Article as appeared in PHOTO DISTRICT NEWS
DEN OF EQUITY

Arnold Katz has discovered a potent new weapon in the battle to eke out more efficiency from each day: the photographer’s studio as self-contained photo set and prop shop.
Every area not specifically dedicated to tabletop shooting space at Katz’s new 5000-square foot, all digital studio on East 32nd Street in New York City is designed to double as a set. “My wife Marsha, a space planner, convinced me that my workspace could also be a setting for my work,” Katz says. The result is somewhat unusual: Instead of a sleek, modern, minimalist look, Katz’s studio resembles an upstart law office crossed with an upscale antique store.
His personal office-with its elegant wood desk, tufted high-backed leather chair, matching wood bookcases, large curved glass block wall and moveable fireplace-often serves as a backdrop for his photo shoots. The fact that he does most of his work for publishers explains why he has several more bookcases throughout the studio. “To go looking for a library location or to build a set every time I need to shoot some books on a shelf would be a hugewaste of time and energy,” he says.

In addition to using his studio as a set, Katz tries to keep every type of prop he is ever likely to need on hand. He says he is constantly searching through antique shops and flea markets for small-scale props and other items he may one day incorporate into an image. As a result, the studio is decorated with scores of props such as busts, globes, cannons, vases, trunks, statues and fake rocks that can be found in many of Katz’s photographs.

While sifting through a stack of images in his mirrored and carpeted conference room (also used as a setting), Katz comes across one such photograph. “McGraw-Hill gave me a general outline of a layout set on a lush, old, school-style desk in a gentleman’s study, to create an up- scale image for a line of history book,” he explains. Every item in the photo-the desk and chair, an antique globe, a banker’s style desk lamp, blotter, old books, raised mahog-any panels (that effectively suggest the walls of a lush study) and Katz’s Mont Blanc pen-were found at the studio.

Katz is clear about how this approach improves his bottom line. “The budget for this shot was $2,000,” he says. “Without these resources I would’ve had to hire a stylist for $400 and send her shopping with only a vague description of the items needed. We would have reviewed the Polaroids and rented what seems appropriate. Combined with the stylist’s fee, the design and prop tab would’ve been a minimum of $1000, plus shipping. And if the props didn’t make the designer happy, we would’ve had to live with them or start over. This way, we eliminate that whole process, the client was happy and I get to keep most of that $2,000 fee.”

Jeff Brick, design manager for the McGraw-Hill Companies, was indeed pleased with the results. “Arnold’s resources gave us the ability to customize and fine tune the shot. We picked out the exact objects we wanted and Arnold put them in a dramatic setting.”

Katz says that he can create almost any kind of back-ground he may need from materials in his storage area. Recent jobs have effectively used his collection of carved wooden friezes, French doors and burnished metal panels, which convincingly suggested pricey Sub Zero-style refrigerators in cooking shots.“My clients know I’m likely to have just about anything they need on hand here, so they don’t get ultra-specific about what props and settings should look like,” he says. “This allows me to become much more involved in creating the image, instead of simply attempting to match an art director’s sketch. The downside is that I rarely get an answer when I ask ‘Do I need to get anything for this shoot?’ They are saying to themselves “Oh, Arnold will find it in his treasure trove.’ ”

Katz takes advantage of the options offered in an all-digital imaging environment, giving clients “soft proofs” by loading photographs to an area of his Web site (arnoldkatz.com) that the client can access with a secure password. “Posting images on the Web is such an improvement over trying to e-mail or FTP [file transfer protocol] large files,” says Katz’s son David, who also makes photographs and digitally manipulates the studio’s output. “Clients like to download the rough images from the Web site into Quark and place them directly into their layouts.” the younger Katz adds with pride.

Meanwhile, Katz’s deadlines have gotten even shorter. Clients often give him one day, sometimes less, to produce complex images. But Katz, who has been making a living since 1959 when he opened his first Manhattan studio, has obviously learned a few things about creating distinctive and cost-effective images -- and quickly.

The stimulation has helped keep things interesting for the veteran photographer. “Sometimes I think I’ve built myown guillotine here because I never know what king of curveball will come at me next,” Katz says. “However, thanks to this new approach and digital imaging technology I’m much more involved in the work than I have been for years, and my love for photography has been completely rekindled.”

-BY ERIC RUDOLPH