Photography, Filmmaking, and Design Explorations


Design Project: EA Effect Look Book

Some Notes on This Project

I recently finished a Look Book graphic design project for EA Effect Boutique‘s Fall/Winter 2011 line. Looks and makeup are by designers Ella Kolanowska (Pearl in Crown) and Anya Payne (Independent Flavor). The model is Julie Hoxie. Photography and graphic design by me.

The project’s first goal was to shoot Julie in looks from Ella and Anya in a single afternoon, working shot-by-shot to match varied Philadelphia environments with the feel of each look. The project’s second goal was to create a convincing, press-ready Look Book, based on the client’s selections of shoot photos. The project’s third goal was to experiment with brand development: developing and packaging a concept that credibly defines the look of the EA Effect brand.


Look Book Graphic Design Project - EA Effect - Cover


Inside Cover and Page 1

Look Book Graphic Design Project - EA Effect - Inside Cover and Page 1

Fashion Looks
EA Effect Boutique

Independent Flavor
Pearl in Crown

Julie Hoxie

Photography and Graphic Design
Will Stotler

Pages 2 and 3

Look Book Graphic Design Project - EA Effect - Pages 2 and 3

Independent Flavor

a. Grey and red hand-knitted sweater with open back

b. Jasper necklaces

c. Knitted necklace with chains and suede

d. Bracelets

e. Semi-precious stone and chiffon

EA Effect Boutique

1. Fur hat by Quarz

2. Braided scarf

Pages 4 and 5

Look Book Graphic Design Project - EA Effect - Pages 4 and 5

Independent Flavor

a. Black and grey hand-knitted oversized sweater

b. Mixed-media necklaces

c. Hand-knitted party scarf with vintage pearls

EA Effect Boutique

1. Faux fur leg warmers by Quarz

2. Fur hat by Quarz

Pages 6 and 7

Look Book Graphic Design Project - EA Effect - Pages 6 and 7

Independent Flavor

a. Hand-painted tunic

b. Necklaces

EA Effect Boutique

1. Fur scarf

2. Hand-made gloves

Pages 8 and 9

Look Book Graphic Design Project - EA Effect - Pages 8 and 9

Independent Flavor

a. Hand-knitted sweater

b. Necklaces

EA Effect Boutique

1. Fur scarf

Pages 10 and 11

Look Book Graphic Design Project - EA Effect - Pages 10 and 11

Pearl in Crown

a. Velvet, crocheted dress

b. Wooden, tassel necklace

EA Effect Boutique

1. Fur hat by Quarz

Pages 12 and 13

Look Book Graphic Design Project - EA Effect - Pages 12 and 13

Pearl in Crown

a. Hand-painted t-shirt

b. Crocheted necklace and braclet with lapis lazuli stones

Independent Flavor

1. Jeans shorts

Pages 14 and 15

Look Book Graphic Design Project - EA Effect - Pages 14 and 15

Pearl in Crown

a. Hand-painted tunic and jacket

b. Fringe pendant necklace, knitted rope

EA Effect Boutique

1. Fur hat by Quarz

2. Hand bag by Elizavieta Meskin

Pages 16 and 17

Look Book Graphic Design Project - EA Effect - Pages 16 and 17

Pearl in Crown

a. Hand-painted sweater

b. Tassel necklace & different shapes, agate with gold chain

EA Effect Boutique

1. Faux fur leg warmers by Quarz

2. Leggins by Elizavieta Meskin

Pages 18 and 19

Look Book Graphic Design Project - EA Effect - Pages 18 and 19


Pages 20 and 21

Look Book Graphic Design Project - EA Effect - Pages 20 and 21

Pages 22 and 23

Look Book Graphic Design Project - EA Effect - Pages 22 and 23

Pages 24 and 25

Look Book Graphic Design Project - EA Effect - Pages 24 and 25

Page 26 and Inside Back Cover

Look Book Graphic Design Project - EA Effect - Page 26 and Inside Back Cover


This look book’s concept and design is likely overkill for a boutique in the Philadelphia marketspace, but appropriate for a boutique in London, New York, or Los Angeles. Well, why not think big?

The project started in conversations with fashion designers Ella Kolanowska and Anya Payne. Ella and Anya own and operate the EA Effect Boutique (they are the “E” and “A” in the boutique’s name). Each designer has her own clothing and jewelry lines under the EA Effect umbrella: Ella has Pearl in Crown and Anya has Independent Flavor.

