I have admired David Arky's work for a long time. The precision and cleverness of his still life work always attracted me, and I am a great fan of his X-ray photography. While I was never fortunate enough to work with him on assignment, I have followed his work and wondered how he achieved such strong editorial and commercial work.

David graciously agreed to talk about his work with me, and after a fascinating conversation in his beautiful midtown studio, I found out just what was behind his creative photography.


How did you come to photography?

I discovered photography in summer camp when I was 8. The magic of developing film and seeing my first print emerge under a safelight has never left.

Tell us about your background including family/science connection

My family members were always interested in the sciences – my dad, uncle and older brother were all pharmacists and I also had an uncle who was a physician, painter and inventor. I was captivated by his still life paintings at a tender age. My relatives would get together and speak in their native Hungarian, and since I didn’t understand a word of what they were saying, I found myself getting interested in the artwork on the walls.

So how did you get into still life?

At the beginning of my career, my former business partner, John Barrett and I shot a variety of assignments for the covers of Esquire, National Lampoon and a variety of trade magazines. We built sets, shot people in the studio and on location, as well as still life. Even though I admired the other work we did, I always returned to my first passion of still-life.

How did you get into x-rays? Is it difficult? Scary? What was it like when you saw the first results?

Michael McGinn, a very talented graphic designer asked me if I could create some x-ray images for a campaign that he was producing for Strathmore paper. The concept was that we would be seeing 3 different briefcases as they passed through an airport x-ray machine, to reveal Strathmore paper inside.

I had no idea if it was possible and asked Michael for two weeks to test the idea out. After a lot of research, we found an x-ray lab that I could use to shoot the images. The lab was straight out of the 1950’s – There was a box with “Buck Rogers” looking dials and switches that operates x-ray camera.

Yes, working with x-rays was frightening at first, but after I realized that there was 3 feet of concrete separating us from the x-ray source, I finally relaxed.

The first x-ray shots that we produced rekindled the feelings that I had as a kid when those prints came up in the darkroom trays. Seeing the x-ray film come out of the processor is still an oh-ah moment for me.

Is photography a solitary or collaborative pursuit for you?

I used to think that being a still-life photographer was a solitary pursuit, and imagined a painter working alone in a garret or skylit studio. I quickly came to the realization that my best images were the result of collaboration. The props that my stylist chose, the suggestions that my photo assistant made, the skills that my retouched had developed to nuance details, all contributed to the strength of the final image.

Talk about the process of the work you do

Most editorial assignments begin with a conversation to help understand what is the concept of the story. Reading through the text or story outline, is an ideal way to spark some ideas. I am sometimes asked to deliver a sketch of what I am thinking of, or a verbal description alone might be sufficient with a regular client. After the idea is approved, I get in touch with my prop stylist or model maker and have them source the props that we need for our shoot. I always use an assistant, since I feel that it is so important to collaborate, even on what might seem to be the simplest of shots. After the shoot I hand the images off to my retoucher, and often let him give me his ideas about how to enhance what we shot.

What differences are there between working on editorial and commercial projects?

Many times there are no differences – good photo editors, graphic designers and art directors want to work with someone who is a creative collaborator.

You don’t have a rep, can you talk about that in terms of how important or unimportant you think that is

I don’t think that having a rep is absolutely necessary for editorial assignments, as long as you have a studio manager or office assistant who can help you get your work out in the marketplace through email marketing campaign and print promotion.

I think that in order to get regular advertising assignments, having a rep is essential in getting your work in front of art buyers, negotiating fees and acting as a go between the photographer and client.

You teach at ICP--what is that like for you?

I have taught a studio lighting class at ICP for nine years now and really love it. I enjoy sharing my passion for photography with my students, who by the way come to ICP from all over the world. It’s very stimulating when students work together in my studio, experimenting with lighting techniques and bring in great work to discuss during our critiques.

What are you working on now?

I just finished my second cover still life shoot for Newsweek, as well as an x-ray project for AARP magazine. I have always been shooting an ongoing still life project for Comcast.
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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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