Oct 31st was A Big Day for me. Today, after nearly 12 years here in America, I finally became a citizen of the USA.

To encapsulate how I felt at that moment, I asked my wife, Sara, to take a celebratory photograph of me near the top of the red steps in Times Square this evening. I really do feel on top of the world.

Instead of the usual photography related post here, I’d like to indulge myself a little and revel in this moment.

It’s been a long journey – at times arduous, often exhilarating, but mostly just a constant working towards a specific goal – creating a life here in the USA that would offer (specifically) my daughter a better future here than might be possible in South Africa.

We emigrated at the start of 2000, on my wife’s H1B1 visa. I was a stay-at-home dad for nearly 3 years since I didn’t have a work permit. When I finally received my work permit, I started working for one of the studios here in New Jersey as a 2nd shooter. (This was somewhere towards the end of 2002.) I continued shooting for numerous studios for a few years, and eventually set off with my own business as a photographer around September 2006.

I worked as a Television Broadcast Engineering Tech back in South Africa. However, with an over-riding interest in photography (and music), I had already started a career there as a part-time photographer. So when I finally had the glimpse in 2002 of the possibilities here in the USA, I was hooked on the idea of making photography my full-time career.

The emigration process crippled us financially at the time. It was hugely expensive to move to another country. Starting from scratch was hard work, and meant long hours. The upheaval around the 9/11 terrorist attacks also had a near-catastrophic impact on our plans to live in the USA, since the company that my wife worked for at the time, was one of the many companies that folded in the aftermath of 9/11. (It’s a complicated story involving the work permit system.)

My wife, Sara, is still working in the tech industry, doing very well in her career. Similarly, my daughter is doing exceptionally well at school. She is now in her final year in high-school, and has been in an advanced curriculum for gifted and talented kids since elementary school. On top of that, she is also involved in a bunch of extra-mural activities. All of this adds up to be real vindication of our decision to uproot ourselves 12 years ago, and move to another country.

Even with some of the success I’ve had as a photographer in just a few short years – such as the two published books – I also know that any achievement or success are just small milestones in a much longer arc. An arc that involves a lot of work and constant chipping away at it. But right now, I feel good. I completed my citizenship test, and took the Oath of Allegiance to the USA. I’m here to stay, and I really look forward to the journey ahead.

And with that, I also want to say thank you to everyone who follows and supports this website, and has helped me over the past few years, making this site what it is. There’s more to come.

[ edited to add on Oct 3, 2011 ]

I anticipated a few replies to this post, but nothing like this flood of support! I am amazed and flattered and humbled. Thank you for all the lovely comments and congratulations and well-wishes. It really really is inspiring!

To appease the techies who follow the Tangents blog – the photo at the top was taken with the Nikon D3 and Nikon 85mm f1.4 AF-S lens. Camera settings: 1/1250 @ f1.4 @ 1600 ISO … all available light as exists in Times Square on any given night.

inspiration from movies – a visual feast for photographers

It would be a rare photographer – in a fact a rare person – who isn’t fascinated by other forms of art, whether music, dance, various visual arts, architecture and everything we surround ourselves with. I just can’t imagine a photographer not finding inspiration specifically in other visual art forms, whether cartoons & graphic novels, all the way to the classic painters … and of course, movies.

Last night we watched Micmacs, another of the surreal hyper-kinetic movies by director Jean-Pierre Jeunet. Every frame of that movie is a beautifully composed. A work of art. Afterwards I felt that push again that I need to be more creative with my photography.

Micmacs was released in 2010, but before investigating that movie, I’d have to urge you to first watch Jean-Pierre Jeunet’s masterpiece – Amelie.

The screen-capture at the top is from Amelie. No words can quite describe what a joy ride of a movie it is. Emotionally over-powering. Exhilirating! With that, I’d also like to mention 10 other movies, all personal favorites, that are visual feasts for photographers …

Before we start, I didn’t want to list movies which are great CGI-enhanced spectacles. While a few of these movies mentioned here have obviously had a lot of  computer manipulation done to them, and effects added – I wanted to highlight a few favorite movies where the cinematography itself is just dazzling. So no mention of Inception or Lord of the Rings.

And no, Citizen Kane isn’t on my list. I could! just! never! get! past! the exclamatory! narration! It completely put me off a movie that is supposed to have influenced everything since. Well, I suppose I could watch it with the sound off, and some music on Pandora playing instead. Maybe another time.

I’m not going to give an actual review of each movie, or list details. IMDB, Amazon and a horde of other sites are good for that. (I like the reviews on DVD Talk.) So this is more of a nod towards the movies that fascinated me. And still do.

