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And the result? “Sculptor With a Scalpel.” Plastic Surgeon Dr. Garth Fisher for Vanity Fair.
The first time I photographed Dr. Fisher was in 2005 for the 2006 Vanity Fair Hollywood Issue, creatively directed that year by Tom Ford. The Fisher shoot was one of two shoots we tackled that day; in the afternoon we photographed actor Peter Sarsgaard exquisitely tied up by a bondage expert. But I digress.
In 2005, Ford was inspired by a scene from Woody Allen’s “Sleeper.” Brilliant set designer @jamiedeanstudio had a 20’ inflatable breast made that we situated on a golf course next to Fisher who is holding a putter, about to sink an easy 3-footer.
Earlier this year the new Vanity Fair Editor in Chief, Mark Guiducci, wanted to revisit Fisher’s story and assigned Eve Peyser to write about how Fisher has “made an art of his medicine.” Guiducci assigned me to come up with another visual take on Fisher and his work…20 years later.
Inspired by Jean Baptiste Mondinon’s “Man Looking at the Origin of the World,” I wanted to place Fisher in a gallery, holding a scalpel, contemplating an oversized work of art. Note: Over the course of his career, Fisher has performed 23,000 breast augmentations.
Picture research led me to “Beauty Revealed,” an 1828 miniature (2.6 by 3.1 inches) self-portrait by the American artist Sarah Goodridge, depicting only her bared breasts. The painting was a gift to U.S. Senator Daniel Webster (Goodridge was rumored to have been Webster’s mistress during his first widowerhood).
Although Webster married someone else, his family held onto the portrait until 1981, when it was auctioned at Christie’s. In 2006, the painting was acquired by the Met and it is in the public domain.
Thank yous:
@andrea_k_s who found us a fantastic space: @wyp_studios and to the crew…@evanmulling, @carolinebrodt and @evlasic.
Vanity Fair Global Creative Director @jenpastore, Visuals Director @catesturgess and Senior Visuals Editor @gotglitter, who shepherded the shoot from start to finish.
Groomer @helenrobertsonhmu and wardrobe stylist @vshokrian.
Postproduction white witch @angiemariehayes. @vanityfair @guiducci @garthfishermd @evepeyser
19 Oct 2026
This is a long story. And a lot of history. And herstory.
Back in 2005 I photographed plastic surgeon Dr. Garth Fisher for the Vanity Fair Hollywood Issue, creatively directed that year by Tom Ford. The Fisher shoot was one of two shoots we tackled that day with Tom for the VFHI.
In 1828, artist Sarah Goodridge made a miniature painting of her breasts, titled “Beauty Revealed,” and gave the painting to Daniel Webster, a United States Senator from Massachusetts. Goodridge was rumored to have been Webster’s mistress during his first widowerhood.
Yes…there is a connection between these two seemingly unconnected events.
Earlier this year the new Vanity Fair Editor in Chief, Mark Guiducci, wanted to revisit Fisher’s story and assigned Eve Peyser to write about how Fisher has “made an art of his medicine,” and he assigned me to come up with another visual take on Fisher and his work…20 years later.
Not having read the article, my instinct was to illustrate that Fisher is an “artist.”
I wanted to put him in a sculptor’s studio with a chisel and a work-in-progress marble sculpture of a woman’s torso…and then…brilliant picture researcher @evanmulling found Jean Baptiste Mondinon’s “Man Looking at the Origin of the World” and it hit me to place Fisher in a gallery, holding a scalpel, standing in front of an oversized fine art rendering of a woman’s chest.
We kept the shoot small, fast and efficient. @andrea_k_s found us a fantastic space: @wyp_studios, which had the depth and the wall size to create a museum feeling.
Using all @profoto strobes, @evanulling and @carolinebrodt focused a small, gridded @elinchrom_ltd octobank on Fisher, aimed a snoot at the scalpel in his right hand and bounced a bare head into the wall / ceiling behind him to give the allusion of a skylight.
