Gum Tree Farm

Gum Tree Farm

These aren’t just photographs of beautiful people, in beautiful clothing, in a beautiful setting.

These are clothes, woven from the wool of sheep raised on this land. The images captured still moments, while just out of frame and between locations, we heard, saw and smelled the motion of life and work of a farm.

Thank you Gum Tree Farm, Franny Kansteiner and Beverly Kansteiner Burden

Concept by Sandra Ranke



SmithGifford for MyEyeDr

One of the things I’ve come to value most about being a photographer is the opportunity to learn from every project.

Case in point, when working with the team at SmithGifford on the MyEyeDr. “Resting Squint Face” campaign, I learned there’s a name for that look, you know the one. “RSF” is that sideways glance or squint, created when a person isn’t seeing too clearly, that can result in a perpetual look of anger and distrust in just about every situation.

Not only is the campaign lighthearted and funny but I could very much relate — I totally get #RSF.

Ultimately, we had a lot of fun. We played around with not only the cast and the crew but also worked to ensure we brought attention to these misunderstood squint lines, with our lighting.

Creative Director: Bill Cutter


Miss Piggy Goes to Washington

Miss Piggy Goes to Washington

The Jim Henson Legacy Foundation donated 21 Muppets to the Smithsonian. Smithsonian Magazine hired me to photograph Miss Piggy visiting a couple of the most storied objects housed there.

Pairing Miss Piggy with the Hope Diamond involved a secret, predawn escort to the Natural History Museum and an armed guard at the museum’s Gems Hall. I got to photograph the Muppet Diva wearing the necklace holding the 45.53 –carat stone.

It wasn’t your typical fashion shoot.

Miss Piggy wanted to try on Dorothy’s Ruby Slippers. I scouted the slippers which were on display, and visited with the curator who was nice but told me that the Slippers couldn’t come out of the display case – don’t even THINK about taking the slippers out of the case – and to figure it out. So we moved in the day of the shoot and well, we figured it out, photographing thru the display case – careful to not have any reflections.

You’ve got to make the Muppet, and the curator, happy.

Check out the full article here


Greetings from the Magical Forest

Greetings from the Magical Forest

New York Philharmonic

One of the things I loved most about the concept was how it needed to be as much about the environment as it would be about the narrative — an elegant pied-piper in an enchanted forest setting, charming a group of curious characters. This piece brings to life the delightful sound of NY Phil’s 2016 Biennial season, entitled “Let’s Play” by combining a very magical Northern California location with the Phil’s french-hornist, Leelanee Sterrett and an audience of curious carousel-horses.

Sometimes the reality of a project dictates the approach. I generally pride myself on photographing as much as possible in camera. For this project, the client wanted me to keep with that formula and that was my initial plan. I was ready to go and after a few back and forths and with a final green light it was “let’s go find a location and put all of the elements of the image out there.” While this was a doable idea, Ms. Sterrett was leaving for a tour in Europe within the week. So we went ahead and photographed her in a studio in NYC before I went to scout the final location. Not only did I have to find the right location for the creative brief for this project, BUT I now had to find the perfect location that offered the same natural lighting that we had created in the New York studio. Working with producer Catherine Schramm, we found the forest two hours north of San Francisco and then I went to a Scooby-Doo Circus south of LA in Riverside, CA where we photographed carousel horses.

With these moving parts and challenges of time and space, the best way to answer the creative call of this project was to commit to a composite photograph. I worked carefully in each step of the shoot to ensure that every component would be as symbiotic to the whole as possible, the whole then becoming a magical sum of its parts. Aiming to have things line up seamlessly, CG horses were also created with the pros at Luminous Creative Imaging to match all of the pockets of different light that existed in the forest image – some horses are in open shade, others are back lit or side lit from the direct sun.  Once each of the pieces of the image were layered and composed, the color and tones were massaged to radiate the playful feeling of a magical forest.

Our making-of is here:


Ms Whittington

Ms Whittington

Many of my personal images happen as the result of a habit I have of seizing on an opportunity to capture a something or a someone that I’ve heard about or want to know more about.  Case in point, I was in Harlem on a project with David Calderley of Graphic Therapy. We went late into the night, and decided to grab a beer. While chatting he asked if I’d like to see pictures of the town he grew up in, then on his phone he pulled up and showed me photos of Whitby, England. I wasn’t prepared for how absolutely amazing it was, and just like that I wanted to go.

