The Flood

Everyone has a story to tell. But it takes serious storytelling skill to create an emotional connection to an inanimate object. This video does it flawlessly.

After flooding the ice in Rossland for 40 years our beloved 1972 Ford 3000 tractor is being retired. This is his story.

Special Thanks /
Jim Fike, Ford 3000 care taker / operator.

Written and Directed by /
Scotty Carlson

Narrated by /
Rob Sulman

Narration Recorded by/
Graham Tracey @ High Lonesome Recording

Shot by /
Andre Nutini
Derek Frankowski
Rob Sulman
Dan Gaud

Edited by /
Rob Sulman
Andre Nutini
Dan Gaud

William Klein – The anti-photographer’s photographer

As an artist using photography, he set out to re-invent the photographic document. His photos, often blurred or out of focus, his high-contrast prints (his negatives were often severely over-exposed), his use of high-grain film and wide angles shocked the established order of the photography world and he earned a reputation as an anti-photographer’s photographer.

william_klienFrom 1955 to 1965 William Klein worked for Vogue. He preferred to photograph his models out in the street or on location. he was not particularly interested in clothes or fashion, and used this opportunity to reasearch the picture making process by introducing new techniques to fashion photography, including the use of wide-angle and long-focus lenses, long exposures combined with flash and multiple exposures -making fashion an area of innovation in photography.

From 1965 to the early 80s, he abandoned photography and primarily concentrated on film, making various documentaries: ‘broadway by light’ (1958), ‘who are you polly maggoo?’ (1966) ‘mr. freedom’, ‘muhammad ali the greatest’, ‘the little richard story’ (1979), ‘the messiah'(1999).

Klein returned to still photography in the 1980s due to a renewed interest in his early work.his photographs of this period are characterized by his use of close-ups and wide angle lenses.

During the 90s he continued to create mixed media works using painting and photography. He received the hasselblad prize and various retrospectives of his films were organized in new york and japan. he was awarded the agfa-bayer/hugo erfurt prize and created in & out of fashion, a mixed media project including drawings, photographs and film, which was published simultaneously with shows in London, Paris and New York. In 1997 he rephotographed new york and had shows in barcellona and paris. In 1999 he was awarded the ‘medal of the century’ by the royal photographic society’ in London.

















Elliott Erwitt – the master of the ‘indecisive moment’

Born in Paris on 26th July of 1928 to Russian-Jewish parents, Erwitt spent his childhood in Milan, then emigrated to the US, via France, with his family in 1939. As a teenager living in Hollywood, he developed an interest in photography and worked in a commercial darkroom before experimenting with photography at Los Angeles City College. In 1948 he moved to New York and exchanged janitorial work for film classes at the New School for Social Research.

Erwitt traveled in France and Italy in 1949 with his trusty Rolleiflex camera. In 1951 he was drafted for military service and undertook various photographic duties while serving in a unit of the Army Signal Corps in Germany and France.

profilerWhile in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head of the Farm Security Administration. Stryker initially hired Erwitt to work for the Standard Oil Company, where he was building up a photographic library for the company, and subsequently commissioned him to undertake a project documenting the city of Pittsburgh.

Good photography is just about seeing. You either see, or you don’t see. The rest is academic. Photography is simply a function of noticing things. Nothing more

In 1953 Erwitt joined Magnum Photos and worked as a freelance photographer for Collier’s, Look, Life, Holiday and other luminaries in that golden period for illustrated magazines. To this day he is for hire and continues to work for a variety of journalistic and commercial outfits.

In the late 1960s Erwitt served as Magnum’s president for three years. He then turned to film: in the 1970s he produced several noted documentaries and in the 1980s eighteen comedy films for Home Box Office. Erwitt became known for benevolent irony, for his black and white candid shots of ironic and absurd situations within everyday settings – the master of the ‘indecisive moment’ and for a humanistic sensibility traditional to the spirit of Magnum.














Alfred Stieglitz (1864–1946)

Born in Hoboken, New Jersey, in 1864, and schooled as an engineer in Germany, Alfred Stieglitz returned to New York in 1890 determined to prove that photography was a medium as capable of artistic expression as painting or sculpture. As the editor of Camera Notes, the journal of the Camera Club of New York—an association of amateur photography enthusiasts—Stieglitz espoused his belief in the aesthetic potential of the medium and published work by photographers who shared his conviction. When the rank-and-file membership of the Camera Club began to agitate against his restrictive editorial policies, Stieglitz and several like-minded photographers broke away from the group in 1902 to form the Photo-Secession, which advocated an emphasis on the craftsmanship involved in photography. Most members of the group made extensive use of elaborate, labor-intensive techniques that underscored the role of the photographer’s hand in making photographic prints, but Stieglitz favored a slightly different approach in his own work. Although he took great care in producing his prints, often making platinum prints—a process renowned for yielding images with a rich, subtly varied tonal scale—he achieved the desired affiliation with painting through compositional choices and the use of natural elements like rain, snow, and steam to unify the components of a scene into a visually pleasing pictorial whole.

Alfred Stieglitz returned to New York in 1890 determined to prove that photography was a medium as capable of artistic expression as painting or sculpture.