Then we shot plates of a red frame on the wall for a highlight reference and shot plates of the wall, creating a rectangle of light to give the appearance that a painting was hanging behind Fisher.
In post, the brilliant @angiemariehayes “hung” Sarah Goodridge’s painting on the wall.
@vanityfair @guiducci @garthfishermd @evepeyser
19 Oct 2026
And the result? Keri & Rufus & Allison & Bradley, our homage to the 1969 movie poster for “Bob & Carol & Ted & Alice” for the cover of Issue #23 of TUDUM Magazine. Never heard of TUDUM? Read the previous post!
So many things to cover here…so many people to shout out.
Photographed at the infamous Bungalow 3 at the iconic, historic @chateaumarmont hotel…approaching its 100th birthday in 2029. Look it up.
Window light mimicked by @profoto 7” reflectors through sheers and silks, with a little fill in the room where needed (see previous post).
Horizontals photographed on the Canon EOS R5 Mark II. Verticals photographed on the Fuji GFX100 II.
@netflixtudum
Thank you to @chateaumarmont event manager @sophiagraziellasignorelli.
Thank you to set designer @photobuffalo and his partner in crime @addbacon (not their real names).
Thank you to @RowanProductions; EP Ruby Birns and PC Trecia Hopson.
Thank you so much to @angiemariehayes for, AS ALWAYS, exceptional post-production white witchery.
Thank you so, so much to Tudum Editorial Manager @zuckmuck and Sr. Director, Head of Publishing @kristasmith and Senior Manager, Original Series Publicity @raelynnmurillo.
Thank you so, so, SO much to #kerirussell, @allisonbjanney, @rufus_sewell and @bradleywhitford…all of whom were such wonderful and willing subjects.
Thank you to stylist @vshokrian, men’s groomer @kimverbeck, KR Glam Squad @anthonycampbellhair and @tina_turnbow, and AJ Glam Squad @andylecompte, @brenrobertsonbeauty and @taraswennen.
Could not have done it without the photo crew, in order of height, @leemorganphoto, @evanmulling, @kristineilsom and intern @estudisolorzano.co!
Thank you to (also quite tall) digital tech @evlasic and gear providers @screamingbroccoli. @edconleyiii? Not that tall. @declant? Probably 6’.
“The Diplomat” Season 4, debuts on Netflix on October 15th. Don’t miss it.
And don’t miss the Easter eggs!
12 Oct 2026
When there’s not enough daylight, you gotta create your own! This is the making of our cover shoot with the cast of “The Diplomatt” for TUDUM Magazine, Issue 23.
TUDUM? Indeed. TUDUM is Netflix’s official print and digital publication—formerly known as Queue—that gives readers behind-the-scenes access, interviews, and original photography from Netflix films and series.
Way back in January we gathered at Bungalow 3 at the historic Chateau Marmont Hotel to answer the question, what if the cast of “The Diplomat” had a (completely innocent) sleepover?
@zuckmuck, the editorial manager at TUDUM, was Inspired by the provocative movie poster for “Bob & Carol & Ted & Alice,” the 1969 film by Paul Mazursky. So, we endeavored to get #kerirussell, @allisonbjanney, @rufus_sewell and @bradleywhitford OVER the covers for the cover shot, into the VERY tiny kitchen for the opener and scattered throughout the bungalow for individual portraits!
There are windows along one side of the entire bungalow, so our fab crew of @evanmulling, @leemorganphoto, @kristineilson & intern @estudisolorzano.co, built a single @profoto 7” reflector covered with a ½ CTStraw gel to shoot through the sheers in the bedroom and three more of the same to light the living room & kitchen, (where there weren’t drapes and sheers), and added a silk to the windows to soften the output of the reflectors. The white stucco overhang above the patio also helped diffuse the light.
In the bedroom, we added an @chimera_lighting medium strip to fill in the sidey “window” light. In the kitchen we added another 7” reflector over the camera, bounced into the ceiling as fill. With the individual portrait of Keri Russell, we popped an @profoto B1 into the wall behind the camera! With the individual portrait of @bradleywhitford, we put up a medium photek umbrella out the window of the bathroom across the hall.