After a June meeting, Ella and Anya agreed to a city-look shoot for the EA Effect brand, provided the urban look wasn’t sleek with glass and steel and concrete. They wanted their brand to be surrounded by earthy textures, a bit of nature, and “colors.” I agreed to pull that look out of the city, which is a challenge. Ella and Anya selected the model to represent their brands’ looks: Julie Hoxie. Julie is a new model–professionally, she’s a pattern designer for the fashion industry–and a natural.

Time was very tight during the shoot in October. The original plan called for shooting eight looks from each designer–I was able to pull eight looks, total. Ella and Anya are “we know what we want when we see it” clients. This means that a range of photographic concepts had to be shot so Ella and Anya could decide on just the “right” look to represent their brands. This meant I needed to shoot between 7 to 9 “mini-sessions” per ensemble. All told, this added up to over sixty “mini-shoots” in a single afternoon. Each of the “mini-shoots” was in a different location I selected on-the-fly for color, texture, and feel to compliment the look Ella and Anya had selected for Julie. I worked with Julie in each location to get performances that could compliment both the environment and the fashion. In the end, Ella and Anya were able to pull together what they wanted based on the wide range of options they received. So, I consider this approach very successful.

Structurally, the look book uses a modified grid structure, with a vibrant tangerine color to compliment the EA Effect logotype. The mood of the book is design-forward, with a simplicity and order that compliments the organic and earthy tones/settings found in the photography. Each piece in the look book is handled as a unique item deserving of indexing and explanation–from the photography through to the design. As an aggregate, it’s clear there’s a collection here with a unified driving concept–from the ensembles through to the environment, to include Julie’s modeling performances. Eight final looks and also six EA Effect poster concepts are included, as I was thinking about this project from a fashion marketing campaign perspective.

I’d like to again thank Ella, Anya, and Julie for their work on this project. Well done–good learning experience.

–Will Stotler, December 2011

See the Full Set

See this Look Book in a slideshow.
See more in the EA Effect Fashion Shoot set.

Model Advice

  1. Good modeling happens between your ears.
  2. Who you know is significantly less important than what you do.
  3. Modeling leads to more modeling.
  4. Each shoot will be your last. (However, there will be another shoot.)
  5. Concepts require investment.
  6. Very much can be made from very little and very little can be made from very much.
  7. The perceived importance of hair, makeup, clothes, and shoes is overrated.
  8. Your feelings about a shoot shouldn’t color your evaluation of a shoot’s photographs.
  9. A photographer’s work is more important than a photographer’s name.
  10. You must work to get the best performance from the photographer.

2011’s Most Interesting 100

It’s photostream metrics time again. (See “2010’s Most Interesting 100” for more on last year’s metrics and basic analysis.)

To determine the metrics, I created a set of the 100 “most interesting” images (according to Flickr, not me) that (a) contain models and (b) were shot in 2011. “Most interesting” is what Flickr determines to be “interesting”—it has nothing to do with personal opinion—based on data Flickr has related to the how and when the photo is viewed.

Here’s some information about 2011’s Most Interesting 100.


69% of the Most Interesting 100 are from 6 sets.

This is the “short tail.” There is a clear preference to these sets over all others shot in 2011.

Amanda WhelanLeica M8 Underwater - Space WombUnderwater: Adele Anna Victoria - Action!

Molly Noelle Graham - Klimt PushKristina Paulk - Beyond Pinup


31% of 2011’s Most Interesting 100 are from 7 sets.

This is the “long tail.” Items in parenthesis “()” show the name of an “event set,” which is named after the event where the model appeared with other models. Shots containing two models were counted as unique objects.

Kae Kateri - Silver Midriff IClaire FranklinAmanda Whelan and Claire Franklin

Kelly Baker - Bikini ReposeAqua Night - Awkward? No, Fashion.Summer Night Runway - Talia Arochas

Vintage Clothing Shoot - Bella JadeDana1020Angel

Summer Night Runway - Shilea AllenUnderwater: Lynn Montone - Mermaid IISummer Night Runway - Amanda Penna

IvorySummer Night Runway - Alexandra ParkerSummer Night Runway - Meghan Quinn

Summer Night Runway - Aquasia DavisSummer Night Runway - Imani HarvinPrettyPrettyRebel's "Bang" - Sally Wong


Thoughts on Meaning

Last year I wrote:

What is considered by Flickr to be “most interesting” disagrees in many cases with my own personal photographic taste. But, “most interesting” is certainly of interest to me—at the least I should be considering the factors that make something “most interesting.” While being aware that “most interesting” is only one “opinion”—Flickr’s opinion.

