Photography Project Case Studies

The first project for AT&T

AT&T has always been a client with a need for clear and innovative communication. Altman's first assignment for AT&T started with a call from a distressed public relations director. A CEO for one of the local operating companies needed a photograph for the annual report. The CEO hated having his picture taken. He hated all his existing photographs. Rumor had it he also hated all photographers.

Accepting the assignment Altman asked for an interview with the CEO's secretary. The conversation revealed the CEO had worked his way up in the organization from his first job as a pole lineman to his job as CEO. Outside of his work his only other interest was his family. He had no hobbies, no other outside interests.He was simply a dedicated family man. A similar conversation was arranged with CEO's wife. She substantiated the rumors about her husband were true regarding photography and family.

Altman invited the CEO's wife to be present at the picture session and to sit for a portrait with her husband. She agreed and in the spirit of things , set up a luncheon date with her husband for after the shoot but surprised him with being early and siting for the joint portrait.

The CEO was delighted with his wife's participation. He was impress with the pictures and with Altman's style of problem solving. This was the first of more than fifteen years of assignment for many of AT&T divisions.

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Following are examples of a range of problem situations and the visual solutions Altman created for AT&T.

At the time AT&T was divesting some of its' holding to meet a Justice Department consent decree, Unions working for AT&T were justifiably concerned about their future."The future of technology worker", grew out of a request for an image that would illustrate the future of the communications worker was growing, that workers of both sexes were equal and needed, and that jobs of the future were going to be increasingly scientific and technological.

To meet these three requirements Altman came up with the special effects illustration below. The unisexual worker was created by abstracting an existing photograph of a technician Altman has in his Stock Photography inventory. The image was projected to life size on to tracing paper and drawn to eliminate hair, eyebrows and generally neutralize suggestions of sex. The tracing was transferred to black board that was then photographed four successive times on the same film with different colored filters. The resulting image shows a non gender worker who is growing in importance, intellect and relying on science and technology.

"The future of technology worker", Special effects for AT&T.
Copyright © Steve Altman

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An Annual Report for AT&T Credit Corporation

The theme of the annual report was expressed in the copy superimposed on the photograph below.

"We believe we're traveling on a road leading to significant challenges and exciting possibilities."

The cover and the back cover consisted of a rap-around photograph of many of the images that Altman created for the inside of the report. The idea was to create a montage in the form of a land bridge or road with the various themes covered in the report. To create the effect prints were made of the images Altman created for the report. These prints were cut and shaped to fit onto alligators foam core board that had been shaped to resemble a road or land bridge and was then re-photographed in the studio with the appropriate background.

A land bridge of images representing the challenges and possibilities AT&T Credit Corporation anticipated in the year ahead. Copyright © Steve Altman

Cover and back cover showing land bridge of images representing the challenges and possibilities AT&T Credit Corporation anticipated in the year ahead. Copyright © Steve Altman

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Problems are often resolved when we focus a light on them.

Lighting is often key to resolving the challenges Altman confronts. The following three images for the AT&T Credit Corporation Annual Report were only possible by the creative combining of different kinds and different qualities of light.

Comference room slide show. Copyright © Steve Altman

The conference room slide show was a bit of real magic. A slide projected on a screen in a darkened room, an executive in the foreground and two managers in the middle all had to be in focus and well illuminated.

Altman's solution done in the camera involved treating the single piece of film as if it were three separate pieces of film. Separate exposures were made for each area of the film resulting in extraordinary sharpness in all areas. Light was different for each area requiring different exposures of the single piece of film. The resulting effect is so successful most viewers are unaware of the magic and creativity. They just see a photograph as if they were in the room and as if their own eyes were adjusting to the different light.

The Wall Street and Warehouse images were logistical problems with logistical solutions.

Wall Street in New York City is a narrow street with high buildings that block out sun light most of the day. The New York Stock Exchange is situated so that only one place permits a view with the Exchange in the background. That place is the Federal building were George Washington made his inauguration speech as first President of the United States. It is administered by the National Park Service. Permission to use the steps was required and received. However, the National Park Service had a prohibition against using light stands to hold the electronic flash lights that were need to make the picture work. Solution: Altman hired very tall assistance who's long arms held aloft the small flash units that made the picture.

The Warehouse image problem was to show a warehouse full of AT&T computers with two executives reviewing the inventory. The space between rows in the warehouse was very restrictive. The lighting throughout was florescent and high up in the ceiling. Electronic flash was the solution. The trick was to use half a dozen small units that could be strategically placed in the picture without showing up in the final image. The florescent lights near the ceiling were used as a compositional element to give the allusion of great depth. Pallets of computers were moved into the isle to enhance the illusion of depth. In truth, a dozen small lights could not have illuminated the big warehouses, the illusion was necessary to reflect the truth. The warehouse was full with inventory.