I saw “The Cove” and it is still haunting me. It is educational, powerful, thrilling and heartbreaking all at the same time, and I can’t recommend it highly enough. Go see it and take action, whether you’re a still photographer thinking about filmmaking or you just care about this planet we live on. GO SEE IT! Here, in Part 2 of my interview with Louie Psihoyos, he talks about the extraordinary lengths taken to bring this story to light. “The Cove” is an environmental thriller with the ending still to come. It's been called "Flipper meets The Bourne Identity."

What lead you to filmmaking?

Jim Clark was interested in photography and started Shutterfly, a way to share and print your photos over the web. He told me he wanted me to teach him how to be a good photographer. I told him I would teach him how to be a great photographer if he taught me how to be a billionaire. It was then I had a deeper look into the mind of not just a genius, but one of our generation’s visionaries. Jim did in fact did become a great photographer but got sidetracked on another creation of another enterprise. I’m not much richer but I am a lot more fulfilled, because of the non-profit business Jim helped me set up.
Jim and I like to dive and we started going around the world on dive trips together on Hyperion. I had some of the most remarkable times of my life diving with Jim. He was miserable with the quality of commercial underwater housings and cameras--even the Hasselblad--so he built the best underwater camera ever made by an order of magnitude. David Doubilet came diving with us and declared it the holy grail of the underwater camera. Unbelievable detail. It’s a 65-mega-pixel back on a view camera with the unbelievable optics.
We dive with rebreather teams so we can stay down for up to three hours at a stretch and not have to worry about bubbles or decompression obligations. We take up to 12 lights and light up the best-preserved reefs, in the most remote parts of the world, like a movie set. Places like Papua, Andaman Islands, Silver Banks. The results are stunning. Jim doesn’t do anything halfway. But as he would take me around to places he loved to dive some of them were disappearing, or they were completely gone. Bleaching, dynamiting, and overfishing were taking their toll. On our third trip to the Galapagos we were witnessing illegal-long line fishing in the marine sanctuary, and mother ships waiting for illegal catch in the Cocos (in Costa Rica), another marine sanctuary. Jim said somebody should do something about it and I said, “How about you and I?”
Jim came up with the idea of starting a non-profit we call The Oceanic Preservation Society and our mission statement is pretty simple, “We’re not trying to save the whole planet – just 70% of it.” We use films and the epic underwater camera to inspire people to help preserve the oceans. Jim’s only words to me setting out were, “Just make a difference.”
Early on I received some advice from one of movie making’s most successful directors Steven Spielberg. Jim’s family and mine were on vacation down on his boat in the Caribbean and Spielberg was next to us on vacation with his family. Steven and Jim had this symbiotic relationship with the success of their businesses – Spielberg used Jim’s SGI computers to create many of his filmmaking successes. However the two had never met. Spielberg had a son that was about the same age as one of my kids and they started doing sleepovers and he wanted to know about the father of his child’s new friend. I told him I was a still photographer but getting into filmmaking and he gave me this advice from working on Jaws, “Never make a movie that needs to use boats or animals.”

So how did “The Cove” come about?

Nearly everything I was about to do with the Oceanic Preservation Society would involve boats and large uncooperative animals. To make a successful debut even more improbable, for my first subject I picked a secret cove in Japan, a seemingly impenetrable natural fortress protected by spiked gates, razor ribbon, guards, motion sensors and after I arrived, 24 hour police surveillance on our crew. There were people in The Cove who would have every reason to kill us if we were discovered.
I pulled together an elite team of activists, pirates, and special effects wizards who used military grade hardware to help penetrate a secret cove in the Japanese National Park where they do nasty things to dolphins.
The first thing I did was do what Steven Spielberg does much of the time when he makes movies, I called on the services of George Lucas. One of my first assistants at National Geographic went on to become the head mold maker at Industrial Light and Magic, (ILM), which is now called Kerner Optical – they are the 3-D division to Lucas’s CGI division – they make real props as opposed to digital ones. I showed them pictures of the cove and they created these ingenious fake rocks to hide high-definition cameras and microphones. To set underwater high definition video cameras and microphones, I enlisted the help of my friends Mandy-Rae Cruickshank and Kirk Krack, world class freedivers. Mandy has won 7 world championships in her lifetime--she can swim down to nearly 300 feet on one breath of air and come back on her own power (that's her in the image at the top).

