Friday, November 28, 2014

"The Biggest Ship in the World" for the New York Times Magazine

The Biggest Ship in the World (Though It Isn't Exactly a Ship)

For the New York Times Magazine

     It’s called Prelude, and it’s bigger than big. More than 530 yards long and 80 yards wide, it was constructed with 260,000 metric tons of steel, more than was used in the entire original World Trade Center complex, and it’s expected to displace 600,000 metric tons of water, or as much as six aircraft carriers. Even the paint job is huge: Most big vessels dry-dock every five years for a new coat, but Prelude’s paint is supposed to last 25 years. It will produce more natural gas than Hong Kong needs in a year. And it’s so big that you can’t really photograph it, at least not all at once. The photographer Stephen Mallon spent two days on cranes, one fore and one aft, taking more than a thousand pictures. Later, editing software was used to stitch hundreds of them together to create the composite image you see here.

     What makes this giant liquefied-natural-gas enterprise feasible, paradoxically enough, is the miniaturization its construction represents. It’s much smaller than landlocked equivalents — imagine shrinking your local refinery until it fits on a barge. Shell Oil, which has the biggest stake in the project, describes Prelude as more environmentally friendly than an onshore site. There are no estuaries under threat, no shorelines to run pipe across and reduced risks to population centers, given the explosiveness of natural gas. And it is designed to ride out extreme weather, thanks to three giant 6,700-horsepower thrusters that can turn it into the wind and waves. “These are the things that the naval architects had to worry through,” says Robert Bea, co-founder of the Center for Catastrophic Risk Management, at the University of California, Berkeley. “It works like a big-ass weather vane.”

View  Slideshow of Images Here

Thursday, October 9, 2014

Front Room Gallery 15th Anniversary Exhibition

October 10th - November 2nd

Opening Reception

Friday, October 10th

Outdoor Art Festival

Saturday, October 11th

Viewing Hours:

1-6PM and by appointment

Amanda Alic, Sasha Bezzubov, Thomas Broadbent, Gregory Curry, Ethan Crenson, Lisa Dilillo, Mark Esper, Peter Fox, Amy Hill, Sascha Mallon, Stephen Mallon, Mark Masyga, Sean Hemmerle, Kim Holleman, David Kramer, Jesse Lambert, Allan Packer, Walker Pickering, Melissa Pokorny, Ross Racine, Kenneth Ragsdale, Emily Roz, Sante Scardillo, Philip Simmons, Mark Stilwell, Jeremy Slater, Patricia Smith, Rodger Stevens, Miho Suzuki, Joanne Ungar, Rosa Valado, Julia Whitney Barnes, Edie Winograde, Monika Wuhrer and more.

Tuesday, September 9, 2014


12:00 – 1:00 (SUN SEPT 21) PANEL DISCUSSION:

Featuring Manjari Sharma and Ariel Shanberg in conversation with Stephen Mallon

Moderated by Stephen Mallon, artist Manjari Sharma and Ariel Shanberg, (Executive Director of the Woodstock Center of Photography) discuss portfolio reviews on how to get as much out of the review circuit as possible. This is not a common sense discussion, this is a talk from both sides of the table about how much business gets done at the bar and at the event vs your actual review. What’s the biggest thing you learned from a review? What’s the worst promo you’ve seen? What about follow ups? How long does an artist need to wait before reaching out again?

Register here:

Eventbrite Link

While these seminars do not require advanced signup, seating is first come first serve so we highly recommend that you reserve your spot in advance!

This presentation will take place in the Photoville Talk Area – located at the storefront of One Brooklyn Bridge Park at corner of Joralemon Street & Furman Street.

Manjari Sharma is a photographer whose work explores personal mythology, representation, and experience. Manjari was born and raised in Mumbai, India and is based in Brooklyn. Her work has been featured in publications including Los Angeles Times, New York Times Blog, Monocle, Life, CNN, and Wired, amongst others. Her work has been exhibited in solo and group shows in New York, Los Angeles and Spain, amongst others. Manjari was awarded The CENTER’s Curator’s Choice Award 2014 and her work was selected as honorable mention for the Santa Fe Prize in 2012. She is represented by ClampArt, New York and Richard Levy Gallery, New Mexico.

Ariel Shanberg is executive director of Center of Photography at Woodstock, having originally joined the company in 1999. He has curated many exhibitions at CPW, as well as at other venues including Light Factory, and the Philadelphia Photo Arts Center. Shanberg served as a panelist for the New York Photo Festival Awards, the National Endowment for the Arts and Media Alliance’s Media Action Grant, amongst others, and a reviewer at regional & national SPE conferences, FotoFest, Portfolio Review Russia, and Rhubarb Rhubarb. He has contributed essays for various publications, including Aspect: The Chronicle for New Media Art, Contact Sheet, European Photography, and Exposure.