I’ve been thinking about this all year as I’ve been shooting. For 2011, a little over half (53%) of the photos identified by Flickr as “interesting” are interesting as photographs. These photographs have a special handling of moment, subject, environment, light, texture, depth, and color. I classify the other half (47%) as pictures–they’re missing something and I consider them to be credible “outtakes.” Meh. So it goes.

Common characteristics in 2011’s Most Interesting 100:

  • Females
  • Caucasians and light-skinned African Americans
  • Aged 16-24; (midpoint 20)
  • Body type of hourglass or pear
  • Waist-hip ratio nearing 0.7
  • Solid-colored clothing
  • Form-fitting dresses
  • Tight jeans & tops
  • Bikinis
  • Legs/arms/stomach (or combination thereof) exposed
  • Shots including many “body points”
  • Shots with mostly blue, orange, beige, and tan tones
  • Uncluttered backgrounds

Other characteristics that were lightly represented—or did not appear at all—in 2011’s Most Interesting 100:

  • Males
  • Dark-skinned African Americans
  • Aged 24+
  • Body type of banana or apple
  • Waist-hip ratio nearing 1.0
  • Patterned clothing
  • Designer clothing (e.g., couture vs. “ready to wear”)
  • Vintage clothing
  • Shots not including as many “body points”
  • Cluttered backgrounds
  • Documentary and news-style phototography

The following characteristics from 2010 have been retired—I’m not posting black and white shots with any frequency, cluttered/uncluttered backgrounds supercede the idea of outdoor/indoor location, and I’m not shooting in “available darkness” very much.

  • Color photos
  • Shots taken out-of doors (or not in discernible studio conditions)
  • Shots in bright light (mid-day)

As always, I’d like to thank every model I shot with during 2011—without your participation, work like this wouldn’t be possible.

See 2011’s Most Interesting 100 at Flickr.

Design Project: Urban Noir

This was an experiment in developing a coherent, modern magazine design from scratch: Urban Noir magazine, Issue 1 – September 2011. The magazine features model Molly Noelle Graham (MM#2218021). Hairstyles, makeup, and talent management were by Lara Graham. Photography, graphic design, and writing were by me. Thanks, Molly & Lara!

Urban Noir Magazine, Issue 1 - Cover
Essays & Commentary

Issue One * September 2011


A Walkabout Shoot
Philadelphia, Pennsylvania

Urban Noir Magazine, Issue 1 - Pgs. 1 & 2

Film noir is often associated by American audiences with a particular look from American cinema in the 1940s. But, the look of noir has its roots in 1920s German Expressionism and selected work from 1920s German Cinema. German films from the 1920s with a strong Expressionist influence include The Cabinet of Dr. Caligari and Nosferatu, later, Metropolis and M. These films expressed their interiority through monumentalism and modernism on dreamlike, nightmarish sets. The films’ highly stylized looks—partially a result of the sets themselves but also largely due to deep lighting and disorienting framing—successfully externalized emotional intensity and nightmarish angst, lending deep exterior melodrama to their largely interior narratives. The cumulative effect is that the look of the sets is as much a character as the characters themselves. American filmmakers of 1940s film noir explicitly understood how this look enhanced narrative—a successful execution of noir’s look and feel is in the manifestation of an interior, psychological space that affects the external, visible world. How the film looks reflects a visual representation of how the director and cinematographer wanted to express the characters’ interior mindscapes. In less self-reflective work, the interplay of sets, light, and actors provided a dark, brooding mood against which the drama could play out. Urban Noir is what I want to get from street shooting. As I imagine it
continued on page 6

Caption: Model Molly Noelle Graham framed in reflected light on a granite textured background, solid and foregrounded, yet casting a distorted shadow, representative of an interior space.

Urban Noir Magazine, Issue 1 - Pgs. 3 & 4

An interplay of out-of-focus areas and selective light, plus a monochromatic color scheme, act as a counterpoint to Molly Noelle Graham’s performance, which illuminates an inner state of fragility and vulnerability.