Amelie (2001)
director: Jean-Pierre Jeunet
starring: Audrey Tatou

This movie is simply captivating. Amelie is a shy waitress in Paris, who secretly helps people around her … and in the process, discovers love. There are so many moments of dazzling brilliance, but a favorite for me (about 30 minutes into the movie), is where she helps a blind man across the street. She describes everything around then in an avalanche rush of words, matching the dizzying visuals: “a baby’s watching a dog that is watching chickens …”, and then she rushes off, leaving you breathless and exhilarated as well.

If you love Amelie, do check out Jean-Pierre Jeunet’s other movies as well, including Micmacs, and Delicatessen

Madmen (TV series)

When did television series become so good? Perhaps with the advent of layered non-formulaic story-telling such as The Sopranos. Right now however, the best that television programs have to offer is Madmen. Every frame is beautifully crafted, whether in set design, choreographing the movement of the actors, the subtle and sparse dialogue or the always awesome use of light and lighting on set. Madmen is as good as anything that cinema has ever produced over the years. Staggeringly impressive!  And if you like Madmen, also check out Breaking Bad. I’d rate it just as highly.

With both of these series, don’t randomly dip into them. Start with Season 1, disc 1. And then watch, enjoy and study.

The American (2010)
director: Anton Corbijn
starring: George Clooney

Anton Corbijn is the Dutch photographer, famous for his album cover photographs. He has shot musicians as diverse as U2, Depeche Mode, Joy Division, Bjork and Peter Hammill. He is also well-known for having directed music videos for both U2 and Depeche Mode. The American is his first a feature length film. In The American, George Clooney plays the role of an assassin on the run. Unfortunately, this movie was a victim of bad marketing. It was promoted as an action thriller … which it is in part, but it is also a stylishly crafted character study which unfolds at its own tempo. Too slow for audiences expecting Bourne Ultimatum style frenzied action and jump-cuts. The cinematography in The American is superb and a joy to take in.

Collateral (2004)
director: Michael Mann
featuring: Tom Cruise, Jamie Foxx

The director, Michael Mann, uses Los Angeles as a colorful, shifting backdrop to the events. It is fascinating to watch how the long shots are stacked, with multiple levels of color or activity. Just be aware that a grain effect was added to the movie for visual effect. Michael Mann is of is also known for the epic Heat, as well as the recent Public Enemies. Both movies also show tremendous skill in the cinematography and are well worth watching again just for that.

Moulin Rouge (2001)
director: Baz Luhrmann
featuring: Nicole Kidman, Ewan McGregor

Moulin Rouge is an over-the-top, extravagant Musical that will surely divide opinion. You will either love it or hate it. The visuals are over-poweringly busy and colorful, with some scenes as hectic as an acid trip. I’d recommend this movie to anyone, but could not promise that it would be enjoyed. Also check out Baz Luhrmann’s modernization of the Romeo + Juliet tale. Just as visually gorgeous.

Lost In Translation (2003)
director: Sofia Coppola
starring: Bill Murray, Scarlett Johannson

With a sparse plot – some may even argue it has none – Lost In Translation has to rely on the visuals, as well as the (unexpectedly) subtle acting from Billy Murray. Tokyo is the setting, and Bill Murray and Scarlett Johannson’s characters meet up by chance. Both of them feel increasingly alienated in the strange city, and this forms the basis of an impromptu friendship. Since so much is dependent on the milieu the characters find themselves in, Sofia Coppola had to create a visually arresting movie. Lost In Translation is one of those movies as well which will divide opinion. Regardless of that, I’d whole-heartedly suggest watching it. There is much to be enjoyed in the subtle unfolding of the movie.

Double Life of Veronique (1991)
director: Krzysztof Kieslowski
featuring: Irene Jacob

When I first saw Blue (one part of the Three Colors Trilogy), I was so blown away by the camera work, that Krzysztof Kieslowski instantly became one of my favorite movie directors. Blue has the best music score to any movie I have ever watched. As impressed as I was with Three Colors: Blue at the time, it was Double Life of Veronique that really lingered with me the most when I finally caught up with it. What is the plot about? I still have no clear idea. The movie has an elegiac feel to it. Mystical. Mysterious and confounding. And beautifully shot. You might love it, you might very well be left unimpressed … yet, I still feel that this is one movie that I want to push onto my friends that they *have* to watch.

Brazil (1985)
director: Terry Gilliam
featuring: Jonathan Pryce, Kim Greist, Robert De Niro, Michael Palin, Bob Hoskins

Terry Gilliam is a frustrating director. For all his moments of unparalleled brilliance (for example, Brazil and Twelve Monkeys), he can also come up with some stinkers. (eg, Baron Munchausen). Brazil for me was a complete mind-trip. I remember sitting in the movie house afterwards, with the house lights already on, thinking, “wtf just happened?” Brazil, for me, changed my perception of cinematic possibilities.  Again, the plot is beyond what a mere sentence or two can sum up. And then it still wouldn’t describe what Brazil is about … a state of mind. Apparently.

