Induro Blog

As a high school band director in 1978, Seattle-area native Bruce Hudson and his late wife Sue began photographing weddings on weekends to supplement their income. By 1982 they gave up their day jobs and opened Hudson’s Designer Portraits in Renton, Washington. Building their business on the wedding trade, it now accounts for only three percent of their annual revenue.

©Bruce Hudson

With the help of his son Josh and daughter McKenna, Hudson has created a small empire based on his passion for photography. “We built our business based on our relationships with our clients,” he says. Senior portraits have grown to be a huge piece of the Hudson Photography pie. By providing excellent service with his photos, high school seniors return “five to ten years later they get married and we do their weddings, then we do their babies, and now I’m doing their high school seniors. Part of the reason we’re still kicking is because we maintain a real good realtionship.” The art of customer relationships is as important as the art he practices with a camera so much so that Hudson penned a book about it entitled The Relationographer, now entering in an expanded second printing.

©Bruce Hudson

An example of how Hudson maintains excellent service with his clients is both savvy and heartening. Fifteen years ago he shot a couple’s wedding. He hadn’t heard from them since the wedding. They called again after having twins and wished to take advantage of Hudson Portraits’ First Year Baby Plan. The plan includes photos of the pregnant mom followed by monthly photos of the baby’s first year. After working with the couple and their twins for a year, they called back for another session when the twins turned two. The husband ordered a large 30 x 40 inch portrait for the wife’s birthday gift. “The type of clients we attract are the ones who put family above everything else,” says Hudson.

©Bruce Hudson

Early on Hudson identified the value of high-quality images for his clients. He began using the Mamiya RB67, and later the RZ67. “The 6 x 7 negative gave me a better quality image than the Hasselblad,” he remembers. Offering his clients enlargements up to 40 x 60 inches, “having that larger size negative really made a difference in the quality of the final product.”

©Bruce Hudson

Because he wanted to deliver higher resolution photos, Hudson went with the Mamiyas and stabilized them. “That’s one of the reasons I started using a tripod early on, even for weddings.” Using a Mamiya 645 at the time as a secondary camera, Hudson relied on a tripod for “the more arty things,” he says. “Back then I was using a Bogen. It was a pretty hefty piece of equipment to be carrying around. Having a tripod like that really took a toll on my body for twenty-some years to the point I started having back problems, which eventually turned into hip problems.” Eventually, Hudson needed two hip replacement surgeries.

©Bruce Hudson

“When the Induro came out with a carbon fiber tripod, it was perfect for me because it was so light weight,” recalls Hudson. “It’s helped keep my body from getting beaten up anymore. The thing is bulletproof. It’s very sturdy and it can hold any camera I put on there. It’s indestructable. We do what we call portrait safaris. One of our most popular ones is in Cannon Beach, Oregon. Once I was tucked up on this rock and was quite literally using the tripod to support myself, too. I often have it in the saltwater and sand. When you’re using the carbon fiber, you don’t have to worry about it rusting. You just rinse it out a little. It’s light, it’s easy to use, and it’s quick to set-up. It’s very sturdy and I’m very impressed with it.” Hudson is currently shooting atop an Induro C314 tripod with a DM23 head.

©Bruce Hudson

Again, the quality of the final photos trumps all for Hudson. “I still like using a tripod, especially with my large family groups,” he says. “Sometimes you have a slower shutter speed and when you’re enlarging the images to the size we do and sell them, you can’t have any camera shake or movement.”

©Bruce Hudson

The Profoto AcuteB 600 is also in Hudson’s gear kit for location work. “It enables me to shoot in full-sun, ISO 100, have control of the background and be able to illuminate the subjects from a 45-degree angle off-camera with one light,” he says. “Everything in my studio is all Profoto, too. They’re great products.”

©Bruce Hudson

“We’re still primarily doing family portraits and kid’s portraits. We’ve worked very hard to do viral marketing via Facebook, in particular, and it’s been great. We take maybe four or five images for a senior portrait session and put them on our Facebook page and tag them. It’s been working really well,” Hudson explains. A photographic area he hadn’t actively pursued has recently been growing significantly. “I don’t really see myself as a commercial photographer, but I sure am doing a lot of it lately,” he says. “A lot of my portrait clients own businesses,” and this has helped pick up the slack in the wedding segment of his business.

