Running of the Pigs

When we heard about Stryker Farms and Nancy Poli we envisioned the next perfect Women’s Work shoot. Nestled just two hours outside of Philadelphia is where Nancy and her son, Nolan Thevenet run Stryker Farms. Unlike the traditional large pink pigs from Old McDonald’s farm, their Farm specializes in heritage pigs.

Nancy and Nolan raise a mix of 6 different breeds; Tamworth, Berkshire, Hereford, Yorkshire, Gloucestershire Old Spot, and Large Black. These old-world breeds have a tendency to grow slower than conventional pigs resulting in a more flavorful pork. Stryker Farms takes pride in the fact that their pigs are raised outdoors and enjoy a natural diet of non-GMO grains and grasses without the use of antibiotics or hormones.

After a bit of pre-production, handled by Robert Luessen, we were ready to visit Stryker Farms on April 17th, 2016. With a sunrise call time Chris, Robert, Jared Castaldi, and Sam Green hit the road north towards Stroudsburg. 

With every mile, we drove the more the urban landscape drifted away leaving room for lush wooded landscapes. After a few music albums and several random conversations, we arrived at the dirt road of Stryker Farms.

Once at the farm we were greeted by a little shop selling their wares, such as cheeses and sausages. We drove past the shop, knowing we would return to stock up of delightful treats to take home. We continued to drive towards the buildings that housed the livestock. In a addition to pigs, Stryker farms also raises beef and dairy cows, chickens, turkeys, and goats.

I don’t know if you have ever been on a farm but you can’t visit one without experiencing a particular smell.  This time was no different and the stench was unbearable. The muck created by the animals was everywhere, as expected. We need to set gear down on the ground but had no intention of anything becoming covered in manure. So we planned ahead and added plastic bags to the gear prep list. The plastic bags were wrapped to the bottom of all stands and power packs were placed in them. Of course, this was a time before we used battery powered lights so the farm quickly became covered with cords. To make things more difficult we wanted to keep the wires above the manure-covered ground. So we strung them like festive Christmas lights throughout the space.

Robert hanging festive extension cords

Once all of the lights, extension cords, and power packs were prepped and ready to go it was time to set up the shot. Chris came to Skryker Farms with a strong image in his mind’s eye. The vision was there and it was time to make it a reality. There was a path that directed the pigs from a lower housing location to an upper feeding area. This was the space that would allow Chris’s vision come to life. To create the illusion of Nancy calmly standing in the middle of stampeding pigs we realized it needed to be two separate pictures that would be combined in post.

The composition that Chris envisioned was with Nancy centered with the pigs running on both sides of her in the path. To achieve this it would require the camera to float in the middle of the chute. We decided that we needed to create a rig. Something that would allow the camera to stay in the space while the pigs ran through. The team devised a metal bar that attached across the path where the camera would be secured.

While shooting Nancy, Chris would use the rig as a tripod but of course, he too couldn’t be in the chute once the pigs were set loose. It was decided he would use a remote to fire the camera while standing safely outside of the action.  After a few tests of the remote to ensure it would fire we were ready to begin.

We were truly lucky to have such a charming and captivating subject as Nancy. We quickly got what we need from her and were ready to move on to the unpredictable part of the day. The pig run. We only had one opportunity to get this shot. Once the lower pen door opened the pigs without direction would instinctively run up the hill for their anticipated meal. Once Chris and Nancy climbed out of chute we were ready.

Release the PIGS!

With great excitement, the pigs rampaged up the hill running underneath the excellently placed rig/camera setup. At the same time, Chris was fiercely pressing the remote to fire the camera as to capture the thrilling moment. Once all of the pigs were clear of the chute and happily eating, it was a wrap. We began to clean E V E R Y T H I N G and then did another thorough cleaning once back to the office. Our time at the farm was quick and unforgettable. Nancy and her corkscrewed tailed co-stars were a delight. They gave us everything we needed to create a beautiful photograph that focused on the moment. We found a little piece of magic on this shoot that helped us create something unique and memorable. We hope you enjoy it.

Nancy Poli, Pig Farmer, Stryker Farms, Saylorsburg, PA.

Personal Work – A cure for what ails you

By Chris Crisman

Did anyone play the lottery this week? Our team certainly did and a $10 ticket turned out to be less about the chance of winning a gazillion decimal points. It became a time to share the possibilities of a future. Some of us would shut it down and coast, some of us would devise a plan to share the wealth and give back to everyone that could use it, some of us simply dreamt of just taking a break. It’s a tantalizing exercise to contemplate the opportunities you could have, the challenges that would arise, and just how you would find ways to balance it all.