So a great group of amazingly talented friends, whom I’ve met and worked with over the years, got together and we made the journey to Whitby with David, to create images in his hometown for a personal project. We played around for a couple days, acting the tourists as we went and had a wonderful time.

My inspiration going in to the Whitby project was one of Jane Eyre meets Appalachia and it evolved, as it always does, once we saw the lay of the land. Whitby is a seaside town in Yorkshire, northern England. On the East Cliff, overlooking the North Sea, the ruined Gothic Whitby Abbey was Bram Stoker’s inspiration for Dracula. So in all honesty – the majority of the visual work was done simply by my showing up.

I hoped to keep everything as simple as possible and worked with only available light. The landscape itself is breathtakingly beautiful, the stuff of imagination, and I wanted to the images to be about the environment as much as anything else. I liked having the model as a human element to help provide a narrative as well as to give scale and context to the environments.

While I am proud of the images we created – timeless and slightly haunting, it is always the case that for me the journey is paramount, the adventure reward enough – and the images – no matter how great – are a bonus.

Thank you Pascale Lemaire, Dean Krapf, Doug Retzler and Kate Potter. Special thanks to David Calderley for a spark, all of your help and your hospitality.  


GENLUX Magazine

GENLUX Magazine

Creative Director: Stephen Kamifuji
Photographer: Cade Martin 
Stylist: Pascale Lemaire 
Model: Tanya / Fenton Moon, New York 
Art Direction: David Calderley 
Hair and Makeup: Patti Nelson 


Katie O’Malley

First things first, Katie O’Malley is amazing. Smart. Patient. Kind. Beautiful. Second things well, second, sometimes no matter intentions and planning, things go sideways. Third things – you know the drill, you still get the shot.

When I was asked by a client to photograph Mrs. O’Malley, the first lady of Maryland at the time, I was excited and expected it to be a relatively straightforward project.

Ahead of the shoot, I scout, I create scouting photos and send them to the client. People are busy. People work in different ways. Radio silence. We get closer to the shoot, still no word and I’m a little uneasy.

On the day before the shoot, I call my client contact and ask if she has had a chance to look at the scout photos. She says no, she does not like to work that way and prefers to figure it out on set. I ask if we can decide on a place to start. She puts that ball in my court.

People work in different ways.

The next morning is the day of the shoot and we arrive at the Governor’s Mansion in Annapolis, at 7:30am as we agreed. We wait. A little more. A lot more. The client is 2 hrs behind schedule, 2 hrs late to the Governor’s Mansion.

As we wait, we have set everything up hoping to get straight to work when we’re all in the same room. But the client walks in and says she’s not feeling the setup and she’d like to try something in another room. We break down, move, re-setup and shoot a test. The client decides what we had originally set up in the other room was pretty good. Break down, move, re-re-set up.

People work in different ways.

The same page was hard to bookmark that entire day (and night.) However, throughout, at every miscommunication and diversion in vision, Mrs. O’Malley was a dream. And you know what? It’s not always creative peaches and cream on set. But we got the shot. And I absolutely love it.

Starbucks: TAZO Tea 

Starbucks is one of the most recognizable brands in the world, and to work with them on the launch of their Tazo Teas was an honor – and ultimately a project that I didn’t want to end. I worked with the Starbucks in-house team and they were some of the nicest, most collaborative and supportive people I’ve had the pleasure to work with, and the creative for this campaign was off the charts. Taking cues from my portfolio, they honed in on the use of movie lighting and we pushed the work in a cinematic direction. I pulled together a team with a lot of feature film experience to bolster that look and feel and we worked for 3 days at two LA locations – the famed Greystone Mansion and the Huntington Botanical Gardens, casting dancers to create interesting shapes with their bodies. The results, which appeared on Tazo boxes as well as in store at Tazo, exude a hint of whimsy and magic and are a nod to a blend of eras, places and cultures.

Design Bureau Magazine


People have amazing talents.

On a bookstore stop one night during a shoot in Miami, I came across the book Stickwork by artist Patrick Dougherty. I absolutely loved the stickwork structures and wrote Patrick a letter asking if I could possibly do a project at one of his structures. Got a yes. So I asked Design Army if they wanted to collaborate and they said yes too. Then we got these images.

Using minimal tools and a simple technique of bending, interweaving, and fastening together sticks, artist Patrick Dougherty creates works of art inseparable with nature and the landscape.

Design Bureau Magazine
Photography: Cade Martin
Creative/Art Direction: Design Army