©Bruce Hudson

Hudson has also started My Studio Mentor as a photographic educational site. Some of the DVD titles he offers there include The Art of Family, focusing on how to create family portraits and New Directions/Reality Check, a two-DVD set on improving the business of your photo studio. Yet another venture is BruceTunz.com, which offers copyright-free music for presentations, calling on his days as a bandleader and musician. As the recession continues, the Hudson clan continues to diversify and channel their photographic experience into new areas, all the while offering photography services known and loved in the Pacific Northwest since 1978.

Hudson Portraits

Hudson Portraits on Facebook

Hudson Portraits on YouTube

Seniors By Hudson

Seniors By Hudson on Facebook

Bruce Hudson on Twitter

Josh Hudson on Twitter

Educational Links

My Studio Mentor

My Studio Mentor on Facebook

My Studio Mentor on Twitter

The Relationographer

Brucetunz

I’m very excited to have Troy House on board today to delight us all with his photography insights. This man has shot the Snuggle bear, my friends. And he loves Induro tripods! Without further ado…

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I hear you’re a long time fan of Induro tripods. Any special stories of when a tripod helped you get a truly fabulous shot? If not- then simply- why do you choose Induro?

I think I actually have 4 of them! Tripods are the most under rated piece of equipment. I don’t use a tripod for every shot but when I do it has to be rock solid but I spend a lot of my life on the road and in remote places so it has to be light as well. I have no particular allegiance to Induro, I just use them as they are the best I have found.

I really love the feel of your imagery. You seem to have a unique knack for creating a light, bright, nearly otherworldly feel. Or maybe otherworldly is the wrong word- your images feel “clean”, scrubbed of every day soot and left gleaming and beautiful.

This seems to lend your work ideally to the dreamy lifestyle category. Is this the way you’ve always shot? How did you develop this style, and do you employ any tricks to create the effect?

I actually started as a studio fashion photographer. The first 5 years of my career, the only time I saw the outside of a studio was on my way home. Later, I started shooting more on location. When I started showing that work it wasn’t long before everyone thought I was a location guy. I started taking personal pictures on these fashion trips and started showing it and soon I was getting hired for that more than fashion. It was never a conscious decision but one that I have never looked back on. Being prepared and tenacious is my trick. 80% of what I do is in camera.

I see your parents were in the business of photography as well. How did this help you choose your career, and what was their work like?

Actually this had me running from the business. My father owned a small town portrait studio on Main Street USA with pictures in the window. All I knew of photography was that and I knew it wasn’t what I wanted. I tried to make it as a painter but eventually moved back to photography, I just never did weddings. Once I realized what else you could do with photography, I knew it was for me. My father sold his studio when I was 14 so I didn’t work there when I had really started shooting but it was great to have an expert on speed dial to call with all those photography questions.

Attached are two images I absolutely love. Can you tell us the stories of how they were made?

The pool photo was taking in Turks and Caicos for Harpers Bazaar Australia. It was dusk and I saw a workman walking on the back ledge and I asked a waiter if she would do the same.

The fishing story was taken last year for a hotel client advertising things to do near their property in Aspen. We tried out several locations but I felt they all where too busy and expected. I asked our fisherman to get into some faster moving water as I thought it would be more interesting and he said that you would never fish there. Sometimes the best photos lie a little.

Tell us about your Snuggle ads! I’ve always been intrigued by that Snuggle bear, he was a mainstay of my childhood. How did you approach that project.

Snuggle was one of the greatest projects of my life. It was a few years ago with AD Shawn Kelly at Lowe. We shot it all in Rio as they were shooting the TV spots there as well. The comps called for Black and White so we shot film instead of digital. The client would not be attending so every night we would call with updates. The problem was, it rained every day we were there and the project was called Sunkist Breeze.

We would call back and say, “we shot in the rain and have great work but we don’t have sunny images”. They kept extending our shoot and we kept shooting. Finally we had 2 hours of sun and jumped on the plane home. Every image here was taken in the rain. It was actually fun hauling the snuggle bear everywhere because he is a worldwide icon.We would have huge crowds gather around calling out his name. He actually has different names in different countries. In Brazil they would call out,”Fofo”! This bear was actually very heavy as he was mostly metal on the inside. Now they have switched to cgi so no more Snuggles on set.

What’s next for you in 2010?

Lots of personal work. I have a few projects I am researching at the moment. I am also playing with moving images as well and working on how to translate how I see to the moving image.

Thanks, Troy!