The Illusionist (2006)
director: Neil Burger
featuring Edward Norton, Jessica Biel, Paul Giamatti

I love the story – the romance, intrigue and adventure. Epic. I also love the look of the movie. The post-production they did on this is something that I’d love to be able to emulate in my photographs. The look of the movie is lush and sensual. Just gorgeous to watch.

Snatch (2000)
director: Guy Ritchie
featuring: Jason Statham, Brad Pitt, Benecio Del Toro

I love Guy Ritchie’s visual style. Energetic, with great angles, the cinematography is fascinating. If you liked Snatch, do check out RocknRolla too. Also, Layer Cake, a movie by a different director (Matthew Vaughn), has a similar visual appeal.

Angel-A (2005)
director: Luc Besson
starring: Ria Rasmussen, Jamel Debbouze

Luc Besson is well-known for his highly stylized Sci-Fi epic, The Fifth Element. In contrast, Angel-A is a simpler tale, told in sumptuous black and white tones. Jamel Debbouze plays a down-on-his-luck scam artist who learns to love himself with the help of the mysterious Angela. Angel-A is touching and evocative. And visually stunning.

Other movies that were also in the mix :
Dark City
Slumdog Millionaire / Sunshine
Elizabeth / Elizabeth, the Golden Age
Eastern Promises / History of Violence
Children of Men (make sure you watch the making-of supplemental material)

… there’s so much out there to be enjoyed, and studied and learnt from!

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photographing a model in Hoboken … is complicated

A few weeks ago in October, a friend and I arranged to photograph Kerri, the model shown here. My friend had just bought a Nikon D3s and some serious glass, so I thought that instead of me just telling her about the camera’s functions and settings, it would be more interesting to hire a model to photograph. Then we get to play with the new toys, and get some photos. More fun than just being lectured by me.

So the two of us picked Kerri up along the way to Hoboken, to shoot there. Why Hoboken? I struggle with this question every time that I hit the traffic going into the helix at the Lincoln Tunnel. I hate the traffic by now. And then the traffic in Hoboken is just as bad. But I like photographing in Hoboken. There is a lot of variety to work with. There is the Hoboken waterfront with New York as the backdrop. You have urban areas, but you can make it look park-like by turning your camera the other way. There is the train station nearby, and two blocks up there is a long stretched-out alleyway.  So I can’t think of any other place really in New Jersey that offers that diversity within a few blocks … and have parking garages available.

At some point we ended up in the (very well-known) alley in Hoboken, photographing Kerri. My usual off-camera lighting setup at the moment is the Lastolite Ezybox, held up by a monopod by an assistant, or in this case, my friend. It keeps everything mobile and fluid. In particular, another reason why I use the softbox on a monopod, is that I often shoot in Manhattan. The New York City Hall has clear instruction as to when you need a photography permit, and when you don’t. If you don’t use a tripod or light-stand while shooting in New York, you don’t need the photo permit. Great! But we’re in Hoboken in New Jersey.  And this is where it gets complicated …

The photo of Kerri you see at the top, is the last photo I took of her before a police officer stopped us. He asked me if I had a permit to photograph there. I replied that I wasn’t aware that we needed a permit. He then sternly informed me that in fact we do, and that we should get one from Hoboken City Hall. Then he added, “Not only don’t you have a permit; to add insult to injury, you are photographing behind the police station.”

Of course, I couldn’t resist asking him the obvious question – why would it be an insult to photograph a beautiful woman? Or an injury?

Anyway … we moved along, a block or so further up the alley, and continued.

Now, my feelings on this matter is that if we’re not supposed to photograph in the alley near the cop station – and it isn’t immediately obvious this is the back-end of a cop station – then there should be signs. Or if the model did somehow perturb the officers in the cop station, he should’ve asked us to move along. But to tell us to stop photographing and that we needed a permit?  Throwing dubious legalities at us … weeeell, I’m less than happy about that.

If any police officer can stop a photographer in Hoboken at any point and interrupt or halt a photo shoot, then it is a real problem for the photographer when he has paid money for the model, or is photographing paying clients there. It’s just not a tenable situation in front of clients, or while working. Or even just when having fun with a camera.

rules & regulations & photography permits in Hoboken, NJ

Afterwards, I did some searching on the internet to find out about any specific rules & regulations, and couldn’t find much. Certainly nothing as definitive as the instructions from the New York City Hall.

