On Edge

Less than two years into Bazaar’s triumphant return, the magazine’s spare sculptural look was being imitated everywhere. Bazaar had, practically overnight, defined a new visual landscape. But as the competition scrambled to copy Fabien’s innovative use of typography and negative space, Liz and Fab kept moving, mixing supermodels and street photographers, grunge and glam, punk and posh. In this episode, we talk to Fabien Baron, Paul Cavaco, Linda Evangelista, Tonne Goodman, Elissa Santisi, David Sims, Richard Sinnott, Mario Sorrenti, and Amber Valletta about some of the most important fashion shoots of the Nineties, stories still widely referenced today. 

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Transcript

Elissa Santisi  

We had total creative freedom from Liz and Fabien. It was almost like, the more outrageous the idea, the better.

Mario Sorrenti  

I heard about Fabien and I heard about Liz Tilberis. So it was like, somehow I have to get my work into the door.

David Sims  

It was a very safe place for a young lad like me to go and sort of have a shot.  

Tonne Goodman  

You know, it was a dream team, and it was just incredible to have Liz and Fab.

Amber Valletta  

For me, it was sort of like this connection to something bigger than them, just fashion. 

Dennis Golonka  

Less than two years into Bazaar's triumphant return, Liz and Fabien had a problem. Bazaar's spare, sculptural look was being copied everywhere. 

Cynthia True  

Fabien's style was almost too impactful. It was as if his look—the pared-down, almost raw layouts, the wild, colliding fonts—was so entirely of the moment that it was suddenly everywhere, creating a new visual landscape. 

Dennis Golonka  

And for Bazaar, that meant it was time to change. 

Cynthia True  

Today, we're talking to Fabien Baron about the creative chemistry between him and Liz Tilberis, and the formula they came up with to stay several steps ahead of the competition.

Dennis Golonka  

We're also talking to Amber Valletta, David Sims, Linda Evangelista, Tonne Goodman, Mario Sorrenti, Elissa Santisi, and Paul Cavaco about the stunning results of Liz and Fab's approach, including two of the most important fashion shoots of the 90s, stories widely referenced today. I'm Dennis Golonka.

Cynthia True  

I'm Cynthia True. Back in 1992, we were brand-new assistants at Harper's Bazaar and witnessed firsthand its remarkable return from newsstand oblivion to its former status as America's most innovative fashion magazine.

Dennis Golonka  

The 90s were the era of celebrity designers and supermodels. Magazines were at their peak influence, and suddenly, no magazine mattered more than Bazaar, a hip alternative to Vogue, and no one was more celebrated than its effervescent editor, Liz Tilberis.

Cynthia True  

This is Blow-Up: When Liz Tilberis Transformed Bazaar. 

Dennis Golonka  

You're listening to Episode Three, "On Edge." 

Fabien Baron  

When something works, I mean, you know, you gotta expect the copying. We were trying to do something really new, and then when you start seeing popping around everywhere, you say, Oh, that's not new anymore. Oh, I did that. I did that, and I did that, you know. So there's a lot of this version already out there. I mean, it forced me to think, you know, ahead of the game, which is a good gymnastic, but it's tiring. It's tiring.

Dennis Golonka  

That's Fabien Baron, former creative director of Harper's Bazaar. Fabien and Liz needed to find a way to keep evolving and defying readers' high expectations.

Cynthia True  

There was another demand for change: in a word, grunge. West Coast post-punk bands like Nirvana and Soundgarden were dominating the charts, and a kind of thrifted anti-fashion look embodied by Kurt Cobain, was all over the streets. Meanwhile, New York and London were experiencing a glam rock Renaissance, also resulting in an explosion of street style. Young designers like Marc Jacobs and Anna Sui were integrating those elements into their collections, a counterpoint to Donna, Calvin, and Ralph. Fabien and Liz intended to introduce edge to the elegance,

Dennis Golonka  

But rather than ushering in a sea change of talent or demanding that established photographers do a 180, Fabien and Liz recruited a small select group of younger, lesser-known photographers, models, and stylists, mainly out of the UK. Most were known for their work in British youth magazines like The Face, Arena, and I-D. But the idea wasn't to sideline their stars. They meant to mix newcomers in with legacy talent and let them clash. This was the recipe. Here's Fabien again.

