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Somewhere, Out There<\/strong><\/p>\n When we asked Local 600 photographers to submit work for our Shooting Gallery spread, the only requirement was that the image be shot on location.\u00a0 Anywhere, anytime, anyplace, as long as it told a story about that singular time and place captured through the lens. The results were so astonishing that a winnowing down (to the 22 images contained in these pages) was fiendishly tough. The moment before young lovers kiss transforms an iconic backdrop into something fresh and magical; a stunned glance from a son to his father, as a man, stripped naked of far more than his clothes cowers in \u201cthe road\u201d behind them; a century-old Gothic prison echoes the stark melancholy of an inmate, head down, and focused on his task. Images and moments, like all the others in this spread that throb with power, mystery, joy and drama. Somewhere, out there, if you go looking, you\u2019ll find these places. But it took a photographer with a still camera to flesh them out in just a single frame.<\/strong><\/p>\n Sarah Shatz <\/strong> New York City, Halloween morning: 5th Ave. and 75th St. We spent days filming a chase sequence throughout the Upper East Side and Central Park, and on this morning, the ghost of a WWII nurse was about to shoot a scene when a group of schoolgirls tumbled out of the park at the Children’s Gate entrance. To them, the nurse could have been dressed in a Halloween costume or just another New York City sight. But to me the girls looked like they were the nurse’s charges and (except for the sneakers) could have easily appeared from the 1940s. Courtesy of Paramount Pictures<\/p>\n Ralph Nelson<\/strong> When I was a young boy, most Westerns were shot within a short drive of L.A., many of them in the San Fernando Valley. Now the wagon trails are freeways, the open ranges are filled with condos and mini-malls and most locations, like this image, taken near Kanab, Utah, are far from California. I miss Westerns and being able to drive home after work. On the other hand, I still have the same Leica. Courtesy of Ralph Nelson<\/p>\n David M. Moir <\/strong> This image was taken on 2nd Street in San Francisco. I was hired as an additional Unit Still photographer the day when there were over 1,000 extras dressed as brides. I saw that the C-camera unit was setting up on the roof of a building, so I set up next to them and captured this frame, where the early morning light seems to cast this beautiful halo over all of the brides in their gowns. Courtesy of David M. Moir<\/p>\n Myles Aronowitz<\/strong> Anyone who has shot in Times Square, especially at night, will recognize the undulating, flashing multicolored lights and the frenetic uncontrolled energy that makes this such a popular location. This was a \u201cgrab\u201d Steadicam set-up with very limited crowd control. The Steadicam\u2019s dance, the unpredictable crowds and traffic, the rapidly changing lights, and a scripted \u201cscene of desperation,\u201d all contributed to the intensity of this moment. You only completely appreciate the adrenalin rush when it\u2019s over. Courtesy of Twentieth Century Fox<\/p>\n Walter Thomson<\/strong> The film, A Guide To Recognizing Your Saints<\/em>, is the semi-autobiography of writer\/director Dito Montiel. Channing Tatum (pictured) plays Dito\u2019s real life friend, Antonio. The film was shot entirely in Astoria, Queens, where Dito and Antonio grew up. Antonio had a rough and dramatic life and I thought this image showed some of that drama and even some heroism. Courtesy of First Look Pictures<\/p>\n Lacey Terrell<\/strong> This remake of Wes Craven\u2019s 1972 classic horror feature was filmed on location in Cape Town, South Africa and surrounding areas, doubling for the Pacific Northwest. Many of the film\u2019s crucial elements are depicted here: the sign, shadowy characters, the storm. We are moving from one act to the next as the figures walk down the road and out of frame. Shooting in the rain and the dark was challenging, as me (and my blimp) were covered in Gore Tex and plastic bags.