Cameron Davidson combines his love of flying and photography to spectacular effect, making gorgeous aerial imagery for a slew of magazines and commercial clients. I was lucky enough to interview last year; have a look and a read here.

I was perusing Davidson’s site today, looking for the usual gems, and I found an “abstract aerial” section. What a hoot! Here are some samples. We’ll start with something easy.

getting harder…

these two are my faves.

Nice! Here’s a question for Mr. Davidson (this is him, btw):

How have you been able to combine your love of flying and photography so well– was there a “eureka moment”, or did you always know this was what you wanted to do?

The love of aerials came from my first National Geographic assignment in southern Maryland. Bob Gilka, the former Director of Photography, gave me the go ahead to charter a Jet Ranger from the DC area to shoot a Great Blue Heron rookery along the Patuxent River. I fell in love with the combination of being able to shoot a graphic image that also conveyed important story information. Plus, I love to fly and there is nothing better than being in the back seat of a turbine helicopter, working as a team with a pilot you trust and creating images that show the world from a slightly different perspective.

I’ve been lucky to shoot aerials for some amazing magazines and clients. Audubon published a personal project on Mountain Top Removal last year along with giving me several assignments that featured my aerial work, Field and Stream sent me to Wyoming last year for a project on the affects of gas drilling on wildlife migration, Wired has sent me to Arizona for an all aerial story. For many years I shot stories for Smithsonian that included aerials and the Geographic has assigned me to shoot the aftermath of several natural disasters for the magazine– Hurricane Andrew, Mississippi River Flood and Western Wildfires.

Thanks!

Some visual magic for Friday. I just came across these images on Dan Saelinger‘s site, labeled simply as “navigator’s”. I thought they were spare and beautiful, and I was intrigued  about why and how they were shot. I did eventually find out the secret to “why”… here’s a bit about “how” they were made:

Each image had a master shot, then from there we would blow bubbles, shake tables, and jump up and down to create different effects to add in post.  The water arc jumping from glass to glass required some very cool water rigs, laser triggers, high speed strobes, and a ton of captures.

Woo, sounds dramatic!

This one is my favorite. It’s like a water dance.

Burning to find out why these were made? Go here to find out! And soak up more Saelinger, here.

Another interview today! Tuesdays are good for such things, don’t you think? Today we are talking with Lincoln Barbour, who is a young and very versatile shooter out in Oregon. He’s doing both editorial and commercial work, with a wide range of imagery.

So, let’s start off with a tripod question! What do you look for in a tripod for your daily work?

What I value in a tripod is flexibility and stability. Weight is not an issue for my kind of work, so a lightweight tripod isn’t necessary. But it needs to hold the weight of the camera steady for long exposures and a heavy tripod comes in handy when you’re doing 30 second exposures outdoors on a windy day.

More important than the legs is the head. Always get a tripod head that supports more than your camera weighs. Too small of a head will unbalance a heavy camera with a small head and you’ll get camera shake. Plus, if you go vertical, your camera may pull against the tighteners and you’ll get shake or drift. In multiple exposures (i.e. HDR) this is a big no no and will ruin your shot.

My tripods are always rock steady. And sometimes I’ll even weight them down with sandbags. It’s also nice to have a tripod with a short center column so it can get real low to the ground. Comes in handy when shooting gardens and plants.

I’ve had a seriously long look through your site- your daily image posts are easy to get lost in. I’m intrigued that you take pictures of things that you love, as you say- “As a person, he is drawn to architecture, food, objects, and travel; for it’s these pursuits and creature comforts that make living worthwhile”- I love that approach. How are you able to pursue this wide range of imagery?

It’s been a long long journey to get to the point in my photography where I know what it is love to shoot. When I first started out, an older photographer friend of mine asked me, “What would you shoot if money didn’t matter?” I couldn’t answer him then, but I think I could today.

What really helped me get there was my photoblog. I posted to it almost every day for a year and I keep it going today (though posting less frequently now). Since I had to put something up for the world to see and judge, I really wanted each shot to be something I was proud of. I then started noticing what my eye was drawn to and that way of seeing started carrying over into my assignment work. This has helped me get a portfolio today that I really stand behind and can say this is me.

As for the subject matter, I looked at what I was shooting personally and then sought out what was the closest thing to it commercially. Architecture, travel, and still life (food/product) seemed a natural fit. And since there will always be new buildings, new restaurants, and new products that need to be photographed I felt like it was a good area to focus on. And, not only do I like shooting these subjects, but I also really like getting to meet the people who design and make such amazing things that make the world a better place.