Fabien Baron  

Like I would put Linda, very established model, like superstar, I would put Linda with David Sims. And I would put Kate Moss, at the time, which was fresh and new from London, I would put it with Peter Lindbergh or Patrick Demarchelier with this cross, you know, generation on purpose to give like, you know, a freshness to the establishment and to give an authority to the new. It gave the established photographer a reason to want to push more. It gave, you know, the younger people something to look up to. 

Cynthia True  

Former Bazaar Fashion Director Paul Cavaco.

Paul Cavaco  

It was that sort of mix of people that made it work, the juxtaposition of those two things, taking a young person, putting them into a very established sort of chic world, but getting the nuance of the sort of...edginess.

Dennis Golonka  

One of Fabien's most inspired pairings was one he just referred to: David Sims assigned to photograph Linda Evangelista. Fabien had a gift for spotting talent early on, and he had just put the 26-year-old Sims, pretty much unknown in the US, on contract. Here's David recalling the first time he met Fab. 

David Sims  

Vogue didn't want me at the time, and I'd never been into a sort of a glossy magazine floor before, and I was welcomed into his art department very warmly. And he took about 10 minutes looking at my book. And you've got to remember that previous to that, most people looked at my work and thanks for coming to see us. And that would be the end, this sort of cold, sort of end to every meeting like that. But Fabien was so immediate. His reaction was so immediate to me. It was so warm. "When can you work? Let's give you a contract." 

Cynthia True  

David did two stories for Bazaar before they paired him with Linda for a Paul Cavaco story called "Anatomy of a Suit." But "Anatomy" was more than a story. It was a statement. Because Linda Evangelista had a problem, too. As Linda puts it,

Linda Evangelista  

They were trying to kill the supermodel! 

Cynthia True  

Just eighteen months after she had been on the cover of Bazaar's big comeback issue, some in the business were saying she and the other supermodels, Christy and Naomi, were over. Forget the fact that they were in their early twenties. Certain insiders, like Karl Lagerfeld, perhaps fed up with their fees, were claiming they were finished, overdone relics of the Eighties. But the team at Bazaar were loyal to their cover girl, Linda. They knew her range. They would show her in a whole new way. Here's David again.

David Sims  

It was Paul's idea to sort of, you know, I don't quite know if Linda was on some kind of hiatus at the time, but I remember the idea being presented to me as kind of like, this can be Linda's comeback, which sounds very melodramatic, but in view of the fact that someone, I won't name any names, had said to me, "Oh, god, she's so over." And I was really upset at hearing that at the time because I always thought she was the most incredible model.

Dennis Golonka  

Paul and David decided to cut against the grain of Linda's glamor and photograph her with minimal makeup and short, undone hair at play in nature. She was shown cutting through a field, awkwardly kicking at the air, doing a dog whistle, wading through a river in velvet trousers. The pictures felt so fresh, so radical, in a way. Like that photo in the water, it's not showcasing the clothes or Linda, for that matter--her back is to the camera, and she's knee-deep in the water. It was about capturing a moment in time, which David was just incredible at.  They, you know, did the natural hair and makeup and everything, and that was pretty new at that point. What did you think about that? 

Linda Evangelista  

Oh, I was totally into it because they were trying to kill the supermodel. But I love working with new people. I love it. 

Cynthia True  

David's inspiration for the shoot was a British movie he loved from childhood called "Kez," one he calls folkloric in a way, about a young boy and the relationship he develops with a bird that he nurses back to health. 

David Sims  

I guess it was a kind of broken romance that had this idea of Linda being a solitary sort of figure and somehow seeking solace in being on our own and being in nature and then having, you know, no inhibitions, to play and pretend to be someone just like a little boy might be. You know, if they're left to their own devices. You know that out there in the countryside, it was a bit that. 

Linda Evangelista  

This is when we would go out on a location and not have an agenda, and we have to make a story. And I remember, if I could talk about Paul, I was like, "If I get a tick bite out here, I'm not gonna be happy." I mean, so we love to complain, but it was a joke and I remember Paul saying, "I hate nature. Give me the, give me the city sidewalk any day. And I'm like, "Please, taxi, please."

Paul Cavaco  

So we talk about, we're gonna do, we dress Linda, she has a suit on, and she goes out into the field, and she's completely slumped over in that very grungy thing. And so she's got the attitude. And he picks up his camera together, and the minute he starts, he's about to take the picture, she stands up straight and just strikes one of these, you know, from the Marvelous School of Modeling poses. He puts the camera down, looks at her, and she goes, "It's all modeling. I can do grunge, doesn't mean I'm a grunge girl, I can do glamor, doesn't mean I'm glamorous. You know, it's modeling. If you tell me what to do, I will do it for you. 