The hall? Barely wide enough for @evlasic and his digital cart!
Who’s the handsome young man hanging out next to the creepy white van? That’s LA photo legend @edconleyiii, one of the founders of @screamingbroccoli, our go-to gear rental establishment in Southern California.
@netflixtudum
12 Oct 2026
And the result? Larry David and Barack Obama for HBO!
Larry David and Barak Obama? Indeed. It’s an unlikely friendship and, as it turns out, a brilliant partnership!
This past July, a seven-part sketch comedy show launched on HBO called “Life, Larry and The Pursuit of Unhappiness,” starring Larry David and produced by Higher Ground Productions, founded back in 2018 by former President Barack Obama and former First Lady Michelle Obama.
Last December, my team and I were hired by the fabulous folks at HBO to capture publicity imagery of Larry and The President, for distribution in advance of the debut of the show.
Back in December of last year, we set up shot at @lanorthstudios, building a classic grey seamless set on a soundstage right next to the oval office set being used for the final episode of the show.
These are the four images, two from the seamless set up and two from the oval office that were released by HBO!
On seamless: ISO 400 / 1/200th @ F11 on the Canon EOS R5 with the RF24-70mm F2.8 L IS USM.
In the Oval: ISO 1600 / 1/125th @ F5.6 on the Canon EOS R5 with the RF15-35mm L IS USM.
Incredible Photo Crew: @evanmulling @paoloalfante @samanassefi and intern @estudiosolorzano.co
Amazing Digital Tech: @evlasic
BadAss production team: @lizlangproduction @annalisebandel
Thank you to our wonderful HBO Clients: @danaflax @ashleydReyes518 @erindee
Enormous thank yous to @barackobama & #larrydavid & Showrunner @ebolajeff
Shot on location @lanorthstudios.
Gear provided by @screamingbroccoli.
@hbo @hbomax #lifelarryamerica @barackobama #larrydavid @theseinfeldaddict
09 Sep 2026
This past July, a seven-part sketch comedy show launched on HBO called “Life, Larry and The Pursuit of Unhappiness,” starring Larry David and produced by Higher Ground Productions, founded back in 2018 by former President Barack Obama and former First Lady Michelle Obama.
My team and I were hired by the fabulous folks at HBO to capture publicity imagery of Larry and The President, for distribution in advance of the debut of the show.
Back in December of last year, we set up shot at @lanorthstudios, building a classic grey seamless set on a soundstage right next to the oval office set being used for the final episode of the show.
On the “seamless” set, our top-notch crew, @evanmulling, @paoloalfante, @samanassefi, intern @estudiosolorzano.co and digital tech @evlasic, loaded in the gear from @screamingbroccoli , built a 12x20 day grey muslin, laid out the steel deck (covered with grey seamless paper) and flew an @elinchrom_ltd baffled octobank as the main and another unbaffled octobank as the fill, containing @profoto strobe heads.
In the Oval Office, we worked with the show’s crew to set the max light levels for the exterior lights (the lights outside the windows), had them turn off or “save” the interior lights (the lights inside the oval office), except for the three softboxes that pushed the back light / window light into the room.
We dragged in that “ambient” light from the show and were able to shoot at ISO 1600 / 1/125th @ F5.6. We used an @elinchrom_ltd baffled octobank as our only source, w/ a 40-degree grid from the brilliant folks at @lighttools. Game changer.
On the shoot day, Larry and the President were in the middle of shooting the only sketch in which the President appeared, so our time with them was limited; 5 minutes on the seamless for four set ups, 5 minutes in each of three locations in the oval office. Twenty minutes total.
We dress rehearsed our movements in the oval so that we knew exactly where the light was going to go as we moved from set up to set up, which allowed me to concentrate on getting the best performances from the talent.
@hbo @hbomax #lifelarryamerica @barackobama #larrydavid
09 Sep 2026
Announcing The 3rd APA LA Spotlight on Entertainment Photography @smashboxstudios !