Jim Clark’s right hand man is Simon Hutchins, a former electrician for the Canadian Air Force. He helped create a fleet of unmanned drones with gyro-stabilized high definition cameras. Charles Hambleton has been my assistant for the last ten years and he has nerves of steel and a heart of gold--he’ll do anything. On one assignment we did for the owners of the world’s tallest building, he stood atop a steel ball at the top while the building swayed in the wind. Charles was an activist in the town we both lived, Boulder Colorado, which was down the road from Rocky Flats where they made plutonium triggers for nuclear bombs. Charles was arrested twice on the same day for protesting there – he’s a bit of a pirate. In fact, he was working on the Pirates of the Caribbean teaching pirates how to act like pirates for Gore Verbinski’s films when I called him away to be a real pirate for the making of my first movie.
Charles became OPS’s director of Clandestine Operations and it was his idea to bring a thermal camera to detect if there were guards in the cove. Nothing can hide from a thermal camera, if it has a pulse the camera picks it up – it’s like watching a print coming up in the developer for the first time – it’s like a magic trick. It was a military grade thermal camera, illegal for civilians to bring out of the U.S. and not designed for shooting video. Charles thought it would be interesting to shoot a making of for the DVD extras and rigged up the thermal camera to shoot video. That camera became the basis for much of our covert footage that became the heart of the film. So the “making of” became a major part of the movie and added this thriller component that makes this wonderful hybrid. Rolling Stone Magazine called it “Bourne Identity meets Flipper.”

Tell me about “The Cove”
This first film that I directed and shot with the OPS team is called The Cove and it’s been winning awards at International Film Festivals around the world. We won at Sundance, Sydney, Seattle, Toronto’s Hot Docs, Silverdocs, Maui, Nantucket, Blue Ocean, Galway etc… mostly audience awards – people like the film. It’s a feature documentary that plays a lot more like a thriller.
The Cove is perhaps one of the most beautiful underwater films you will ever see but there are images that will forever burn your retinas, like a Hieronymus Bosch painting came to life. We fell into an incredible story by luck, and the sheer tenaciousness of our team ; this incredible group of editors, producers, writer and composer that Jim helped bring together.
The big difference in still photography as opposed to shooting movies is you need a large crew. The director John Ford said that making a film is like painting a picture with an army. With The Cove, we needed an army of pirates because the story we took on would have deterred any traditional fiImmaker.

Is filmmaking your new direction? Are you still shooting still images?

I don’t want to disparage still photography, I certainly couldn’t have pulled this without working as long and hard as I did in this field, but I feel like I’ve been wandering around in the wilderness in comparison to filmmaking. Film is the most powerful medium in the world, the ultimate weapon of mass construction. I have been shooting at the top of my profession for nearly 35 years but I’ve never seen whole theaters of people crying then laughing then cheering and then raising up to give a standing ovation. But this happens routinely with The Cove.
The Cove is a story of one man’s quest for redemption wrapped around several larger parallel environmental stories. Ric O’Barry, the trainer for original TV series Flipper took me to Taiji, Japan where most dolphins for the swim with dolphin programs and dolphin shows are captured. I don’t want to give away too much of the plot but I believe what makes the film powerful and what makes it resonate with audiences is that the film proves that one person can make a difference and that a like-minded team can change the world.
I still love shooting stills but I feel I’m in the save the world business now. I really think we are one of two generations left that has a chance at saving the planet from human destruction until it’s too late. Ocean acidification, from the burning of fossil fuels and overfishing is destroying the marine environment at such a ferocious clip that it may already be too late. But I believe film and it’s co-conspirator music may be the last chance we have to galvanize the best of humanity together to save it from the rest. If you don’t believe it’s possible, you haven’t seen The Cove
What’s next for you?
Another feature documentary, this one on the sixth major extinction in the history of planet, the one we’re in the middle of now which for the first time is caused by a single species – us – rather than some cataclysmic event like a meteor but just as devastating. The challenge of course will be to make it hopeful and uplifting and provide solutions rather than point out all the problems - and to make it more humorous rather than a tragedy. It is kind of funny because the solutions are so simple that all we have to do is embrace change rather than greed.

For times and places where you can see The Cove go to:
TheCoveMovie.com
And to take action to end this brutal practice go to:
Take Action
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ASMP New York has relaunched SHARPEN, the online magazine of ASMP New York.

Today begins a new feature, a weekly “spotlight” of our fellow ASMP NY members.  I'll introduce inspiring men and women that are world renowned, at the beginning of their careers, and somewhere in between.  Here we'll celebrate each others accomplishments and how their work moves the world forward.

Huge thank you to Elizabeth Avedon, Holly Stuart Hughes, Jody Quon, Marc Sobier and Hosanna Marshall for taking time to delve deep in all the wonderful imagery everyone submitted. Tough decisions but lots of fun! Enjoy the pics by Alex Geana.

ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists.

I admit, it has taken me a long time to get used to the notion that a photo taken with a cell phone is totally acceptable. I was a student of old school photography and I wanted to remain that way for a long time.

(A wonderful perspective and advice for our community.)

PRESIDENT’S LETTER

It’s Just Business

Several recent threads on ASMP’s on-line forums have dealt with photographers’ frustration with client negotiations.

Photo by Ruben Natal-San Miguel, from the Nocturnal/Activo series, Bronx, 2012.

THIS SATURDAY!!!

Bronx Masquerade brings together ten emerging Bronx artists who uncover the true stories of the young people in the Bronx.

We would like to ask you help us support a former ASMPNY President in this election. As many of you know, Thomas Werner was central to the rebuilding the of New York Chapter, helping to create the strong and vital chapter that you know today.

As a reviewer for the 3rd year in a row I remembered how fast-paced the reviews can be. How stressful it is for the person getting reviewed. It reminds me of what speed-dating must be like.