Dennis Golonka  

Linda's point was made vividly in an eight-page spread of fierce and joyful photos that are gorgeous but never pretty. Thirty years on, her energy still leaps off the page. And even if they're not the main event, the suits are great, too.

David Sims  

You know, I'd been in through all of her work, and I always assumed that she was very much kind of a collaborator in those images. And I wasn't wrong. So when I was given the opportunity, I'd never even imagined that I would have that opportunity. So when it came to me, I grabbed it with both hands, or I like to think I did. Boy, I just didn't realize how good she was. Paul knew, you know. 

Paul Cavaco  

They were great together, like that's probably one of my favorite shoots of all time.

Cynthia True  

Fabien asked David which of his peers he thought he should meet, and David suggested his friend Mario Sorrenti, a 22-year-old photographer who had shot just one spread for The Face in the UK. The only other material Mario had to show Fabien was a handmade photojournal of his girlfriend, Kate Moss, a diary, as he calls it, something Paul Cavaco described in Episode One. Here's Mario.

Mario Sorrenti  

You know, I was super excited, over the moon about the fact that I had been contacted, and I really didn't have much to share with Fabien. You know, I had a box of prints and my diary, and that's it. The editorial that I had done didn't even come out yet. The meeting didn't even take that long. I was in the office for like a half hour, maybe. Then went back to London, and then one night, I get a phone call in the middle of the night, and it's Fabien, and he goes, "Yeah, you know, like, we really love your work, and we would really like to offer you a contract." So I just, I don't know, I died. 

Fabien Baron  

We put them under contract because we believed in them. I really, really believed in them, and we, we built them brick by brick. Mario Sorrenti, Craig McDean, you know, David Sims, they were like, you know, they became Establishment from Bazaar, you know.

Mario Sorrenti  

So for me, it was really a dream come true. Thing, things went really quickly as soon as I started shooting for Bazaar. It was just like, kind of like a catapult, basically. 

Cynthia True  

Part of what allowed Fabien and Liz to take chances on new talent was the trust that existed between them. Despite the chatter when Liz first hired Fabien that he wouldn't fit in at Hearst, the warnings that he didn't play well with others, Liz and Fabien shared a visual language. But if she saw him as the linchpin of Bazaar's success, she also valued the way he listened to her vision.

Fabien Baron  

I said, "Wow, she's great." You know, I really appreciated in Liz her ways that were always gentle. She never had to fight about things. You know, like, if she wanted color pictures, she'd say, "Oh Fab, you know, how much I love color," like you know, like she said, "Oh, like, the color is so beautiful." And then I would go back and I would look at it..."Maybe she's right. Maybe it's nicer in color. And I would look at, "You know, what? Let's make it in color." Then I would show it to her and say, and she say, "Oh, you think it's better in color, Fabien?" She was great. She knew how to use people's talent, and she really pushed me to become better at what I was doing. 

Mario Sorrenti  

Every time before I would do a shoot, I would go and meet Liz in her office, and she would just talk me a little bit through what the issue was focusing on, and just sort of giving me a little bit of insight about the photo shoot. She would never say to me, like, "Oh, I would really like you to shoot something this way." She was honestly really excited to see what somebody my age, with my vision, how they would interpret what they were doing at the magazine for that month. 

Dennis Golonka  

Liz came to the Art Department to visit quite a lot, but it wasn't to micromanage. It was to come and gossip.

Fabien Baron  

We had nickname for her, too. 

Cynthia True  

What was that? 

Fabien Baron  

We called her La Blanche at first because she had white hair, right? 

Cynthia True  

Yes.  

Fabien Baron  

And so we call her La Blanche. And I called her La Blanche in front of her, you know, she liked it. She liked it. "Voila la Blanche!"  You know, I think also one big thing, the magazine was run like a European magazine. Liz Tilberis, English, Fabien Baron, French, deep down, you know, you know, like photographers, you know, Peter Lindbergh, German. British, German, like Euro, Euro Euro people, like even the art director that I had at the time, Joel Berg, Swedish, Johan Svensson, Swedish. So we went in there with the spirit of, we want to do something that's gonna say something, that's gonna last, mean something in the same way that, you know, certain magazines in Europe were working, like the same way Italian Vogue was working, the same way The Face or I-D magazine, the same way with that same type of spirit. 