One of our most popular events! Join us for insights into the world of entertainment with two informative and lively 90-minute panels.
📸The first panel will feature prominent photographers working in TV and film key art & gallery, celebrity editorial and unit still photography.
✨The second panel will bring together top photo producers, creative directors, and marketing and advertising executives from media outlets, major studios, networks, and streaming services.
In between the panels, there will be an opportunity to socialize during an hour-long informal lunch for everyone.
PHOTOGRAPHER PANELISTS
Erik Carter @erik_carter
Pamela Littky @pamelalittky
Vitjat M @vijatm
Sinna Nasseri @strange.victory
Michelle Watt @wattphoto
Lynsey Weatherspoon @lnweatherspoon
Moderator: Art Streiber @aspictures
CREATIVE EXECUTIVE PANELISTS
Jennifer Allen - President & Chief Executive Officer, Viewpoint
Brandon Choe - Photo Producer, Prime Video & Amazon MGM Studios
Juliet Garrett - SR VP Integrated Design & Branding, NBCUniversal
Chrissy Quesada - VP Global Still Photography, Sony Pictures
Alison Wild - Photo Director, Entertainment Weekly
@alison_wild
Moderator: Erin Kalkauski - Photography Producer, Apple TV
@erinbinsta
The panels will cover topics including the inner workings of entertainment advertising, publicity, marketing and editorial, the current state of the industry, the recent changes and where our field is headed next.
Come grow, learn, network and get inspired!
Sunday, September 27th
10am - 5pm (PT)
The event will be held at Smashbox Studios - known throughout the industry as a hub for world-class photographers and directors.
Smashbox Studios 📍
8549 Higuera St. | Culver City CA 90232
Huge thank you to our sponsors!
@samys_camera
@profoto
@adobe
@captureone
@sonyelectronics
@thinktankphoto
@reelstoragedam
@cbuphotography
Past Entertainment Event photos by @byfernandoguerrero
02 Sep 2026
And the result? THE MASTER OF SCI FI RETURNS!
Today IS “Disclosure Day!” I’ve seen it. It’s FANTASTIC!
This is the Empire cover story on the legendary Steven Spielberg!
“ET”. “Close Encounters of the Third Kind.” “War of the Worlds.” “A.I. Artificial Intelligence.” “Minority Report.” From the article… “Since he was 16 years old, Steven Spielberg has been directing science-fiction; building worlds, weaving dreams and looking beyond our earthly experience…he has spent most of his life watching the skies.”
It’s always an honor to photograph Steven and he is such a fan of image creation, including still photography. It is SO intimidating to have him looking at the monitor but he greatly appreciates how we get every visual “gag” IN CAMERA!
Let the credits roll:
Shot exclusively for Empire Magazine on Stage 9 of the Universal Lot in Los Angeles on February 27th, 2026
Creative Director: Chris Lupton (@neonmessiah). Genius. Asks for the sun and the moon and the stars and the Milky Way and the outer cosmos and I am compelled to deliver.
Photography Director: Joanna Moran (@joannamoran). Makes it happen. Every single time. Relentless. And always just lovely about it.
Editor: Nick DeSemlyen (@nickdesemlyen). Great guy, I hear.
Features Editor: Alex Godfrey (@mrgodfrey). My man Godfrey.
Writer: Ian Freer (@ianfreerfilm). Great story. Learned a lot.
1st Assistant: Evan Mulling @evanmulling. Always so so so so good. So good.
Photo Crew: Joshua Goodell (@creativosegreto), Jack Conley (@j4ck.conley), Chloe Christine Heustis (@chloechristine.co). Worked like crazy to light six set ups in 4 hours.
Digital Tech: @evlasic. He just had a birthday. Simply the best.
Set Design: Anthony Altomare (@photobuffalo), Scott Stone (@addbacon), SamuelPrimero @sammyprimero), Grady Kinnoin @sunrise_choir. These guys ALWAYS find a way AND they filled a soundstage with fog.
