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This is from 1992, one of my first successful Photoshop pieces, although it's not like anyone wanted to exhibit it or anything. But for its time, it kicked ass. It took days to create, there was no such thing as layers, big operations took several minutes, and I had to guess at any feathering. When I went to open it in CS4 it launched Illustrator instead because the suffix was still ".ps".

I have a 30x40 Iris from Jon Cone in a dark box the basement. It hasn't faded yet.

I added the black framelines today. I need to know where my boundaries are, I am not good at staying within the lines.

LOL I think these were from a one-legger guy who I saw skiing. (larger)

Ah yes, pay $55 and wait in line. (larger)

Today features a foot of wet, ungroomed snow over ice. (larger)

Mancuso not Vonn (larger)

This is very "Eastern". Brrr.... (larger)

Liftlines aren't as much fun -- in the stretch pant days I used to holler for a cute single and a lot of the time a pretty girl would magically emerge from the line and ride up with me. With her Dad. (larger)

Way way back in the day I worked in the ski industry for about five years, as a ski coach and instructor, as well as a janitor, handyman, maid, ski shop monkey, busboy (one-night), chair lift builder, snow-maker (one night), and dog walker. I skied Summers at Mt. Hood and was ranked 174th in Giant Slalom at the zenith of my career. I coached the University of Oregon ski team (who were mostly SoCal Valley cokeheads w Porsches -- try managing that) and have broken half a dozen bones in my feet. I lived in my truck, I know Alta like a lover, and I did two damp, icy winters at Sugarloaf. It was fun.

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These are all digital shots, done in dim, natural light with the camera set at a high ISO. There's a little blur but overall I'm happy with the results, especially considering that I did hardly any retouching. Lately I've (only) been using a Nikon D300 with the "normal" 35mm AFS lens (equivalent to a 50mm lens on a traditional 35mm film camera) and it feels "just right" to me. It's heavy and solid and it focuses and meters faster and more accurately than the lighter consumer-level bodies I've used off-and-on for years. Plus you can buy two of them for the price of a D700 and still get professional quality results (albeit with more noise than the more expensive camera but even the noise looks good to my eye after shooting and scanning a lot 35mm film). The newer-style lens is quiet, which makes all the difference when you're shooting close, intimate photos -- a big improvement over the older screw-drive auto-focus lenses. And to me, at least, the results look like scanned film, with plenty of highlight separation.

This one is sharper but she was laying down so at least she wasn't moving.... Shannon is my dearest friend and an exceptional (ex)model (although I doubt she'd turn down a decent and paid modeling job).

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Of course I will still shoot film -- my Father-in-law's 60-year-old Kodak Medalist II 6x9 camera is sitting on my desk, next to a pile of respooled 620 film -- but it is great to find a solution that literally outperforms the Leicas (which I love) in lower light and when time is of the essence.

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Perhaps it is telling of my "affection" for Upstate New York that I can go to Los Angeles and really enjoy it, in spite of the smog, traffic, and ever-present threats of earthquakes, gang warfare, and mudslides... We all know that the apocalypse will start in LA and future archaeologists will find our remains in the La Brea Tar Pits, but in the meantime I just want to make pictures of all the pretty people. And wish I was a surfer.

In other Frank news, I have shot a few portrait-based corporate-ad jobs lately, smaller collateral stuff, but people are starting to recognize that if they need a portrait that conveys a sense of grace and familiarity (even of a male subject!) then I'm a good choice. What has been difficult is to simply break through and to get my work "out there", so I appreciate your leads and referrals as always. It would be nice to have next year's taxes be even more gouging ;-)

Blurb printed a 12-inch square portfolio book for me, it costs about $130 delivered so I don't expect to get any outside sales, and frankly, while this version is tightly edited and flows well, the reproduction looks worse than their smaller books. They lay down a lot of ink so it's a book to look at under bright lights... the color is rather cold (this is all black-and-white work) but at least they have gotten their process very consistent -- finally. All-in-all it is a useful portfolio book, easy to send out to potential clients. But frankly, picking up one of my old-school padded leather portfolios, with 60 carefully printed 11x14 inkjet prints, is a lot more satisfying, even if the beast weighs nearly 30 pounds!

While in LA we stopped into the Taschen store off Rodeo Drive. True, some of their titles are stupid and creepy ("The Big Breast Book", "The Big Penis Book") in that uniquely German way.... But when I look through their giant Helmut Newton Sumo volume I am always blown away. Here was a guy doing it all, with good humor and a lot of soul, back when I was in grade school. He worked simply (i.e. little camera and normal lens) but he knew his stuff.... they have another book called Paris 1962 that shows photos of a young Helmut cranking his Rolleiflex along with the likes of Avendon and Penn, it's a really great documentary-photojournalistic book.

Sometimes it can be disheartening to see someone who does it so much better than yourself, like Helmut, even though he should be an inspiring example. But then I tell myself that the SOB did it even better than everyone else -- not just me -- and that if I just keep plugging away I'll get there too.

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A friend just wrote: "Shannon is such a great model for you Frank, she seems to epitomize that quality balance between strong, forthright femininity and human frailty."

Thank you both!