Continue reading Alfred Stieglitz (1864–1946)

Remembering Richard Avedon

RICHARD AVEDON Richard Avedon (1923–2004) was born to parents of Russian Jewish heritage in New York City. As a boy, he learned photography, joining the YMHA Camera Club at the age of twelve; later, he took up poetry, winning a citywide award for high school students during his senior year at DeWitt Clinton in the Bronx.

richard-avedon-1923-2004Avedon joined the armed forces in 1942 during World War II, serving as Photographer’s Mate Second Class in the Merchant Marine. Making identification portraits of the crewmen with his Rolleiflex twin lens camera—a gift from his father—Avedon advanced his technical knowledge of the medium and began to develop a dynamic style. After two years of service he left the Merchant Marine to work as a photographer, making fashion images and studying with art director Alexey Brodovitch at the Design Laboratory of the New School for Social Research.

In 1945, Avedon set up his own studio and worked as a freelance photographer for various magazines. He quickly became the preeminent photographer used by Harper’s Bazaar. There, under the tutelage of Brodovitch, his rise to the top of the profession was meteoric. Avedon developed an original approach to making fashion photographs. He showed the models full of expression: smiling, laughing, and often posed in action. Inspired by Hungarian photojournalist and fashion photographer Martin Munkácsi, Avedon photographed models and fashions on the streets, in nightclubs and circus arenas, and in other locations then uncommon.

From the beginning, Avedon made portraits for editorial publication as well: in the pages of Harper’s Bazaar, in Theater Arts, and in Life and Look magazines. From the outset, he was fascinated by photography’s capacity for suggesting the personality and evoking the life of his subjects. Only rarely did he idealize people; instead, he presented the face as a kind of landscape, with total clarity. He registered poses, attitudes, hairstyles, clothing and accessories as vital, even revelatory elements of the personal image. “My photographs don’t go below the surface. I have great faith in surfaces. A good one is full of clues.”

“All photographs are accurate. None of them is the truth.”
–Richard Avedon

Continue reading Remembering Richard Avedon

Sandrah Hellberg Smolders for Marciano

I say this alot.. but IMO there is no brand on the planet that does photography better then the folks at Guess. This past holiday campaign deserves to showcased again.

Sandrah Hellberg travels to the desert for Guess by Marciano’s holiday 2012 campaign. The brunette sizzles in glamorous images lensed by photography duo Hunter & Gatti. Stylist Martina Nilsson dresses Sandrah in a mix of sequined tops, black gowns and gold accessories. / Hair by Paco Garrigues, Makeup by Francesca Tolot


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Alfred Hitchcock

The acknowledged master of the thriller genre he virtually invented, director Alfred Hitchcock was also a brilliant technician who deftly blended sex, suspense and humor while creating a number of motifs and devices – most famously the MacGuffin – to advance his intricate plots. Hitchcock went through four distinct periods throughout his career, starting with his silent period where he made “The Lodger” (1926) and a handful of others before entering the sound era and properly beginning his so-called British period. During the 1930s, he honed his master of suspense chops with a number of acclaimed espionage films like “The 39 Steps” (1935), “The Secret Agent” (1936) and “Sabotage” (1936). He attracted the attention of Hollywood with “The Lady Vanishes” (1938) and embarked on the third phase of his career, starting with “Rebecca” (1940), “Foreign Correspondent” (1940), “Suspicion” (1941) and “Shadow of a Doubt” (1943). After “Spellbound” (1945), Hitchcock directed “Notorious” (1946), his most emotionally mature film at the time. Fond of ordinary men accused of crimes they did not commit and icy blondes in despair, Hitchcock entered the most artistically fruitful part of his career, directing “Strangers on a Train” (1951), “To Catch a Thief” (1955) and “The Wrong Man” (1956) alongside masterpieces like “Rear Window” (1954), “Vertigo” (1958), “North by Northwest” (1959) and “Psycho” (1960). Though he faltered after “The Birds” (1963), Hitchcock remained a highly influential director whose life and career retained a high level of interest decades after his death.

Born on Aug. 13, 1899 in Leytonstone, England, Hitchcock was raised one of three children by his father, William, a poultry dealer and fruit importer, and his mother, Emma. Hitchcock had a rather lonely childhood due in part to his obesity, which left him sheltered and isolated. His parents had unusual methods of discipline; his father sent him to the local jail with instructions for the police to lock him in a cell for 10 minutes for misbehaving, and his mother often forced him to stand at the foot of her bad for hours after explaining to her his indiscretions. Both experiences found their way thematically into Hitchcock’s later work, particularly the idea of a wrongfully accused man being punished. When he was 14 years old, Hitchcock’s father died, which was also the same time that he left St. Ignatius College in London to study engineering at the School of Engineering and Navigation. Following his graduation, Hitchcock became a draftsman and designer for W.T. Henley’s Telegraph Works Company. It was there that he first delved into creative endeavors when he began publishing short stories like “Gas” (1919) and “The History of Pea Eating” (1920) for the Cotoca Henley Telegraph, the company’s in-house magazine.