Ultimately though, I choose not to really limit what I can do and pigeonhole myself. That way, as I evolve as a photographer, my work can keep reinventing itself and I won’t get bored of it. For example, I actually did a fashion shoot last year which was pretty fun and out of my comfort zone.

It seems like the last few years for you have been an important career-building time. Also, it seems that you’ve moved around a bit. What has your approach to your career been? How do you find clients, and what are your dream assignments?

I’ve been working for myself for seven years, and the last two years have been really excellent. In Virginia, I was just starting out and shot pretty much everything. My main client was a high end real estate firm, but I also shot events for a weekly paper, silos for an auto parts company, model portfolios– you name it.

When we moved to Portland, OR four yeas ago, I knew I needed to build a local client base because I wasn’t ready to promote myself nationally. Within the first few months of being here, I was assigned a feature for Portland Monthly and they’ve kept me busy ever since. More than half my portfolio is from assignments with them and some of the biggest jobs I’ve gotten have been because of something the art director saw that I shot for them. They’ve also introduced me to a lot of local clients and I have that base now.

Once I was confident in my portfolio, I started advertising on source sites like Workbook, AltPick, and CommArts Hotlist. This led to jobs for Jeld-Wen, UBS, Elle Décor, Domino, all the bigger brands in my client list. Nowadays though, it’s all about referral and word of mouth. So, I’ve been letting bloggers use my photos in trade for a link back to my site. It’s amazing how much traffic I get from these blogs. Not only that, but I’m pretty sure the commercial clients I want to shoot for read these blogs and see my name associated, so it helps build name recognition. I also do Google Adwords to build name recognition. I don’t expect any assignment from a click, but it’s good that my name pops up if you search for “Architectural Photographer” or “Product Photographer”.

I guess my dream assignment/client would be to shoot for Orient Express Hotels & Resorts. I would love to be flown all over the world to shoot their hotel rooms, the grounds and spaces, the food, and lifestyle details. I’m the perfect photographer for them because they would just need me, instead of three different photographers all with different styles.

If I really dig, I can find some pictures of yours shot on film, and I see that 4×5 of yours is not getting much use. What’s different about your approach to film and digital, and is it just cost that is keep you from shooting more film?

I shot 35mm black & white film in high school and afterwards as a hobby. When I quit being a web designer, I got a job for an architectural photographer and he was shooting 4×5 and 120 on a view camera. I had never seen either until that day. I didn’t even know there was tungsten film. It was a tremendous learning experience. The film he shot we’d scan on his drum scanner and do everything we could to make the scan look like the film. It was a pain in the ass and took forever. I could only scan 9 pieces of 6×9 or 4 sheets of 4×5 at time. A big job would take days to process. Nowadays, I can turnaround 12 shots in about 4 hours.

So commercially, I have to shoot digital. There’s just not enough time anymore. I take the same approach to digital as I do to film. I really try to get it in one shot and only resort to Photoshop if it’s one of those impossible to get otherwise images.

I did shoot some Polaroid recently for a Land Camera group show at OFFICE. It made me fall in love with film again. I miss the finiteness of film. With digital, it so flexible you never feel like it’s done. Film is film, end of story. I love that!

What’s the most exciting recent gig you’ve had? Can you show us any outtakes?

Exciting is somewhat subjective, but I just shot this rad interior space for a design firm in Portland called Parliament. They have the coolest place to work ever. My favorite shot is the one with the grizzly bear skin rug wearing a real fedora from Lebanon.

Also, if you want something a little more sexy for recent gigs, I shot some beer with a ring flash for Imbibe magazine.

How did you get started in the industry? Any particular career goals for ’09/10?

I basically got fed up with being a web designer. It rode out the first bubble burst and was ready to do something different. We hired a photographer for a client and I took him out to lunch one day. I wanted to know how he made it as a commercial photographer since I was already in the commercial art world. He gave me the overview and then offered me a job. Nine years later here I am.

My goal for this year is to shoot for Dwell magazine, shoot a national ad campaign, and win an award. I love Dwell and think my work would be a good fit for them. I’ve shot a little advertising, but I haven’t done a big multi-market campaign yet for a big ad agency. Something you’d see in magazines, bus stops, websites, etc. Finally, I’d love to win a contest (or even just be featured) in PDN or Communication Arts. It seems like people really start calling if you get in either of those.