\u00a0 Rarely did any of the camera team have covering.\u00a0 As one of the South African guys told me, \u201cThis is Africa, we are cowboys!\u201d \u00a9 2009 Rogue Pictures<\/p>\n Macall Polay<\/strong> Viggo Mortensen plays \u201cThe Man,\u201d \u201cKodi Smit-McPhee portrays \u201cThe Boy\u201d and Michael K. Williams is \u201cThe Thief,\u201d in this image (taken at Lake Erie in Erie, Pennsylvania) from the film adaptation of Cormac McCarthy\u2019s novel. After learning that the Thief stole from him, The Man retaliates leaving the Thief naked and alone in the barren wasteland, knowing he will probably not survive.\u00a0 This is a defining moment, where the Boy, for the first time, disagrees with the actions of his father; a moment captured that only a still photograph can achieve. Courtesy of The Weinstein Company<\/p>\n Anne Marie Fox<\/strong> Gabourey Sidibe was featured in virtually every scene of Lee Daniels Oscar-winning movie, so I took the liberty of inviting Gabby into an empty classroom at the Harlem high school where several scenes were shot in and around the campus. This isolated image embodies both the lonesomeness and optimism of the film\u2019s protagonist. I asked Gabby to gaze into the natural light source of the setting sun and imagine happier circumstances for her character. Courtesy of Lee Daniels Entertainment<\/p>\n Susan Hanover<\/strong> White Sands, New Mexico is a photographer\u2019s dream location.\u00a0 It\u2019s all about the light, and the sun and wind absolutely dominate the senses. Working on this Columbia feature, we frequently had to shoot around sandstorms and missile tests (!), as well as having to haul our equipment through all of the natural elements. Chris Ragazzo<\/strong> The three young women sewing together for a July 4th celebration were participants in a PBS Reality Series who had agreed to live as if the year were 1867. Their house was in the middle of a 47,000 acre West Texas ranch, where not a single plane would fly over. I search for moments of quiet on set that exude authenticity. It happens when my subjects have forgotten my presence, and I’m able to see something real and beautiful that I couldn’t have composed artificially. \u00a9 2006 Educational Broadcasting Corporation\/Thirteen\/WNET New York<\/p>\n Greg Gayne<\/strong> I shot this image while working on location in Tijuana, Mexico as unit photographer for La linea<\/em>, a feature starring Andy Garcia, Ray Liotta and Esai Morales.\u00a0 Having just finished our workday filming in a little pueblo on the US\/Mexico border, I noticed several kids climbing around on this decrepit border wall.\u00a0 It was such a surreal moment, seeing these kids being so carefree on a wall that has come to symbolize so much political strife.\u00a0 The light was perfect and the children were excited to be photographed, making it both an evocative and enjoyable moment for me. Courtesy of Greg Gayne<\/p>\n Justina Mintz<\/strong> Hollywood sign, magic hour, two people on the brink of a kiss; shot in the Hollywood Hills of California, this image truly captures the anticipatory mood of this recently wrapped romantic comedy. Courtesy of Imagination Pictures & IP Random Film, LLC<\/p>\n Urusula Coyote <\/strong> This photo, The Cousins & Uncle Tio, was taken from Episode 303 on location at an abandoned chicken ranch on the outskirts of Albuquerque, New Mexico. The assassin cousins (Luis and Daniel Moncada) and Uncle Tio (Mark Margolis) are here at the Los Pollos Chicken Farm to meet with Gus (Giancarlo Esposito) to