Home > Culture > Mentor Showcase > The 2006 Best-of Series: Antonino Barbagallo
The 2006 'Best Of' Series
For the second annual Best Of issue of the ASMP Bulletin, we selected twenty projects from a field of nearly sixty candidates. It was a tough decision and we thank all those who submitted their work. We hope you will enjoy reading about the projects featured in print and here on the ASMP Web site.
Still images for film project Cherry Crush
Antonino Barbagallo landed the assignment of his dreams when he was commissioned to shoot the opening sequence for the film Cherry Crush. Director Nicholas DiBella emphasized the vital role his stills would play in setting the tone for the film, then left Barbagallo alone to follow his vision.
Self-portrait of Antonino Barbagallo
All images in this article © Antonino Barbagallo
ASMP: How long have you been in business?
AB: I started my business in 1985, immediately after graduating from RIT (Rochester Institute of Technology).
ASMP: How long have you been an ASMP member?
AB: I've been an ASMP member since 1988.
ASMP: What are your photographic specialties?
AB: Advertising photography. People and still life of all kinds.
ASMP: Please summarize the equipment / processes used in this work.
AB: This body of work was shot in my studio and on location. Studio lighting consisted of Speedotron Black Line packs and heads and Dynalite's on location. The Camera used was a Hasselblad 500 series with a Leaf Optus and/or a Leaf Valeo digital back. All images were captured directly to a 17-inch Macintosh Power Book, then transferred to a Dual 2Ghz PowerPC G5 workstation for processing and manipulation.
ASMP: Please describe how you were selected for this assignment.
AB: Several photographers from outside the area were considered for this shoot. An art director familiar with my work recommended me to the production company. The Director selected me based purely on the merits of my work. He saw in my work what he had in his mind's eye. He was inspired by my sensitivity to my subjects and how my photographic style related to his character. He wanted my fingerprints all over his million-dollar film. He totally trusted his vision with my vision and that is something memorable.
ASMP: Was there an estimating process and set usage agreement for this assignment?
AB: Yes, my estimate was based on shooting days, usage, assistants, digital capture/processing, location rentals, props/wardrobe, production expenses and a stylist.
ASMP: Was exclusivity or restrictions of use discussed and if so, how was this addressed?
AB: Usage was an issue and at first a major stumbling block. The production company needed total ownership of all of the photos taken, including outtakes. I was not comfortable with this, nor was I willing to give everything up. We negotiated an agreement that gave the production company ownership of selected images only. We agreed on a predetermined fee for each photograph selected , which was in addition to the original estimate. I retained ownership of all outtakes and the right to use all of the images for self-promotion.
ASMP: What was the most important question you asked this client?
AB: Why do you want me to shoot this work?
ASMP: When you were shooting this assignment, were you shooting as if you were the character or as if you were shooting any personal assignment?
AB: I try to approach most assignments as personal work; this was certainly the case with this shoot.
ASMP: Is sequencing and image flow important to this project? Please describe your vision for this.
AB: At first it wasn't, but after seeing all of the completed photos I started seeing some of the images as a series. As a result, image flow, sequencing and merging of two different images became important. The film's director used some of the images as a high-speed sequence throughout the opening of the film, very much in the same way that I shot them. As a complete afterthought, sequencing certain images was crucial to this work.
ASMP: What was your image capture, workflow and delivery method?
AB: All images were captured with a Leaf Optus or Leaf Valeo on a Hasselblad body. We converted the RAW files to low res JPEG files for quick viewing and proofing. Once the director made his selections, we supplied high res RGB TIFF files on CD.
ASMP: Please elaborate about post-production involved in your work.
AB: Every selected image is carefully processed from RAW to 16bit RGB TIFF. At that point we determine if the image needs to be color corrected, retouched, manipulated or converted to B/W. Once complete we sharpen and convert to an 8bit TIFF file.
ASMP: Did this project involve any collaborative aspects with other members of the film or editing crew?
AB: Yes I worked a little bit with the film's set designer and with the hair and makeup stylist during the shoot. I also worked with the director and the cinematographer on the photo scenes of the film. I acted as a technical "photographic advisor" and assisted (coached) the actor in the photography scenes. In addition I assisted the director in choosing the photos for the film and the sequencing of the images.
ASMP: Have you made any changes in the way that you promote your studio/your work since you landed this assignment?
AB: Yes, I show a book that is very specific to this work and other shoots like it.
ASMP: Has this assignment led to other opportunities or given you new insights to apply to your career?
AB: Yesterday's work gives me more insight into tomorrow's work, as a result I stay interested, motivated and I grow as a photographer.