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Thanks, Lincoln! I had so much fun trawling your site for cool Lincoln images, that I need to just go nuts and post a few here.

Beeyootiful. See more Lincoln, here!

We were pleased to be able to ask seven questions of Falcon the other day- a longtime friend of Induro, and a founding member of NyghtFalcon (there they are below, on the road). This interview’s a long one, so I won’t blather on too much up here. Without further ado, we go into the nyght…

1. Tell me about your photography business- it seems you and your partners shoot a wide range of subjects. When did you start your business, and who are your major clients?

Yes, we do shoot a wide range of subjects – and that is intentional. Before NyghtFalcon was founded in January of 2003, I did extensive research into the photography industry and learned a number of things:

a. The day of the one person firm was drawing to a close as was the day of the mega-studio in which everyone was narrowly specialized and the cost of supporting a huge infrastructure had already become difficult to support. Both ends of that spectrum generally focused on one discipline within the industry. We decided to do the opposite – shoot everything and shoot it equally well. This has protected us against rapid changes in a specific niche. We simply adjust the mix of our business as the economy and the market change.

b. Seven years ago the film versus digital debate was still raging. Our research indicated that film would lose so we decided to just go digital. The ability to turn work quickly would be important, I thought, as the world went increasingly digital, and film required too much time and was expensive. We also discovered that using digital cameras made it easier for us to approach the business differently. We focused on building a work flow that addressed the requirements of photography in general. As we moved into different markets, we applied what we learned in one market segment to others.

c. We also knew that if we were not going to have a traditional studio we would need to build a global digital network. We did just that and we did it without spending more than $30 a month for internet access. We are very good at leveraging other people’s technology and adding intellectual capital to it. For example, we have a global email system that includes client management, corporate calendar, calendar sharing and so on, and it costs us nothing.

d. Lastly, many of the companies we talked to suggested that they didn’t like the fact that even within a studio, every photographer had his or her own style. This made completion of assignments dependent upon the availability of a single photographer. We chose to do it the other way around. We all share a common style and unless you really know us individually, you will never know who created which image. This way, clients don’t have to worry about who will show up and about inconsistencies of style and we gain a competitive edge.

We built a business model that reflects these four points. Our business model stresses the good of the team, a common style, the ability to do world class work for any client regardless of industry, any where and at any time under any and all conditions. Our corporate culture was designed to reinforce that.

I should also note that we have been shooting RAW since March, 2003. We were also among the first to master film emulation. In effect, we can take a digital photo and make it look just like any one of more than 100 films.

Major clients include Royal Caribbean Lines, Carnival Cruise Lines, Explorers Club International, Polo Ralph Lauren. We have also shot important events like the Kentucky Derby (three years running), The Wyndham Classic (formerly the Chrysler Classic) and other professional sporting events.

2. What is some of the commercial work you’ve made of which you are especially proud? If you can, share an image or two and tell us the process behind it.

We are especially proud of the work we have done in the Caribbean for the cruise lines. Personally, I am most proud of the work we did for a local chocolate company. We found and rented the house where we did the shoot, hired the model, designed the sets and the lighting, wrote the project plan, did the art direction and styling, and then executed accordingly.

For Royal Caribbean, we flew into Honduras, discovered the air line we were supposed to fly to Roatan was grounded and more or less had to figure it out from there on our own. We worked for two days, fourteen hours a day. We photographed the ship coming in, people disembarking, jewelry and other merchandise being sold, took candid photos of people shopping and then photographed the port at night. It was intense but we are trained to do those types of assignments.

That assignment was done by our most seasoned team – JD Milazzo and me. Like all our teams, we work well together and are quite good at anticipating what needs to be done.  I should mention that we were unable to leave because the air line was still grounded. We booked on another carrier but could not leave till 24 hours later. We used the time, as we always do, to build our portfolio. Our ability to “run and shoot” has earned us the distinction of being the Special Ops of photography.

The Loco for Coco shoot – the local chocolate company – was entirely different. We met with the client several times over the month before the shoot. We wanted to make sure that we were all on the same page and that nothing would be left to change. We even did a mock shoot to make sure we had the lighting down. We knew we would be using three rooms in the house and we wanted to make sure that we were able to move the lights quickly from room to room. On the day of the shoot we arrived two hours before the client, set up the lights, reviewed the plan one more time and then executed it flawlessly. The client was amazed at what we were able to get for them and they have become a great source of referrals.