Cynthia True 
At the heart of that spirit was a shared philosophy about how to nurture talent. Like Fabien, Liz believed in seeking out the best of the best and then standing back. The idea was that if you gave exceptionally talented people space you had the best chance of finding the surprise, the unexpected turn in a shoot that produced magic on the page.

Fabien Baron 
What was amazing about her is like she was never afraid to surround herself with all good people, the right people, and, you know, push them into, to what they're good at, but she made sure that if you were there, that is the excellence she needed to edit for her magazine.

Dennis Golonka  

Former fashion director Tonne Goodman.

Tonne Goodman  

One of the first things that I really appreciated about Liz was her confidence in the team that she brought in. So, she didn't micromanage at all. She really said, you know, "It's up to you. Bring it in, do what you think is the right thing to do." And that was, you know, that's how she got her best work from everybody, from the photographers, from the models, from the editors, from everybody.

Dennis Golonka  

The results of this hands-off approach were spectacular and produced several of the most important shoots of the 90s. In fact, there's probably no shoot more referenced today than Tonne's 1993 Angels story shot by Peter Lindbergh, and featuring a relatively unknown model, Amber Valletta, as a fallen angel in New York.

Cynthia True  

Angels were everywhere in the early 90s. Angels in America, Tony Kushner's Pulitzer Prize-winning blockbuster that addressed the staggering AIDS epidemic, had just come to Broadway and Wim Wender's indie classic "Wings of Desire" had come out just a few years earlier. But Tonne had another, more personal, inspiration for the story, which would include the angel Amber landing in a simple white gown by Isaac Mizrahi in matching wings on top of Rockefeller Center.

Tonne Goodman  

So the New York Times had a picture on the cover of a man mowing a lawn with one of the old-fashioned lawnmowers. The lawn was one of the rooftops at Rockefeller Center, but there was this wonderful, charming picture of this man mowing the lawn. It was a wide enough point of view that you saw St Patrick's, and you saw a little bit of Saks Fifth Avenue, and you just had this moment of New York time. And at that time, I was pregnant with my son, Cole, and I had had a miscarriage before that, and so Cole, when I saw that picture, I thought, well, that's where the angel is going to land. And the angel was Cole, and I took it to Peter. And Peter, of course, always loved "Wings of Desire." And so it melded into a perfect kind of storytelling.

Cynthia True  

Here's Amber Valletta. 

Amber Valletta  

I actually remember being asked to do it. And at the time I was I was like, reading up on angels and kind of like mysticism and and sort of metaphysics. And when it happened, I was like, Oh, my God, this is a sign. And so for me, it was sort of like this connection to something bigger than than just fashion.

Paul Cavaco  

And Amber looks like an angel, you know, especially then, she was like so, just so peachy, you know, the clear green eyes that were so light, and her whole spirit is that. So she was the girl, and they needed a guy to be in the picture at 5:30 in the morning. And Peter used to photograph me, like on set. He would photo--and I think he liked it, because I look kind of nutty.

Cynthia True  

They wanted Paul to appear in one shot as a troubled man in need of divine intervention.

Paul Cavaco  

Anyway, so they asked me to be in the picture. All I had to do was walk and look sullen. It's 5:30 in the morning. I'm pretty sullen at 5:30 in the morning,

Amber Valletta  

We had to get up extremely early because they closed down Times Square for us.

Tonne Goodman  

Correct. That is correct because we had to see if we could get the streets quite empty because I didn't want to get anybody killed having a photograph taken. And we needed dawn. We needed a little bit of light. So we did, we went to Times Square at dawn and we enlisted Paul. And it's a very classic picture that really does come from "Wings of Desire."

Dennis Golonka  

In it, Amber walks in white pants, a jacket, and angel wings just behind a somber Paul, her hand nearly touching his shoulder as he trudges across Times Square.

Tonne Goodman  

And Paul was very funny because it was a very solemn walk those two were doing towards the camera. And then we would have to do it over again, and he would break into runway walk just to keep us entertained. And then he'd go back into character, who, you know, the angel was going to protect him, but that was the kind of fun that we had all the time. And Peter was very funny. So it was a great combination of people.

Paul Cavaco  

We had no idea the pictures come out, and who knew that this would be? Because I see it all the time. It comes up on Instagram all the time. This one picture. 