Urban Noir Magazine, Issue 1 - Pgs. 5 & 6

and I practice it, Urban Noir is a style that draws upon elements of both German Expressionism and American Film Noir, but plays out on the street in found conditions, mise en scène, like the best street shooting. It pulls its noir influences from both look and mindscape considerations, it’s urban because of the locale and attitude. The look must include elements of monumentalism and modernism. Exploitation of directional light, shadows, and selective focus enhance the seen and also the unseen—the feeling that just out of frame a whole world is waiting, and perhaps not this one. Within the frame, a tension between the model and his or her environment is present—the model’s position interacts with the exterior spaces to reveal an interiority, something more about the mood.

From a practical standpoint, Urban Noir requires the photographer to visualize the final photographic possibilities of found spaces and light in otherwise “ordinary” street conditions. The street space must be photographed in such a way that it appears hyperreal—more real than real—or, an archetypical example of the street environment, heavily stylized through light and texture. But, the street could be anywhere in the industrialized world or nowhere at all, as on a film set. However, while the look draws from street conditions, the final photograph must draw out the interiority of the model’s performance by leveraging a sense of monumentalism and modernity from the environment. As a look, Urban Noir is characterized by a photograph visually and conceptually tied to the noir tradition, but practiced as a branch of constructed street photography.

Caption: Foregrounded, Molly Noelle Graham looks knowingly as she is embedded in a photograph that makes a conceptual nod to the golden patchwork paintings of Austrian painter Gustav Klimt.

Urban Noir Magazine, Issue 1 - Pgs. 7 & 8

Simply, a “vanishing point” refers to when parallel lines visible in the image’s foreground run deep into the image’s background, appearing to converge at a single point. As there is always perspective in an image, every image will possess a vanishing point, even if the vanishing point falls outside the frame—it’s always in play, even if invisible. A related concept is that of “leading lines.” These are strong lines visible in the image’s composition that lead the eye through the image. In the cases where a vanishing point is visible, the leading lines often shoot through the image to converge
continued on page 9

Caption: The grid behind Molly Noelle Graham, coupled with an akimbo stance, short shadow, and leading, leaning lines, reveals an inner syncopation.

Caption: Pools of light reflected like dappled projections onto the gridded wall illuminate Molly Noelle Graham with a sense of mystery, the image’s vanishing point hidden out of frame and out of focus, the psychology of the model exposed as quiet confidence and interior poise.

Urban Noir Magazine, Issue 1 - Pgs. 9 & 10

in this single point. When the vanishing point is out-of-frame, often leading lines are still moving to the vanishing point, but they function in a two-dimensional fashion, flattening the image.

In many 1920s German Expressionist films—and later film noir works—the sets were manufactured with a strongly forced perspective, intentionally compressed to suggest paranoia, claustrophobia, and a heightened unreality. The compressed sets with their clearly artificial leading lines—and camera angles to accentuate the compression—were a staple of the look and genre.

I cannot build dramatic, forced-perspective sets in the city, but I can force the city into a dramatic perspective to frame my subject. If done correctly, the work accentuates and reveals architects’ unseen compositional grids that define the surface of the architecture—the unique fingerprint of the engineered, mathematical grid that each building possesses.

Through perspective, the photographs reveal the linear grids flowing through the architecture
continued on page 11

Caption: The vanishing point is behind Molly Noelle Graham: a semi-opaque reflected sky, revealing an opaque vision or dream behind the model, is sublimated.

Caption: Strong leading lines in the architecture—the wall and the skyscrapers—reveal and paint a grid that lead to Molly Noelle Graham, revealing a state of mind that is one half manufactured and gridded and one half featureless, smooth, waiting for the future that is unwritten—with an underlying, hidden rhythm.

Urban Noir Magazine, Issue 1 - Pgs. 11 & 12

and the overall composition—bringing strength and monumentalism into the frame. Planes and angles are always visible to the viewer but are often taken for granted. With Urban Noir, they are made visible, present, solid, real. In film noir style, the architecture can be made deeper, larger, and looming. Or, shallow and flat, depending on the psychological feel within the envisioned photograph. Successfully shot, the vanishing point and leading lines combine during the process of making the architecture and scene dramatic in a way that evokes a companion mood to the model’s performance, exteriorizing the interior landscape.

Urban Noir depends on the vanishing point—as much of noir does—to reveal a hidden urban landscape of grids and structures that wrap the model as much as his or her fashions, skin, and interior landscape.

