I was a failure, because I hadn’t become rich as a photographer.
Never mind two other people, in the last week, confided with me they’d left the field as well, things were so bad.
No, I was a disappointment.
When I asked for an apology, for saying such unkind things on such an important day, I was called “disturbed,” and a “pussy.”
(Not making this up.)
What could be more Trumper than refusing to apologize?
Probably calling them a “pussy.”
Here’s an idea.
How about when someone admits they’re having trouble, instead of telling them what they did wrong, asking “How can I help?”
Really, be honest.
How many times has someone said to you, “How can I help,” when you really needed help?
Not when someone waited for you to come begging.
Or watched you suffer, from a bemused distance.
But actually noted you needed help, and took it upon themselves to offer, out of the goodness of their hearts?
Anyway…
…as my kids like to say, in conclusion, if you’re not prepared to accept another person’s reality, their feelings, how they see things, without resorting to calling them mentally ill…
You might be a Trumper.
Learn to apologize.
Offer to help.You’ll be happier.
I promise.
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Secret Recipe: Eggplant Parmesan Lasagne
I turned 50 yesterday.
(You might have heard.)
I kept the celebration tight: just my wife, kids, dogs, and jiu jitsu community.
And as I don’t trust the crappy, over-priced Taos restaurants, and I enlisted Theo to cook twice over the weekend…
…I was in charge of my 50th Birthday dinner.
What to make?
Lasagne is not only a crowd-pleaser, but as it’s somewhat labor intensive, it also feels celebratory.
I did one six weeks ago, in deep Winter, with an Italian sausage sauce as the base.
Too heavy for early March.
Then the idea hit me: what about those pretty eggplants you bought?
What if?
What if I made fried eggplant, for eggplant parmesan, and then inserted it as a layer, WITHIN the lasagne?
Wouldn’t that essentially be two superstar dishes in one?
Yes.
Yes, it would.
And it was insanely delicious!
Here we go:
The fried eggplant
Wash and thinly slice one eggplant. Lightly salt and pepper the slices, then set aside. Once they sweat, (release moisture,) lightly pat down with a paper towel.
Set out three plates, one with all purpose flour, one with two beaten eggs, and the other with seasoned breadcrumbs. Then lightly season the flour and egg plates with salt and pepper.
Heat a cast iron skillet, add olive oil, and then dredge the eggplant.
First, pat it fully in flour, then coat in egg, then pat in the bread crumbs, before depositing in the hot oil skillet.
Flip each slice when it’s nice and brown, and then remove onto cutting boards or plates covered with paper towels. (To absorb the oil.)
The marinara sauce
The key here is lots of fresh vegetables, and two kinds of roasted chile.
Start by sautéing and seasoning on onion, then add in four diced cloves of garlic.
Continue to stir, and then add two sliced celery stalks, two sliced carrots, six large tomatoes on the vine, 12-15 small cherry tomatoes, and a handful of baby spinach.
One can of Cento tomatoes, four T of tomato paste, two NM roasted green chiles, one roasted poblano pepper, and then lime juice, mild paprika, sugar, honey, balsamic vinegar, white balsamic vinegar, parmesan cheese, and asiago cheese.
Blend with an immersion blender, once it’s been cooking for 20 minutes, and season to your liking.
Remember though: the sauce needs to be SUPER-FLAVORFUL to stand up to the cheese and fried eggplant.
The Pasta
I used Barilla, and it was great.
The Cheese
Galbani ricotta and chunk mozzarella
The Lasagne
Time to assemble.
I cook the noodles while I’m assembling, just dropping them into salted boiling water for about 1 min or so.
So in a large casserole pan, I made a layer of sauce, then a layer of noodles.
Then a full layer of ricotta, and a light layer of sauce.
Then the eggplant layer, grated parmesan, and a light layer of sauce.
Then another layer of noodles, a thick layer of sauce, and then the grated mozzarella.
Cracked black pepper on top, a grated layer of parmesan when it comes out of the oven, (about an hour at 350-375,) and you’re set to jet.
It was ridiculously good, and all four of us ate like royalty last night, so I hope you give it a go.
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Sunshine and Olly 