Amber Valletta  

It was just one of those stories that was so interesting because I remember we weren't--the fashion was so not important. It was not like they were like, "Oh, we got to get a handbag in here. Oh, let's make sure we get this advertising credit." I'm sure Tonne was very cognizant of all the things she needed to do for her job, of course, because she's an amazing editor. But at the same time, there wasn't this sense of pressure, and we were allowed to just do what we wanted to do. And that's Liz Tilberis and Fabien allowing us that space.

Dennis Golonka  

Whatever happened to those wings?

Tonne Goodman  

They were...stuck around for a long time. 

Dennis Golonka  

They did, right? 

Tonne Goodman  

They were used again, yeah, yeah. And once again. Who made them? We commissioned it. They didn't exist before. You know, Where'd they come from? The angel brought them.

Cynthia True  

Of course, Liz and Fabien did have to sometimes grapple with practical matters, such as advertisers who didn't always love what they were doing. For instance, thanks to Bazaar's ultra-minimalist vision of the 90s, accessories coverage had all but died. Here's former accessories director Richard Sinnott.

Richard Sinnott  

What was happening was no one was using jewelry or accessories, and the letters and faxes that would come through from the people that advertised and the designers that wanted to be in the magazine...we would just get faxes and faxes people complaining, "Where are the accessories? Where are the accessories?"

Cynthia True  

Liz and Fabien decided to reverse course and not only cover accessories but showcase them like no American magazine had ever done before. Once again, they started with raw talent, a young editor named Elissa Santisi who was known to have a kind of tilted viewpoint. Then they added to it with a brilliant pairing, or rather, they allowed one. Here's Elissa.

Elissa Santisi  

When I got there, Fabien asked me who I wanted to work with. And I was like, "He's asking me who I should work with?" You know, I was a little bit surprised, and I said, "Raymond Meier."

Dennis Golonka  

Raymond Meier was an experimental Swiss photographer known for setting up highly composed and slightly unsettling still lives. Fabien and Liz said yes right away. They could see that Elissa had a great sense of humor, and given that most accessories coverage tended to be static—think brooches on a white background—they were curious about what the pair would generate. 

Richard Sinnott  

She had just enough twist, just enough quirk, and that's how those magnificent accessories stories, which were really fashion stories--you know, a lot of times they were more exciting, if you will, than fashion stories.

Elissa Santisi  

We had total creative freedom from Liz and Fabien. It was almost like the more outrageous the idea, the better. But it was kind of like high concept, low budget. And there was one image that I really love where we were in the theater district, and I put the bag on the counter of, like, where they were selling tickets, and it was like a Hermes bag, like this very simple, gorgeous Hermes bag. And I think, like, Tommy was playing, and there was a woman behind the counter, and she was taken off guard, and it was just, I mean, it was funny,

Dennis Golonka  

Elisa and Raymond were changing the popular understanding of still-life photography in a commercial space, but at the time, all I knew was how exciting the images coming into the art department were. They pushed boundaries and used unconventional elements such as snakes, skulls, and a pink Siamese cat to model jewelry, bags, and shoes. I remember one shoot, they took a pair of hands and put them inside of sandals. And then there was the time they recreated crime scene photos from a murder investigation. Some images were almost uncomfortable, but they were also really funny. It always took the eye a moment to register what you were seeing. 

Elissa Santisi  

Some things I thought they were going to hate, because one time we went, like, into Chinatown and taped shoes to windows just with tape. And it was not my favorite story, but I think we sent, like, a Polaroid up to the office. And Fabien was like, "Great, we love it. Keep going." But anyway, she gave us that freedom, and we were able to do some pretty, not just outrageous shoots. In a way, it was kind of groundbreaking, because people weren't doing that,

Dennis Golonka  

And then to hear you saying, "Yeah, we just kind of went on the street and taped some stuff on a window once in a while." And you know what I mean? It's like, wow, you don't have to have a zillion dollars. You could still make beautiful images with simplicity and thought and a story. 

Richard Sinnott  

People were ready for cool, and Liz served it up. 

Paul Cavaco  

You were working there, you didn't think you were changing anything. We were just working. I knew that I was loving what I was doing. We kept thinking, what can we do? What can we do to make this better? You know. 

Dennis Golonka  

There was another element in the constant quest to make the next shoot even better than the last. We didn't talk about it, but you knew Liz's health was very fragile.