Photography Equipment: @screamingbroccoli. Years of reliability.
Post Production: Angie Marie Hayes @angiemariehayes. Really? The original white witch of Photoshop. Incredible talent.
@empiremagazine @disclosureday @amblin @universalpicturesuk @universalpictures
11 Jun 2026
Turns out, today is “Disclosure Day.” A few months ago Empire Magazine asked me to do a cover story with Steven Spielberg in advance of the movie’s release. This is the MAKING OF that shoot!
Back in late February, our crew of @evanmulling, @creativesegreto @j4ck.conley, intern @chloechristine.co and digital tech @evlasic walked into a vast, empty and chilly Stage 9 on the Universal Lot to find and build six different ups.
Our call time? 9am. Spielberg’s call time? 2pm. First shot? 2:25pm. Last shot? 2:52pm. Yes, we broke for lunch.
After a few different creative discussions with Empire’s Creative Director @neonmessiah and Photography Director @joannamoran, we landed on a “beam of light” set up, two variations on a “bright portal” set up, two variations on a “curved mesh fencing” set up and a “slashes of light” set up.
Art department folks (team @photobuffalo) @addbacon, @sammyprimero and @sunrise_choir dragged in two pieces of curved fencing (from LCW, an LA prop house specializing in SciFi) and two black flats.
We spent an hour trying to figure out how best to position the fencing to create a “sci fi” look and ended up with the curves mirroring each other with a slight gap in between. One hard source was the main and a ring light over the lens was the fill. For the close-up behind the fencing one medium Photek, feathered WAY OFF did the trick.
The “Slashes of Light’ set up was a bare head, no reflector, no modifier, hoisted up about 15 feet right next to the catwalk stairway on the stage.
For the “portal” we separated the two flats to create a “doorway” and topped them with a black, foamcore v-flat. An 8x silk covered the backside of the doorway. We bounced two @profoto heads into another v-flat to push light through the silk and surrounded that with a few other v-flats to contain the light. SS was lit with a gridded octobank for the cover shot.
And the “beam of light” was the @profoto zoom spot doing the heavy lifting while we dragged in the ambient work lights that were already on the stage. That…and a LOT of atmosphere from a fogger / smoke machine!
@empiremagazine @disclosureday @amblin @universalpicturesuk @universalpictures
11 Jun 2026
And the result? The key art for “World War II With Tom Hanks” available now on the History Channel.
From the Hollywood Reporter, “The Second World War is to the History Channel what hurricanes are to the Weather Channel and sharks are to Discovery.”
And…“World War II With Tom Hanks brings to bear all the gravitas of its titular narrator, America’s undisputed chief chronicler of the conflict thanks to roles in films like Saving Private Ryan and Greyhound and the HBO trilogy he produced: Band of Brothers, The Pacific and Masters of the Air.”
“The 20-part project covers every major theater of the war, from the Nazi invasion of Poland in September 1939 to the Japanese surrender in September 1945.”
And according to Tom Hanks, World War II is, “the largest event in human history.”
It was a cold, rainy morning in early January, when we set up shot in a corner of one of the stages at Orbital Studios in Downtown LA, where Hanks was shooting the promotional material and last few on-camera narrative pieces for the History Channel’s epic, 20-part docuseries on World War II.
Our mission was to create two lighting looks on one set; one for marketing and one for publicity…and get reportage coverage of the making of the promo videos and on-camera narrative pieces…three of which I have included here with the Key Art.
For the camera curious: That’s the Canon R5 with the RF 70-200 F2.8 L IS US at ISO 400 / F8 all day.
Thank you so much to @luceian @yukimizuma @larosakris for getting us in the room and setting us up for success!
And many thanks to Senior Creative Director @mary_traina and Senior Creative Brian Huffman and Design Director denibelanich for your creative guidance.