We are approached to work on so many jobs and it is hard to deny the randomness to how each year shakes out for us. We try to move forward on as many opportunities as possible and they need to have the right values to do so. When looking back on a year we seem to strike the right balance of projects. To be able to find creative fulfillment and financial stability with our work. Sometimes we are presented with a special Unicorn project that we dream of working on but no matter how much we fight for the job it still gets away. Even though you think you have dominance of the situation, there will always be a number of variables that are out of your control. Embracing this reality has really kept me from going insane.

Another aspect of our work that helps balance the inevitable presence of impending insanity – personal work. It is as easy as putting a pin on a map. Just you and your camera traveling to beautiful locations can be unpredictable magic waiting to happen. 

 Alternatively, you can dedicate your time and other resources to hone in on exactly what it is you want to express; this is my preferred method. With these projects – or singular images – you can easily give you and your team back the control, vision, taste, and your calendar that often seems out of your hands.

It all sounds simple, but I still struggle. I struggle with the where, the when, and the how. I struggle with whether I am choosing the right concept or idea to focus on. Will the small detail of a coat on the guy actually ruin an otherwise perfect image? Above all else, I struggle with the why. If I make this picture, will anyone care? Will it inspire someone who sees it? Anyone? Beyond all else, is there a chance that this work could possibly change the way people see the world? I think about all of this with every project that I undertake – especially the ones where I am able to have complete control of the end result.

I’ve already mentioned embracing randomness- this idea goes both for things you can and can’t control. Alt-country artist Sturgill Simpson who was right when he said, “Some days you kill it, some days you just choke”. The reality in this sentiment rings clear for me. I won’t always be a winner, but If I keep my head down and focus clear, I will continue to find a balance throughout my career. One last thing, don’t spend more than $10 playing the lottery, even if I’m sayin’ there’s a chance.

Ringside at The Front Street Gym

Front Street Gym

As the sun dragged itself from under the horizon we arrived at Front Street Gym. The gym sits above a north Philadelphia beer store. Its graffiti-covered metal entry is flanked by two signs distinguishing it from the other storefronts on the block. Once the heavy door swung open, the sunshine poured over the worn down steps created by the athletes climb to becoming the next champion. Whitewashed brick walls were layered with 50 years of boxing posters that tell its history throughout the years. The posters serve as inspiration for the younger generation to push a little longer and hit a little harder with the goal to one day join their ranks.


Boxing is a sport that is associated with violence and brutality but what is often overlooked is the beauty that is displayed in the ring. An athlete who dedicates their time and energy to the ancient combative sport learns to dance about their opponent, dodging thrown punches while countering with their own. The bouncy steps around the ring look more like a ragtime one-step than a battle. The precision of a one-two punch displays all of the hard work and dedication did before. This shoot was very much like a boxers creative collaboration of limbs. We wanted an experience that would start with a photograph and finish with video to add more depth to the visually engaging story.

Ezra Migel and Chris

Ezra Migel and Chris have worked together on still-video productions before. So when Chris decided to produce Front Street Gym he immediately contacted Ezra. The two had already developed a rhythm that had worked well. They have proven that together they can make great work and that always begins with a thoughtful plan. After sharing many videos and pictures to nail down the vision, they banged out a rough shot list that would guide them throughout the production.

What is truly special about Chris’ creative process is his ability to make the environment its own character.  In this case, the Front Street Gym had a personality that was larger than life. The priceless charm of the boxing gym existed effortlessly and would be priceless in an attempt to recreate.  Once the athletes step into that space they are transported to a place where there is hope of a better life and honor to be earned. We could not predict how inspired the space would make us feel.

With each shot, Chris began with composing a dynamic scene. While shooting stills, Chris bounced back over to the director role. With Ezra shooting video, he and Chris collaborate in capturing a more evolved version of the initial still shot. This workflow allowed them to knock out their shot list that ended up growing due to the complex dynamic and overall energy from our entire team. Needless to say, we were united and in perfect sync with each other. Working effortlessly together to achieve our goals. I don’t believe we could have been happier with the day. We were allowed to work with amazingly talented people in a magical space where we were able to create something special. I hope you enjoy viewing it as much as we did in making it.

THAT ONE TIME WE WENT TO PRISON

A long narrow hallway lined with tiny barred cells enclosing angry men flinging obscenities is what we expected to find at a maximum security male prison. The entertainment industry depicts the American correctional system as a scary place. So, when we were given the opportunity to enter Oregon State Penitentiary we were filled with excitement and a bit of concern.

As you might have guessed, entering a prison is no easy task. There are several obstacles to navigate in order to be approved for entry. First off, background check for all members of the entire crew. Second, a thoroughly vetted equipment list. This list was scrutinized and whittled down three times. Each list included visuals of what was included. A location like this is only possible with the use of battery powered lights. Without them, it would be difficult to get down to three bags. 