Cynthia True  

in June 1995, only thirteen months after she had been cleared, Liz's monthly blood test revealed that her cancer was back. Her doctor's assessment was brutal. She needed an immediate bone marrow transplant followed by huge doses of chemotherapy. "This whole thing," he said, "will almost kill you before it heals you."

Dennis Golonka  

Liz refused to commit. She and Andrew went home and talked for hours about the risks. Was it really going to help her? She could die, she could be severely weakened, and she worried about what would happen to her job if she was out of commission all summer. She leaned towards saying no.

Cynthia True  

Liz and Andrew called her brother, Grant, who was a doctor in the UK. The three spoke at length, and her brother, speaking plainly as only a sibling can, told her there was no point in worrying about her job. If she didn't do this, she wouldn't be around to have a job. Liz agreed to go through with it.

Dennis Golonka  

She was unable to spend the summer at the beach, but in July, shortly before surgery, she got to spend one night at the White House. She was there to profile First Lady Hillary Clinton, who was then writing her book, "It Takes a Village." Liz knew Mrs. Clinton through her work for the AIDS charity Kids For Kids, and the First Lady invited her to stay overnight in the Lincoln Bedroom.

Cynthia True  

The bone marrow transplant was as harrowing as the doctor had warned, but Liz managed to look at layouts from her hospital bed more to focus her mind than anything. She knew she could trust Fabien and their deeply committed team, many of whom came to visit her. They had to mask and cover up their street clothes to protect Liz, which meant she couldn't see their great outfits. She asked Beauty Director Annemarie Iverson to wear open-toed shoes so she could at least see her pretty pedicure.

Fabien Baron  

She was the engine for every one of us. But, I mean, it's not like, I don't want to take credit on anything. I did, like, I think, a beautiful, you know, looking magazine. But honestly, you know, I think it was Liz for everybody. I think it was Liz. And, like I said, like everybody wanted to please Liz. 

Dennis Golonka  

She was the engine. You were certainly the gasoline.

Fabien Baron  

Yes, definitely. We were a very, very well-oiled machine.

Cynthia True  

Yeah, yeah. That was quite a partnership.

Fabien Baron  

It was an amazing partnership! It was one of the best one I had. I mean, like, in a different way, I had an amazing partnership with Franca Sozzani when I did Italian Vogue. I really discovered myself with Franca Sozzani, but where I really like bloomed was with Liz Tilberis.

Cynthia True  

So you talk about how Liz pushed you as an artist, and I wonder, was there anything about working with her that you feel changed you personally? 

Fabien Baron  

I think my experience with Liz and what she went through taught me to be a better person. Because I was young. I don't know, when I was at Bazaar, I was 30, 31, I think. I was young, and I'd done already Italian Vogue. I was really focused as well. And, you know, like still a little French, arrogant at certain times, and, you know, I did tame myself and learn to become a better person. And that's one thing I got from Liz.

Dennis Golonka  

Liz's summer of treatment worked. Tests showed that the cancer was once again gone. But while Liz focused on that, her children, and making her dream magazine ever more "heavenly," as she called it, Fabien realized the truth of the situation. It was always there, bubbling underneath.

Fabien Baron  

I felt like there was a time limit to this journey. So, you know, like you wanted to pack up the best in the shortest amount of time. Like the time we had, it was a ticking bomb.

Cynthia True  

Next time on Episode Four of Blow-Up, we're going to dive into what everybody asks about when they hear the name Liz Tilberis: her relationship with her rumored rival and former boss, Anna Wintour.

Dennis Golonka  

We'll talk to Grace Coddington, Susan Magrino, Richard Sinnott, Isaac Mizrahi, and Paul Cavaco, among others, about the fascinating history of Liz, Anna, Bazaar, and Vogue. 

Cynthia True  

That's on October 24th. In the meantime, we'll be releasing weekly bonus content for our subscribers. 

Dennis Golonka  

Thank you for listening. If you enjoyed the show, please subscribe, rate and review us. Wondering what some of the shots described in this episode look like? Check out our visual companion on YouTube, or follow us at blowuppod. You can also view our image gallery Blowuppod.com

Cynthia True  

Blow-Up is hosted and produced by Dennis Golonka, and me, Cynthia True. It was written and edited by me, Cynthia True. Original theme song is by Stephen Phillips. Sound design and mix, Erik Wiese. Music editing, Tigerlily Biskup. The episode was recorded at VoiceTrax West, the Cutting Room, and Digital Arts New York. Special thanks to Clay Morrow and Matthew Saver.