Hitchcock began his filmmaking career in 1920 when he began working as a title card illustrator on silent films for Paramount Picture’s Famous Players-Lasky studio in London. While there, he learned scripting, editing and art direction, and soon rose to become head of the title department. In 1922, he was made an assistant director when Famous Players was taken over by Michael Balcon’s production company and was given his first chance at directing the short film, “No. 13/Mrs. Peabody” (1922), which was left unfinished. After making his first film as assistant director, art director and sole writer on “Woman to Woman” (1923), Hitchcock directed his first feature, “The Pleasure Garden” (1925), a tale of adultery and murder that he made on an extremely limited budget and showed flashes of his future brilliance. He next directed the rather silly comedy, “The Mountain Eagle/Fear o’ God” (1925), which inaccurately portrayed life in Kentucky where the film was set, but nonetheless became a hit and allowed Hitchcock to choose his next picture.

That turned out to be “The Lodger” (1926), Hitchcock’s breakthrough film and one that became the template of the classic Hitchcock-esque plot: an innocent protagonist falsely accused of a crime who becomes involved in a web of intrigue. The protagonist in this case was Jonathon Drew (Ivor Novello), a boarding house lodger who finds himself accused of being Jack the Ripper and goes on the run to prove his innocence. He directed a number of sub-part films for the remainder of his silent period; “Downhill” (1927), “Easy Virtue” (1927) and “Champagne” (1928) were all forgettable entries in the Hitchcock canon. Hitchcock displayed early technical virtuosity with his creation of subjective sound for “Blackmail” (1929), his first talkie. In this story of a woman (Joan Barry) who stabs an artist to death when he tries to seduce her, Hitchcock emphasized the young woman’s anxiety by gradually distorting all but one word – “knife” – of a neighbor’s dialogue the morning after the killing. He further expounded on the themes of sex and violence in “Murder” (1930), which featured the groundbreaking technique of recording a character’s thoughts onto the soundtrack.















Ellen von Unwerth

Todays feature is Ellen von Unwerth, I grew up looking at her work and it moved me. She was daring and took risks and it paid off. I would definitely put her down as someone that influenced my own work. (+ continues to do so)

From the moment Ellen von Unwerth picked up a camera in the mid-1980s, she has held the fashion world captive with a style that is at once elegant, evocative, and erotic. A former model, she began by snapping photos of her model friends, but soon after, von Unwerth emerged as a rising fashion star, shooting for Vogue and, by 1989, the edgy campaigns for Guess that made Claudia Schiffer a household name – an ad campaign that von Unwerth continues photographing to this day. Her riotous and seductive images have filled four books (one forthcoming) and appeared inside and on the covers of almost two decades’ worth of fashion and celebrity magazines, including Harper’s Bazaar, Interview, I-D and V. The German – born mother of one will no doubt go down in fashion history as a pioneering female photographer, but it is her almost preternatural sense of what is sexy that separates her from all the rest.

Ellen von Unwerth’s work offers a distinctly sexual and playful version of fashion and beauty photography. In addition to her career as fashion photographer, film-maker, and video director, her work has been collected in numerous books and two photo-novellas. Von Unwerth’s first book, Snaps, was published in 1994 followed by Wicked (1998), and Couples (1999). Her photo-novella Revenge was published in 2003 accompanied by exhibitions in New York, Paris, Amsterdam, and Hamburg. Her photographs have been widely exhibited internationally including in Archaeology of Elegence (2001-2), and Fashioning Fiction exhibited at MoMA/Queens in 2004.

After a decade as a fashion model, von Unwerth brought a first-hand knowledge of the kinetic energy of fashion photo shoots to the creation of her own photographs. Her sensual campaigns for Guess in the early 1990s launched von Unwerth’s commercial career, and subsequently she has created campaigns for Baccardi, Victoria’s Secret, Banana Republic, Tommy Hilfiger, H&M, Diesel, Chanel, Miu Miu, Blumarine as well as a series of publicity advertisements for HBO’s Sex and the City. Von Unwerth has also ventured into directing short films for Azzedine Alaïa and Katherine Hamnett, music videos for artists such as Duran Duran and commercials for Baccardi and Clinique.


Check out her Vimeo channel and her Facebook page

Now the best part, looking at her images:









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Into The Mind – Sherpas Cinema

Blur the lines between dream state and reality, as you perceive the world through the minds of many. Into the Mind contemplates the experiences passed between mentors and peers to paint a philosophical portrait of human kind. What drives us to overcome challenge? How do we justify risk? What forces are at the core of a mountain addiction? Unique athlete segments over a multitude of mountain sport genres depict the connectivity of Earth, and window into never seen before moments. Explore how we begin our perception of self, construct the foundations of confidence, and are ultimately led up the path of self-actualization.

As Buddha once said, “The mind is everything. What you think you become.”
Into The Mind is about becoming.

Presented by The North Face – COMING FALL 2013

Created by Sherpas Cinema –
Directors: Dave Mossop and Eric Crosland
Producer: Malcolm Sangster
Music: A Tribe Called Red – Electric Powwow (Available for free at )
Original Score by Jacob Yoffee, Sound Design: Cody Petersen