3. It looks like your team travels quite a bit. Where have your photographic adventures taken you? Have you had any dream assignments?

Since NyghtFalcon was founded, we have worked throughout most of the US, Paris, Amsterdam, Copenhagen, Zürich, Basel, Lucerne, Grand Turk, Honduras….. the list goes on.

Sometimes we get more than we bargain for. Case in point, we were on our way to Bryce Canyon in the dead of February and got as far as Cedar City, Utah, when we realized that the rental car would never make it through the icy mountain pass. It was touch and go but we managed to get out of the pass alive and unhurt. On the way back, we found two fascinating places – Silver Reef and Wells Fargo. Wells Fargo was a stage coach stop in the 19th century and eventually, in the early 20th century, it was abandoned. Some of the buildings have been restored. We got there at sunset. It was stunning.

Silver Reef is a mile or two away from there. We saw a sign for a “colonial cemetery” and took off to find it. Quite typical for us. On the way to the cemetery we found Silver Reef – the only silver mine in North America where silver was mind from sandstone. It is abandoned now with a small sign that makes it easy to miss. It was fascinating to study it and photograph it. Just down the dirt road from there we found the cemetery on the knoll of a hill. Almost all the graves were marked with a simple wooden cross that bore the words “Unknown”.

I think I speak for all of us when I say that as much as we enjoy places like Paris, it is the Silver Reefs of the world that bring us the most excitement and enjoyment. Imagine standing next to an abandoned silver mine that only a few people who live near by and we know about. Incredible.

4. What do you value in your tripod? Do you have any favorite Induro models? Have any in particular enabled you to get a shot you would have had trouble with otherwise? Have they stood the test of time?

In no order of importance, I value over all weight, ease of use, and flexibility. In the past we have used Gitzo but we were not pleased. They were very heavy and they had a composite bushing around the center shaft that frequently broke. We also kept losing feet and they were expensive to replace. The Induro tripods are very light and yet very rugged. They are small enough to fit in our company issue duffle bags so that we don’t have to pay extra when we fly and they attach to our ThinkTank camera bags easily.

To me the best feature is the one turn to lock or unlock the legs. This enables us to quickly adjust the height or angle so we can move to the next shot with little delay. When we are in places like Vegas or Paris doing architecture at nyght or shooting candids the ability to setup, adjust and move the tripod is absolutely critical. We have found the Induro tripods to be ideal for our “run and shoot” brand of photography. They have handled what we have done to them remarkably well. The trip to Honduras last month was brutal but the Induro tripods survived unscathed.

5. Tell us a little bit about the seminars you run. Have they been successful?

We didn’t start out doing seminars. It was a market we decided to enter a year ago. We train all our photographers ourselves and a number of photographers – amateur, semi-professional and professional – had asked if we could teach them various subjects. Since we were doing it any way, we decided to open the classes to other people. It has been wildly successful.

6. What’s the work of which you’re most proud, and what does ’09/10 have in store for you?

As much as I have accomplished personally over the past six years, I am most prod of the team we have built. Considering all the ego problems one expects when dealing with award winning artists, we rarely have ego problems. We share ideas, critique each other’s work, and stand beside one another whenever the going gets touch and it often does.

7. And finally- why the name Nyght Falcon, how did that come about?

When we founded the company, we wanted a name that would easily be remembered, that would be different, and distinctive, and easy to brand. Before turning pro, virtually all my photography was done at nyght so it seemed natural to include that in the name.

When I was in high school, I was given the name, Falcon. I was very shy and given to listening while a debate raged, and then, at precisely the right moment, like a bird of prey, I would attack. So, I was given the nick name, Falcon. A few years later, when I went to college, the genetic eye disease from which I suffer began to take hold of my eyes and I began to stay up all night and except for going to class, I slept during the day. My room mate started calling me, “Nyght Falcon”. I chose to spell nyght with a “Y” to reflect the Gothic edge our work has. Initially, we used NyghtFalcon Photography. In the second year it became simply NyghtFalcon to further stress the difference between who we are and what we do and other photographers.

We prefer to refer to ourselves as La Maison de NyghtFalcon – the House of NyghtFalcon – because our business model is like that of a fashion house and because we want to constantly remind ourselves that what we are building is bigger and more important than any one of us.

Experience more Nyghtfalcon, here.