The third obstacle was squeezing two portrait subjects into a tight schedule during the facility lockdown. We reviewed the Tour Guidelines for visitors which informed us of their hostage policy that states there are inherent risks in visiting a correctional facility. After several weeks of back and forth with Oregon State Penitentiary, everything was set and ready to go.

Oregon State Penitentiary is nestled in the sleepy town of Salem. Driving through the town you wouldn’t expect a maximum security prison would live just up the road. If there was a maximum security prison, you wouldn’t expect it to be lined with large, lush trees and meticulously maintained landscaping. The stark difference from the picturesque greenery and the castle-like exterior of the prison is striking. We stood on the steps of the Oregon State Penitentiary with nothing but our gear, our IDs and just a little bit of nerves.

Once inside we went through a series security checkpoints. Every step of the process was efficient. The staff was friendly and helpful through it all. We quickly moved to our first location and set up to shoot in cell block D. Once we were in the heart of the facility, it was evident how calm and quiet space it was. Unlike our chaotic expectations, we felt comfortable in the space. Of course, there was a bit of excitement buzzing around, we were a photo crew, something completely out of the ordinary. Even with our unusual presence the men lounged in their brightly colored cells patiently waiting for the lockdown to end.

Our first subject was Megan Lowe, a Corporal Correction Officer at OSP. She began her career at the Oregon State Correctional Institution (OSCI) in 2014. She was inspired by her father to follow a career in correction. Megan’s petite frame was weighed down by the required gear but her presence was enormous. Watching her walk down the block you saw her confident control in the space. She was one of the reasons we felt so safe there. She provides the order needed for peace.

We spent a few short but fulfilling moments with Megan. She allowed us to collaborate in her domain and we could not have asked for a smoother experience. Wrapping up in the housing block it was time to pack up and move on to our next location to meet Patrice, another staff member of OSP.  She is also doing amazing things but that is another story for another time.

To Be Continued…


Do you want to know what I did last summer?

I’ve always felt connected to trees. I grew up surrounded by them and being an only child in a relatively remote area, I will always call them my friends. We heated our home with wood throughout the duration of my childhood. The interesting part of that is that we never cut down a living tree. You see, my father had the responsibility of managing a large forest parcel adjacent to our land which was owned by a family that lived about 300 miles away from us. They chose to have this land logged twice during my upbringing. When a tree is harvested, the loggers are usually only interested in the stock of the tree. what’s left behind is a normally a very significant part of the tree consisting of a variety of small to large limbs.

Titusville, Pa

In the spring of 2016, I was back home visiting my folks with my son, Calvin. One afternoon, Calvin and I decided to go on a long walk of exploring on my parents’ property. The great motivation for my son was to search for salamanders near our creek, Indian Run. On the way back from the creek I saw what I thought was a large fallen tree in the distance. We navigated closer to find an enormous Red Oak that had rotted near its base and had been forced to the forest floor by a significant wind storm.

Fallen tree and Calvin for size

My first impression of this fallen giant was its sheer enormity. It really was quite big and it appeared to have taken down another dozen trees in its descent. Another thing I noticed quickly was how beautifully clean it was for about the first 20 feet from the ground. After a few minutes of admiring the tree and of course taking some photos of the monster,  I decided to head back home and engage my father on our find.

Dad and Calvin examining the Red Oak

My dad was certainly interested in the tree and had a vague recollection of hearing an enormous crash in the woods a few months prior. He journeyed back out with us to examine the tree and he realized that this was the largest tree on his property.

Dad next to a cutting of the Red Oak

Fantasizing for a moment, I told him that I thought this tree could be preserved and given a second life through milling and repurposing the slabs, boards, or any other way you might want to craft it. He agreed and we wasted no time in beginning a process that one could only describe as a labor of love.

Fallen giant

You’re probably wondering why I’m telling you a story about cutting up a tree.  Well, over the past decade I’ve found that diversifying my creative outlets has always led to growth in my photography and it’s creative expression.  The clearest example of this was in 2008 when the economy went through the great recession. Business slowed and instead of sitting around and waiting for the phone to ring, my wife and I chose to renovate our kitchen and the first floor of our house. Through this process, I was forced to make design decisions in a creative realm that was quite foreign to me. With my wife as a guiding light, I was forced to have an opinion on everything we chose to create in that house. I began to reflect on how those decisions could influence my photography and the design that it was packaged within. The tree milling process is quite similar and will force me to learn and grow in a creative space that is foreign to me.