Caption: A vanishing point out of frame, a plane pulling back and away from Molly Noelle Graham, the city is absent yet present in the shadows and painted light, motion delayed.

Caption: Framed in perspective, with shadows, concrete, and brick gridding the background, in full light but with the environment casting its own shadows, Molly Noelle Graham reveals a quiet waiting.

Urban Noir Magazine, Issue 1 - Pgs. 13 & 14

In practice, textures and objects that create texture within the frame—and especially how those textures react to light—are a critical component of the street feel of Urban Noir. Without the textures of the city to anchor the look, the urban focus evaporates. A striking contrast—or striking harmony—is achieved when the model is framed against an appropriate, evocative surface, in a pool of light or, if the light is flat, with the surface’s texture or color.

The urban is necessarily defined by its textures: manufactured surfaces including steel, aluminum, iron, brass, stucco, concrete, cinder block, asphalt, travertine, marble, tile, glass, brick, and wood. These are punctuated by water and sky. Additionally, the level of decay, weathering, and moisture of any surface grants it a character, from grimy to pristine.

Caption: A rusted, double chain-link fence pulls Molly Noelle Graham forward, supported by the grit and hardness of asphalt, mirroring a hardness of character.

Caption: Shored up by rough cinder blocks and supported by cracked, stony concrete, Molly Noelle Graham’s silent defiance is framed.

Urban Noir Magazine, Issue 1 - Pgs 15 & 16

TOUCH & FEEL (cont.)
Caption: Symmetrical cinder block patterns and weathered, asymmetrical wood planting boxes punctuating the rough, grey surface, reveal the stolid beauty of Molly Noelle Graham’s muted performance.

Urban Noir Magazine, Issue 1 - Pgs. 17 & 18

TOUCH & FEEL (cont.)
Not all surfaces are created equal—some can be leveraged to imbue the image with an appropriate Urban Noir feel, others not.

A staple of film noir is the use of large areas of shadow, concealing details while revealing others for a combined melodramatic and psychological impact. Textures are secondary in film noir, yet vital, as they catch or reflect the light to add depth or suggest a mood. Urban Noir reveals the model’s inner psychology partly through texture—glass and concrete for a hard, cold edge, asphalt and wood for a more organic, natural feel—yet still urban.

As a final point about the touch and feel of an Urban Noir photograph it is worth saying that in the absence of black and white film grain, the muted colors of the city, projected through their textures, surround and add to the model’s inner world as revealed in the image.

Caption: Thoughtful and posed before brilliantly reflective aluminum, strikingly positioned on stained white-painted concrete, or framed on golden stucco, Molly Noelle Graham’s inner states of mind are exposed through the touch and feel of her environment—from reflective to absorptive.

Urban Noir Magazine, Issue 1 - Pgs 19 & 20

TOUCH & FEEL (cont.)
Caption: Weathered painted wood, rusted iron bars, a hint of concrete sidewalk—Molly Noelle Graham’s introspective mood is communicated through supporting textures.

They say that over time a photographer develops a style to his or her work that makes it recognizably his or hers. I’d been thinking for some time about what, exactly, my style of shooting is and how it works. With the development of this piece I think I’ve finally “found” mine: Urban Noir.

From a satisfaction point of view, it was pleasing to pull this magazine together. However, the writing was painful. The design itself, equally so. Several weeks of on-again, off-again work were required to work through the look, imagine how it should be, and try different approaches. While the end result is über-clean, it was painful to get the simple, uncluttered, content-focused clarity I wanted to draw from the photographs—without it being boring.

For the gearheads, the Müller-Brockmann grid underlying this piece’s elements was pulled from my PrettyPrettyRebel grid design, but adapted to full page spreads. The page lighting effects were tweaked further and surfaces refined. I’m finally satisfied with the look of the lighting. Typography was a challenge, and I kept it spare and strong with Twentieth Century, which was originally developed as a direct competitor to Futura. (To me, the geometric Futura promises a clean, bold future that never came to pass.) As always, development of all photos was in Aperture and layout was accomplished with InDesign.

Thanks are due to Molly Noelle Graham for her modeling talent, patience, and willingness to slog around Philadelphia and experiment until we could get each shot just right. Thanks are also due to Lara Graham, who provided dedication and time to enable the shoot for Molly. Without the day-of work (and later editorial input on photos) this final piece would not have been possible. Thanks Molly and Lara!