The Hoboken City Hall website looks sweet and friendly enough, and had this information on the topic of “filming permits”:  (I snipped two sentences for simplicity here.)

To obtain a film permit you must first contact the Hoboken Police Department. {snip}   The Police Department will explain city rules and the requirements for filming and location of vehicles, equipment, and traffic regulations. The completed application must be returned to the City Clerk at least 3 days (72 Hours) prior to the scheduled filming dates. {snip}  Upon issuance of the film permit by the Clerk’s office there will be a $700.00 fee (as of 4/12/10) due and payable to the City of Hoboken.

Great. It will take 3 days and $700 to get a permit.

But when is a permit necessary? The cops will tell you.

With a further search I did find a related article on a different website, which even has a download to what looks like an official document – Chapter 97. I’m not sure how up to date it is, but that document, Chapter 97, is precise about when you do need a permit .. but vague as to when you don’t need one.

It does mention that:
“Incidental use of a public street or sidewalk which is of minimal impact and does not result in a closing of same to public use shall not be considered filming on “public land.”

And I do believe that what we were doing was ‘incidental use’, and we certainly didn’t close the alley. We neatly stepped aside for the occasional vehicle that might come past. The alley is cobble-stone, so it isn’t as if any car can drive at speed down the alley. You’d kill your car’s suspension! So what we have are occasional slow-moving cars crawling through the alley. And as I mentioned, we had our cameras and a hand-held softbox, very aware that we need to keep things mobile. So with that, I think what we were doing “shall not be considered filming on public land.”

My online search also found this guy, who has a particularly strong opinion about a similar incident.

The adventure continues …

I did go to Hoboken City Hall the next week, and inquired about the stipulations about when photography permits are needed.

The clerk there immediately referred me to a contact person at the Hoboken police station who deals with this specifically. Off I went to the police station. Incidentally, this is the same police officer who stopped me from shooting originally. We recognized each other. Chatting to him about all this, he seemed a nice enough guy. He admitted the regulations were vague, even in attempting to explain them to me. He said he would find the proper municipal codes for me, and would call me back. And if I then need further clarity, he mentioned the possibility of me taking this to a council meeting at some point if there is no specific guideline or resolution. I never got a call back.

So where does this leave any photographer working and shooting in Hoboken?

I’m thinking specifically of portrait and wedding photographers here. At any time of day you’re quite likely to see a photographer shooting out on the streets in Hoboken. Lots of us. It’s an epidemic really.

Where does this leave us? I honestly don’t think that the regulations about “filming” apply to us as photographers with a camera or two slung around our shoulders. We’re not part of an entire film or TV crew which are set up for hours or days in a location. And that is why I don’t think I will hear back about the specific rules. I doubt the rules are specific enough in this regard to include us. There is of course the potential downside that any regulations that do exist, might be vague enough to be construed to actually include us. We don’t know … and this leaves us open to be stopped by police officers.  Unless of course any photographer is inclined to spend time chasing this through a city council meeting.

Anyway, I can’t think of any wedding photographer that could afford to pay a $700 permit out of a wedding package. It would be insane (yes, my specific word choice) to force every photographer with professional equipment, to pay the $700 fee for a permit every time they want to photograph a model or an engagement session or wedding party there.

Also, another way to look at it:  if the Hoboken City council could make $500 a pop off every photographer they accosted and fined, then they would. Easy money.  They could clear a few thousand dollars every day with this. That they don’t … is most likely because it isn’t illegal to photograph on the streets of Hoboken. Despite what any other cop might say on the street.

The thing is, if such laws do exist to restrict the average working photographer, then dozens of photographers will have to be stopped every day. Brides wouldn’t have their photographs taken at the waterfront in Hoboken without a permit. No portraits of couples without a permit. Anyone using A Big Camera would have to be checked. You can slice this down to absurd levels … at which point is someone with a camera not a professional photographer?

So finally, where does this leave me? Nowhere really. Just frustrated that at any time in the future I could have a cop in Hoboken stop a photo session. But I’ll just continue as I always have. The potential $500 fine is cheaper than the $700 permit, and probably faster to pay.

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In trying to get myself up to speed with the technology and options around blogging, the Blogging for Dummies book looked like good entry-level reading. My daughter, Janine, gently teased me about yet another Dummies title on my shelf – but she put her foot down when I had to take her to the hospital for a sprain.  She said it would be too embarrassing if I sat in the waiting room with her, while reading a Dummies book on blogging.  So we compromised …

If you find these articles interesting and of value, then you can help by using
these affiliate links to order equipment & other goodies.   Thank you!

Stay informed of new articles via the monthly newsletter.
Also join us on the Tangents forum for further discussions.