discuss the revenge murder of Walter White (Bryan Cranston). It was an honor to work on this show with its brilliant cast and crew and the cinematographic vision of Michael Slovis. Courtesy of AMC\/Sony Pictures Television<\/p>\n Stephen Vaughan<\/strong> This image, which I call \u201cPeter Weir Frames Up,\u201d was shot while filming in the Galapagos Islands. The stark harsh nature of the black lava fields contrasted with the generous, brilliant nature of (director) Peter Weir is why I like it so much. Courtesy of Twentieth Century Fox<\/p>\n Jeffery Garland<\/strong> This image was taken on a cold winter night in Cumming, Iowa, when (actors) Ray Liotta and Alexandra Breckenridge are arriving at a safe house to rest for the night. I\u2019m drawn to images that are simple but make people think: \u201cWhat is really going on?\u201d It\u2019s like a story that is forever frozen in between moments – before and after – and always left as an unresolved question. Courtesy of Ticket Out LLC and Jefferygarland.com<\/p>\n Noah Hamilton<\/strong> Don King, the water unit DP for this upcoming feature on the life of pro surfer Bethany Hamilton, films our leading actress (AnnaSophia Robb) in Hawaii duck-diving a Makaha beach wave. This undersea image captures two very talented professionals, working in an often-unpredictable environment. Courtesy of Sony Pictures Home Entertainment<\/p>\n Sam Emerson<\/strong> Thanks to the brilliant cinematography of Dion Bebe, ASC, this is just one of this film\u2019s many fabulous images. It was shot in a mud-brick room located in a small village on the outskirts of Marrakech, Morocco.\u00a0 The \u201ckey\u201d light streaming through the window had a hint of front fill on the actress. I love the softness and sense of mystery. Courtesy of New Line Cinema<\/p>\n![\"\"](\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2010shootingGALLERY\/sarahSHATZ.jpg\")
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\nGhost Town<\/em> (2009)
\nNikon D300, F 3.2, 1\/125th sec, ISO 400, 17-55 @ 20mm lens<\/p>\n<\/a><\/p>\n
\nDuel at Diablo<\/em> (1965)
\nLeica M4, 35mm f\/2 Summicron lens<\/p>\n<\/a><\/p>\n
\nThe Bachelor<\/em> (1999)
\nNikon F5, 24-70mm 2.8 zoom, Ecktachrome 200 film<\/p>\n<\/a><\/p>\n
\nDate Night<\/em> (2010)
\nNikon D300, ISO 2500, 17mm, f3.2, 1\/160sec<\/p>\n<\/a><\/p>\n
\nA Guide To Recognizing Your Saints<\/em> (2006)
\nNikon D1x, Nikkor 85mm, f1.8 lens<\/p>\n<\/a><\/p>\n
\nThe Last House on the Left <\/em>(2009)
\nNikon D300, 24-70 2.8 lens (@ 40 mm, 2.8, 1\/60th, 3200 ISO)<\/p>\n<\/a><\/p>\n
\nThe Road<\/em> (2009)
\nNikon D300, 48mm lens,1\/250 sec @ f8<\/p>\n<\/a><\/p>\n
\nPrecious<\/em> (2009)
\nNikon D200, 105mm lens @ F3.2, 1\/500 sec, 250 ISO<\/p>\n<\/a><\/p>\n
\nYear One<\/em> (2008)
\nContax T3, fixed 33mm lens, Plus-X film at a f16, negative scanned at Studio Photo<\/p>\n
\nCourtesy of Suzanne Hanover\/SMPSP<\/p>\n<\/a><\/p>\n
\nTexas Ranch House<\/em> (2006)
\nCanon EOS-10D, 1\/125 at f 5.6, focal length 35mm<\/p>\n<\/a><\/p>\n
\nLa linea<\/em> (2009
\nCanon 5D, Canon 16-35mm wide zoom set to 19mm, 1\/250 sec at f\/4.5 and minor exposure tweak in CS5.<\/p>\n<\/a><\/p>\n
\nRandom Encounters<\/em> (2010)
\nCanon 5D Mark II at 70mm, ISO 320, f\/3.2 1\/320th shutter<\/p>\n<\/a><\/p>\n
\nBreaking Bad<\/em> (2010)
\nNikon D300, Nikkor 17-55, 2.8 mm lens<\/p>\n<\/a><\/p>\n
\nMaster and Commander: The Far Side of the World<\/em> (2003)
\nHasselblad X-Pan on Tri-X, 1\/500th second @ f11, scanned and converted to a duotone<\/p>\n<\/a><\/p>\n
\nTicket Out<\/em> (2010)
\nCanon 5D MKII, 28mm lens, 1\/60sec @ F2.8, 3200 ASA<\/p>\n<\/a><\/p>\n
\nSoul Surfer<\/em> (2010)
\nCanon 1D Mark 2n, Tokina 10-17mm @ 17mm, f5.6 at 2000th sec, ISO 200<\/p>\n<\/a><\/p>\n
\nRendition<\/em> (2007)
\nCanon 1Ds MK III, 85mm f\/1.2 lens; 800 ISO at 1\/160 @ 2.2<\/p>\n