—Will Stotler, September 2011

See the full set here

Noir Photo Published on Novel Cover

One of the noir photos I took of Erin Peterson at the Shooting Noir event was selected by UK designer Jason Gabbert for use in his cover treatment of the novel The Benevent Treasure.

See more about the novel on iTunes, Amazon, Sony Reader Store, or at Barnes & Noble.

Jason, a professional book-cover designer, spotted my photo on Flickr while seeking noir images that could be incorporated into book covers for a re-release of mystery writer Patricia Wentworth‘s Miss Silver series. Here’s the photo he spotted:

Film Noir - Erin Peterson

Jason then contacted me on behalf of his employer and offered a small fee for use of the image as he felt it would serve his cover design needs.

I reviewed his portfolio of work. Based on its quality, I coordinated with model Erin Peterson and then provided Jason with the needed paperwork/agreement to use the cover for the novel.

The result of his work is below, reproduced with permission by Jason Gabbert (book cover designer) / Open Road Media (publisher).

A little backstory: This photo was always one of my favorite lighting shots from the Noir shoot, even if it wasn’t popular. . . . I had been experimenting with how to properly light Erin to get a good noir look and noticed her hat. Normally, hats are problematic because they block light. However, the hat she was wearing was large and semi-translucent, with a mesh gauze.

I asked to examine the hat. Erin was slightly perplexed when I took it, turned it over in my hands, and held it up to the light, eyeballing it carefully. After I inspected it, I decided to light her face primarily through the hat, with a bit of fill light added from the side.

This effect produced the extraordinary shadows on her face, especially the biting look/texture that consumed her left eye (and that I love).

Thanks are due to Erin Peterson (MM#1458115) for modeling, Heather H (MM#1281783) for the makeup, Albert Heefner and Joe Burke for hosting the Noir meetup event, and to Jason Gabbert, for selecting the photo for use.

Cheers! Will

Design Project: Vintage Pin-Up

Photos from a vintage clothing and cars shoot, July 2011, near Philadelphia, Pennsylvania. (See the full set of photos.)

The goal was to get a convincing pin-up look so that photos could be used in a vintage graphic design project.

I examined pin-up samples from the late 1940s through the early 1960s to get a feel for what they were and how they were used. Many of them incorporated a calendar. I decided that I’d make this project a “perpetual July” and shift the years–as a month-by-month calendar style was impossible.

Vintage Magazine Spread Design Project - Cover


Model is Molly Graham.

JULY 2011


Molly Graham—1947 & 1957
Nicole Patrick—1951
Dannie O.—1952 & 1959
Bella Jade—1952
Jennie Cupcakes—1953
Christina Shaw—1955
Ashley Jensen—1955
Meredith Kimberley—2011

Kristina Paulk

Albert Heefner

Will Stotler

Model is Molly Graham.


Vintage sailor top and Navy skirt provided courtesy of Astro Vintage, Philadelphia. Photo above shot with a 1953 Leitz 5cm f/3.5 lens. Photo left and next page shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter. Both lenses were mounted on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 2 & 3

Vintage Magazine Spread Design Project - Pgs. 4 & 5

NICOLE PATRICK (MM#1952102) – 1951

Vintage pink plaid dress provided courtesy of Astro Vintage, Philadelphia. Photo above, left, and next page shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter, mounted on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 6 & 7

Vintage Magazine Spread Design Project - Pgs. 8 & 9

DANNIE O. (MM#877400) – 1952

Vintage front-pleat Capris with red trim provided courtesy of Astro Vintage, Philadelphia. Red top from collection of the model. Photo above and next page shot with a 1953 Leitz 5cm f/3.5 lens. Photo left shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter. Both lenses were mounted on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 10 & 11

Vintage Magazine Spread Design Project - Pgs. 12 & 13

BELLA JADE (MM#2104292) – 1952

Photo left, above, and next page shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 14 & 15

Vintage Magazine Spread Design Project - Pgs. 16 & 17

JENNIE CUPCAKES (MM#2266581) – 1953

Reproduction Rockabilly dress courtesy of Vintage Beauty Clothing. Photo left and next page shot with a Leica Super-Elmar-M 18mm f/3.8 lens. Photo above shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter. Both lenses were mounted on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 18 & 19