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Tuesday, Feb 7th is the annual Fine Art Portfolio Reviews, are you ready to show your stuff?

6:45-9pm

***Only prints will be reviewed (no iPads or laptops) unless the work is meant to be exhibited in a museum or gallery hooked up to a computer.

Wednesday, February 1, 2012

7-9pm

How do you stand out in a crowded market? Not by spending the most and yelling the loudest — that’s a sucker’s game (and boy, do those suckers get annoying, fast.) The secret to gaining attention in a noisy world lies in making yourself irresistible at all turns:

Here is a wonderful interview with Anna Skladmann who has been photographing the children of Russia's nouveau riche. Her shots of these kids haunt me.

Last week was the 10th anniversary of the biggest art fair in the country. I had been to Miami before but not for ABMB. I was an Art Basel virgin...

You could tell who was from New York because every other person was wearing black even in the 77 degrees weather. Yeah, I saw art.

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Wednesday, November 30th at 11th Street Bar

510 East 11th Street (Between A&B) beginning at 6:30

Congratulations to all the winners of Image 11!

Professional: 1st Place: Peter Dazeley

Student: 1st Place: Brad Curran

November 22nd, 2011

It was packed! And rightfully so, with an incredible line-up of reviewers from The New York Times, DDB, PDN, Magnum and tons more. The energy in the room was filled with excitement and maybe even a little nervousness.

October 4th, 2011

One should really use the camera as though tomorrow you'd be stricken blind.

Please join me for this online only exhibition of Kim Keever and Bruce Checefsky's work. From October 4-November 1

While peering into an alternate universe, such as Kim Keever has created using a 200 gallon glass tank filled with water, it's easy to get lost in the hidden chasms of his landscapes.

ASMP NY: CALLING ALL PHOTOGRAPHERS

NEW YORK, NY - September 2011 - Now in its 6th consecutive year, ASMP NY will host its annual Commercial Portfolio Review for all ASMP NY members on October 11, 2011.

Why should you take this course?

· Do you want to learn how to uncover a prospect's budget?

· Do you ever hear, "I'm interested, call me after the holidays?" or "This is great, I just need to run it by my boss/editor/wife/business partner?" but you never hear back from the prospect?

· Do you feel

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Tomorrow night September 12th is the very special curated photography show by Ruben Natal-San Miguel about the 10 years since 9/11. This exhibition is supported by Finch & Ada.

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Ahhh, the very important issue of stealing imagery from photographers to make a buck. In this case, Michael Dweck is $100,000 richer via Malibu Denim Co. thanks to the courts and rightfully so. Justice prevails! Click here for more on this story.

Longtime photojournalist Michael Kamber is the force behind the Bronx Documentary Center, a venue for photography, film, and new media that opens in September with an exhibition on the work of the late photojournalist Tim Hetherington, who was killed in Libya in April.

Focus on Sales: Sandler Sales Training Level One

Tuesdays, this fall! Sandler Sales Training is back ! Why should you take this course?

Do you want to learn how to uncover a prospect's budget? Did you ever hear, "I'm interested, but call me back after the holidays"? Then you never heard back from

Must give a major shout out to Stella Kramer who edited and published this blog for the past few years- keeping it chocked full of information and writings based on the contemporary photography world, commercially and in fine art. It must be noted that she posted everything before August 2011.

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This hurricane will surely be a phot-op so if you are brave and want to take the risk, please take necessary precautions. And if you want to send them to the blog to post, please do at asmpsharpen@gmail.com.

For the rest of us, we'll opt to stay dry.

Most of us miss the smell of a darkroom and the potent chemicals that seep through our hands and clothes back in the day when the darkroom was king.

Attention All Photographers!- 2001-2011- A Decade of Insanity : Still Searching for Healing- Exhibition

Attention all Photographers!- I am back to curating, As a survivor of Sept 11 attacks, will like to celebrate life, commemorate the 10 year anniversary and how photography has changed the face of

Resource is putting together a Summer inspired film series (with the curation help of our friends at Vimeo) and we want you to be there. The event is at Factory Studios. factorybrooklyn​.com

We're taking over 2 floors of Factory!

Today at 7:00pm

@Factory Studios

79 Lorimer St.

Saturday, August 13, 2011, 12pm

ASMPNY's Summer Party on the Hudson

ASMPNY's Summer Party is THIS SATURDAY! Photogs will appreciate the beautiful view (and breeze) along the Hudson River at the PIER i CAFÉ. You might want to bring your camera, or ride your bike to get there.

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I've been in the art and photography industry for 15 years as a photographer, curator and art consultant. I've been fortunate to work with ASMPNY as a portfolio reviewer as well as a panelist for photography events here in the city. Earlier this year my exhibition, "Hotter Than July" was reviewed by senior art critic of New York Magazine, Jerry Saltz. In the past I founded veaux.org, a site for emerging creatives with a gallery space in Chelsea as well as curator/consultant of exhibitions for the Hipstamatic iphone app. Currently I'm working on a project documenting the New York art world while curating exhibitions around the city.
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