@tomhanks @history @wwiimuseum
02 Jun 2026
Tom Hanks has made five films set in WWII and has another one in the works…and a week ago, on Memorial Day, the History Channel dropped a MEGA, 20-part documentary series about the war narrated and executive produced by Tom Hanks
This is the making of the Key Art for “World War II With Tom Hanks” for the History Channel!
Back on a cold, rainy morning in January, we set up shot in a corner of one of the stages at Orbital Studios in Downtown LA, where Tom Hanks was shooting the promotional material and last few on-camera narrative pieces for the History Channel’s epic, 20-part docuseries on World War II.
Our mission was to create two lighting looks on one set; one for marketing and one for publicity…and get reportage coverage of the making of the promo videos and on-camera narrative pieces…all in one day, with no pre light!
So…@evanmulling @anthonyavellano @yocornell and intern @estudiosolorzano.co built and rigged eight strobes:
For the marketing set up we went with a grided @elinchrom_ltd octobank with a 40dgr grid (from the fabulous folks at @lighttools) as the main, at about a 45degr angle on camera right. The side fill came from a 12x unbleached muslin at camera left, with just a bit of help from a small @chimeralighting strip bank up high, at back camera left.
For the PR set up we put a large #photek umbrella right over the camera and the fill came from two more octobanks directly behind the camera. We added a medium, gridded @chimeralighting strip bank as a hair light.
For both set ups, the 12x day grey muslin backdrop was lit by a gridded @profoto 7” reflector aimed downward at the muslin, but not before trying a collapsed umbrella, which just didn’t work.
And that other small strip on camera right, up high and in the back? We never used it.
And the fog? That’s digital tech @evlasic attempting to control the hazer/fogger because we shot plates of ground fog with the left side gelled warm and the right side gelled blue that were never used!
And the bonus @evanmulling pix? Just to show that he is an incredibly good sport as a stand in and as a fog wrangler.
@tomhanks @history @wwiimuseum
02 Jun 2026
And the result? RED ROOM! These are just 20 of the 68 portraits we made for the 2026 NIAJ Class Brunch Photo Booth!
MOST of your questions answered (feel free to throw more questions into the comments):
What is NIAJ? Netflix is a Joke is a 7-day comedy festival that takes place semi-annually, in May across the city of Los Angeles. There are 78 different comedy shows in venues big and small. From the Hollywood Bowl to The Troubadour, from the Intuit Dome to The Crow and from The Forum in Inglewood to the Fraternal Order of the Eagle in Altadena where the shows were FREE, comedy is happening.
Per Netflix: “You can’t spell “Laugh” without LA.”
Who manages all the photography needed for such a massive undertaking? The legendary @IamBrianMarcus assigned 29 photographers to cover those 78 comedy shows and conceptualized the shoots and directed the photographers!
Why is there a brunch? Because @tedsarandos wants to thank all of the performers for doing those 78 comedy shows and HE LOVES COMEDY and COMEDIANS!
Who kept track of all 68 different people and groups that were photographed in the booth? The fabulous @Mstark1 from Netflix and the best tech in the biz @evlasic!
What were your camera settings? Fuji GFX100 II 32-64mm Lens @45mm. ISO 800. 1/200125th @ F11.
Can you list the rest of the photo crew so they don’t get bent out of shape? @alysonaliano @anthonyavellano @iluminaci0n and @elliotsmithhastie.photo.
Can you share the IG handles for all these fabulous comedians? @nikkiglaser @therealjeffryross @fortunefeimster @tompapa @bobthedragqueen @themattfriend @ronfunches @chelseahandler @mrnatejackson @jimmyoang @danecook @lavellsthacomic @dulcesloan @alexedelman @birgigs @robbyhoffman @hasanminhaj @ronnychieng @tonebell @samjaycomic @kenjeong @atsukocomedy bobbyleelive @eggyboom @cheri_oteri @bertkreischer
Why shoot a photo booth? I love the challenge of coming up with 68 different “performances” under intense time pressure…especially when the composition is LOCKED!
@netflix @netflixisajoke #netflisixaJokeFest
25 May 2026
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