Vintage Magazine Spread Design Project - Pgs. 20 & 21


Vintage mint green ruffle dress provided courtesy of Astro Vintage, Philadelphia. Photo above and left shot with a 1953 Leitz 5cm f/3.5 lens. Photo next page shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter. Both lenses were mounted on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 22 & 23

Vintage Magazine Spread Design Project - Pgs. 24 & 25

ASHLEY JENSEN (MM#1521232) – 1955

Vintage two-piece pink playsuit appears courtesy of Lauren Homer. Photo above shot with a 1953 Leitz 5cm f/3.5 lens. Photo left and next page shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter. Both lenses were mounted on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 26 & 27

Vintage Magazine Spread Design Project - Pgs. 28 & 29


Reproduction Monique Dress in Carnival Print from Heartbreaker Fashion. Photo left and above shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter. Photo next page shot with a 1953 Leitz 5cm f/3.5 lens. Lenses were mounted on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 30 & 31

Vintage Magazine Spread Design Project - Pgs. 32 & 33

DANNIE O. (MM#877400) – 1959

Vintage Kamehameha bathing suit appears courtesy of Astro Vintage, Philadelphia. Photo above shot with a 1953 Leitz 5cm f/3.5 lens. Photo left and next page shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter. Both lenses were mounted on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 34 & 35

Vintage Magazine Spread Design Project - Pgs. 36 & 37


Two-piece bikini supplied by the model. Harley Davidson motorcycle and shirt provided courtesy of the Aces & Eights Car Club. Photos shot with a Cosina-Voigtländer Nokton 35mm lens at f/1.2 with a 6-stop ND filter on a Leica M8.

Vintage Magazine Spread Design Project - Pgs. 38 & 39

Vintage Magazine Spread Design Project - Pgs. 40 & 41


Vintage Magazine Spread Design Project - Pgs. 42 & 43

So what was the brief on this project? Shoot vintage clothing and shoot pin-up.

I examined pin-up samples from the late 1940s through the early 1960s to get a feel for what they were and how they were used. Many of them incorporated a calendar. I decided that I’d make this project a “perpetual July” and shift the years–as a month-by-month calendar style was impossible.

I shot at the event over the span of seven hours. The heat was intense and the venue was very tricky–it didn’t have the authentic flavor I wanted to get into the photos. However, I did find a way to make the project go–models plus vintage clothing plus some creative shooting and design work give this piece the proper, authentic flavor.

If you know me, you know I love tagging objects–nailing down information and details about things that appear in my photographs.

Here’s where I share that vintage clothing doesn’t reveal its secrets. For most vintage pieces, a rough date can be ascertained (thanks, Kristina), but tags are either missing or unreadable, making a full and careful catalog of the clothing impossible. Attribution is listed where it is known.

Of note, some of these photos were shot with a 1953 Leitz Elmar f/3.5 5cm lens. Others were shot with a Cosina-Voigtländer f/1.2 35mm Nokton. All were shot on the M8.

Photos were processed slightly yellow and very saturated. Then, copies were made and received a black-and-white treatment using TrueGrain and Panatomic-X grain. Layout and careful compositing was completed via InDesign, using a custom-made Müller-Brockmann grid, which I designed to be based on LOOK magazine dimensions, content ratios, and typography. This is likely the last time this grid and layout will be used.

The single most difficult challenge of this project was creating the custom calendars. Each calendar had to be laid out digit-by-digit, have its typography selected (period-authentic), and then be constructed. It was a lot of work.

It was fun selecting period-authentic typography for use throughout the project–the research on what to use was tricky, but in the end the look is there. In some places better than others. Of note, typographic design from these time periods is often “bland” and workmanlike. I attribute this largely to the print shop being responsible for the typesetting and using pre-made blanks.

Credit is due: I’d like to thank Albert Heefner for organizing this event and also Kristina Paulk for curating and managing the vintage wardrobe on set. Also, I’d like to thank each model that worked with me during the long day–without your work, these spreads wouldn’t have been possible. Most vintage clothing was provided by the Astro Vintage Boutique in Philadelphia, Pennsylvania. Thank you. The Aces & Eights classic car club brought vintage automobiles and the Nifty Fifty’s Diner was the venue–they also deserve a shout.

Again, thanks to all participants.

–Will Stotler, August 2011

See the full set of photos.