Julianna

Back to what we actually did this summer. In a perfect world, this tree would have fallen on level ground that was easily accessible by a log skidder. In reality, this tree was on a hillside and if I wanted to drag it out of the woods I would at least need to take out a dozen healthy trees to drag it out of the woods. I hated that idea. Being someone who is willing to compromise, compelled to follow through on a goal, and always up for a challenge I decided to find a way. The solution was a chainsaw with a very long bar and a contraption known as a Granberg Alaskan Mill.

Alaskan Mill Starter Kit

As you can see, this device looks something like a metal shop experiment gone wrong. It really was the right solution. 

Handling this machine is nothing short of grueling. It took me about an hour to cut each of the 8 slabs you see. My body was wrecked after just one cut and I made a number of mistakes along the way. 

After milling the last slab of the first of two major chunks of the tree, my father and I still had to get the slabs out of the woods. Fortunately, my father has always owned a reliable tractor and a much more reliable trailer. Gravity helped us the most at this stage of the game and after about 5 hard hours of difficult labor, we finally got these 14’ beasts out of the woods.

Dad with his trusty trailer

The process has been quite rewarding. I still have a long road to go in finishing the conversion process, but when it happens I will surely be proud to show off the results.

Calvin and the 14′ cuts of the Red Oak

To be continued…

MGM: Rivea Restaurant & Chef Bruno Riou

There are very few moments that a restaurant kitchen is quiet. It is a living thing that thrives on high-energy, passion, and creativity. A highly functional kitchen will feed many people delicious and memorable food every night with each plate prepared with care and love.

In the heart of Rivea Restaurant is where you will find Executive Head Chef Bruno Riou. With a decade of experience working with Alain Ducasse in London, he seized an opportunity to run is own kitchen in Las Vegas at miX and then in 2015 at Rivea restaurant.

One of the challenges a photo crew working in a kitchen is that a photo crew isn’t supposed to be in a kitchen. The space is created for the chefs to work as efficiently as possible. To successfully work with each other like well oiled machines is a requirement for a kitchen and photo team alike. With that in mind we danced about the stainless steel maze photographing Bruno at work.

But what is better with a meal than a perfect pair glass of wine. Somellier Matthew George manages one of the largest wine cellars in Las Vegas that consists of 8500 bottles of 1700 different label selections.

Same as the kitchen, a wine cellar is not meant for a photo crew. There was once again a need for creative collaboration to capture the grandness of the space.

With a few climbing of ladders and Chris wedging himself in an automated sliding door. At the end of the day, we made beautiful photos, worked with great people, and had a wonderful time in Las Vegas

New Personal Work: The Musician

chris crisman the musician conceptual personal work

We’re always striving to create new work that we’ve never seen before – some images that exist squarely in reality and others that require a bit more imagination to create and a bit more ingenuity to bring to life. When we’re in the studio concepting and brainstorming, ideas have a tendency to grow and build off of other ideas until everyone has a clear vision of what we’re after, whether it exists in reality or not.

For this new photo that we’re calling The Musician, both the location and the talent were born out of a brainstorming session that got us all a bit carried away, with thoughts and ideas that compounded and forced us to ask the question: “how can we shoot that?”

chris crisman the musician conceptual personal work

First and foremost we needed an environment for our photograph. From imagination to the internet and eventually to reality, we whittled down the list of possible locations from a worldwide search (ruled out – too many frequent flyer miles to travel to Europe on short notice) and eventually discovered a violin shop in the tri-state area that contained all of the pieces of what we were looking for.

chris crisman the musician conceptual personal work

Were those pieces necessarily lined up and constructed in the way that they needed to be for our concept to come to life? Not so much. But we knew that the reality of the space was merely a detail that we could overcome with a touch of creative retouching and post-work.

So we shot, and shot and shot, capturing as many angles and vantages on the violin shop as we could, knowing that the final space would be created as a composite of these pieces.

chris crisman the musician conceptual personal work

chris crisman the musician conceptual personal work

As for the character, we knew we wanted someone who would look eccentric and eclectic, someone who could match with and amplify the background we’d created. Simply enough, our casting call only asked for “unique looking” males and we let the magic of the search provide what it could. After sifting through a few pages of results, we knew immediately who our talent would be when we saw Geoff Lee – an actor and musician based in New York. Geoff was on-board and with the help of our talented prop and wardrobe stylists set to work creating his character.

In the end it all came together seamlessly, a space and character born out of imagination and brought to life through our vision. As always, we can say that the sum is greater than the whole of it’s parts, but those parts deserve a thank you. Many thanks to our talented model Geoff, Matthew Englebert on props, Wendy Oswald Kinney for wardrobe help, Megan Ambroch for makeup styling, and of course the talented folks at PXL House for bringing it all together in post.

Questions, comments? Let us know your thoughts below or @crismanphoto and /crismanphoto!