Design Project: Dive

Design Project: Dive

Magazine spread graphic design project. Uses photos I shot while shooting the Leica M8 underwater with model Meredith Kimberly (MM#96286). Thanks, Meredith. (See the full set of photos.)

My design goal was to contextualize the underwater shoot and bring some meaning to the images via brief text and captioning. It was another opportunity to use the Müller-Brockman grid, while seeking a clean, modern look.

Design Project: Underwater Magazine Spread - Cover


An Underwater Photoshoot
June 2011


Photos, Writing,
& Design

Design Project: Underwater Magazine Spread - pgs. 2 & 3


The weightlessness of the underwater environment encourages photographs like this–free floating, as if in deepest space. Surrounded, for a moment, by blue void and tranquility. Unbroken silence. For a moment.

Design Project: Underwater Magazine Spread - pgs. 4 & 5


A push through the water–leaving a trail of bubbles and churn, captured as glistening spheres, a cloud of motion-that-was. Up is down and down is up, the light playing on every trail left behind.

Design Project: Underwater Magazine Spread - pgs. 6 & 7


The water’s surface, seen from beneath, is a mirror, trapping and reflecting light. Tilted, and working the angles, the surface becomes a wall of liquid, suspended in space before a traveler: a gateway to another world.

Design Project: Underwater Magazine Spread - pgs. 8 & 9


Captured breath, rising, and otherworldly hair playing in the void are the only hints of which way is up. Slow motion, frozen in time.


My interest in underwater shooting began near the end of the Summer of 2010: It started with a thread I wrote on the Leica User Forum asking if there were any way to shoot the M8 underwater–apart from spending eight thousand dollars on a custom-made housing, of which (I learned later) only 12 were made.

Comments ranged from “why would you want to use an M8 for that?” through to a few snide drive-bys. Apparently, it hadn’t been done.

Within a week or two, I acquired an EWA Marine U-F housing, which includes a built-in glove for focusing and adjusting camera settings. The housing is an industrial-grade plastic bag with a glass porthole in the front, rated to a depth of 33 feet. The M8 drops into the housing.

While running a few underwater tests, I discovered that the rangefinder (used to focus the camera) didn’t work in the bag. Framing was troublesome: The glass porthole and lens adaptor blocked about 60% of the viewfinder, which was troublesome to use underwater anyway because of distortion.

But, I got some interesting shots over a few days, the possibilities seemed bright, and we closed the pool for the season.

Enter early summer 2011 and model Meredith Kimberly. I had the pleasure of shooting very briefly with Meredith in February–but I’d seen her work. She had grit and, being trained for theatre, sweeping moves. So, I invited her to shoot underwater with the comment: “The shooting goal? Succeed.”

This set of underwater photos with Meredith is the two of us working with the medium: she explored weightlessness, fluidity, and the freedom to pose without regard to an “up” or a “down.”

The work itself was very tricky.

Light: Light was at a premium (we were shooting at night). I encountered the troublesome tradeoff of speed (usually 1/180th of a second) versus depth of field.

Depth of Field: These photos were all shot at f/2, which at a medium distance provides a foot-or-so of perceived “sharp enough.” But it’s not a lot to work with when you and the model are both drifting. Focusing was accomplished by measuring distance from camera to subject, prior to submerging, by 3.5 foot, 7 foot, and 15 foot pieces of string. Like this: Submerge and don’t shift distance forward or back. Additional light was added in some of the shots by free-handing a very strong diver’s light. This had mixed results. But I haven’t played with it enough yet. I have ideas.

Framing: Ah, framing. When 60% of your rangefinder is blocked there’s a lot of guessing about where your subject is. Especially when your subject is moving. Not to mention that the distortion renders a clear view troublesome, at best. (I’ve since worked out the framing problem by not using the included lens adaptors provided for the U-F housing–I have an acceptable 10% blockage now.)

I can’t stress enough that Meredith was an excellent sport and very collaborative when working to get a good performance. Repeated submerging. Treading water. (And not very warm water, at that.) Me: “I didn’t get it. Let’s do it again.” Meredith: “OK!” Thanks much!

As a parting shot, several folks online told me: “You’re doing this the hard way.”

Yes. I am doing this the hard way. Because doing things “the hard way” builds skills while leading to new ways of working and, often, new and interesting results.

–Will Stotler, July 2011

See the full set of photos.