Stephen Mallon is a photographer whose work focuses on construction sites, machinery and engineering. He has been commissioned by and his work featured online and in print for numerous outlets, including New York Magazine, Wired, GQ, Feature Shoot, PDN, The New York Times Magazine, The Wall Street Journal, and Fortune, amongst others. His work has been exhibited widely, including during several photo festivals. Mallon’s work has been honored by Communication Arts, Photo District News, the New York Photo Festival, the Lucie Awards, Woodstock Film Festival, Look 3 Festival and the Bristol Biennial. Stephen is represented by Front Room Gallery in Brooklyn, NY.

directions to photoville

For more events, visit Photoville

Thursday, September 4, 2014

"Land in Sea" Reception at Waterfront Museum on Saturday, Sept. 6th

"Land in Sea"

'Splish' 30x45 2/5

The Waterfront Museum & Barge 100 present
Land in Sea - works by Stephen Mallon - a one-man show
July 26 to October 18, 2014
Artist Reception: Saturday, September 6, 2 - 4 pm. 

The Waterfront Museum is pleased to present Land In Sea, featuring select large scale photographs by artist Stephen Mallon. The show's focus is work from Mallon's two powerful series "Brace for Impact" and "American Reclamation". "Brace for Impact: The Salvage of Flight 1549" features Mallon's sizeable photographs documenting the recovery by maritime contractor Weeks Marine of Flight 1549, the plane piloted by Sully Sullenberger III who successfully emergency-landed in the Hudson River on January 15, 2009 after a collision with a flock of geese resulted in both engines failing and saving all 155 people aboard. The other is “American Reclamation: Next Stop Atlantic”. NYC's MTA joined the artificial reef-building program off the east coast of the U.S. in 2000. Mallon documents the progress of the train cars on their destination out to sea from 2008 to 2011.

Waterfront Museum

The Waterfront Museum was founded in 1986 to provide programs in education and culture aboard an historic vessel and advocate for and expand public waterfront access in a NY Metropolitan area. The museum relocated to Red Hook, Brooklyn in 1994 as a permanent homeport after operating in Liberty State Park in Jersey City & Hoboken, NJ; Piermont, NY; South Street Seaport, NYC. The museum's permanent collection includes a nearly one-century old wooden barge, listed on the National Register of Historic Places.

Thursdays 4pm-8pm
Saturdays 1pm-5pm

Thursday, August 21, 2014


Happy to share that I will be a Juror for the International Motion Art Awards!

International Motion Art Awards 3

The year's best Photography, Illustration, Animation, and Design In Motion.
Call for Entries NOW OPEN through AUGUST 29, 2014.

It's your move! ENTER NOW.

Check out last year's IMAA 2 winners on The Archive
and see them featured on Motion Arts Pro.

Craig Cutler, Photographer
Jeremy Dimmock, Founder, Polyester Studio
Matthew Duntemann, Senior Vice President, Nickelodeon
Mitch Gordon
Stephen Mallon, Director of Photography, Mallon Films
Ricardo Munoz, Senior Director, Dieste
Stephen Price, Editor, Stash Media
Brian Palmer and Brad Palmer, Founders, Surround
Kevin Michael Reed, Producer + Director, Kevin Michael Reed Studio
Ted Royer, Chief Creative Officer, Droga 5
Marcel Yunes, Chief Creative Officer, BBDO
Bob Zarorskis, Founder, Polyester Studio

Thursday, July 31, 2014

A Photo Editor interview by Julie Grahme

A Photo Editor interview by Julie Grahme

Stephen Mallon On Perseverance And Transition To Video

The backstory.
Prior to the incident on the Hudson River, Stephen Mallon was “surviving” on royalties from multiple stock agencies. He had been photographing landscapes for licensing and exhibition, and personal work. A book editor at a portfolio review had expressed interest in making a book but Stephen felt he didnʼt have the right content that he envisioned for his first monograph. So he set about focusing on his interests in the recycling industry. He engaged a writer to help with a proposal, and, explaining that he intended to make images for non-commercial use, he gained access for two days to a recycling plant in New Jersey, which led to access to others in other states and to a body of work that would come to be titled “American Reclamation.” This was all self-funded by the bits and pieces he was drawing in from editorial and resale.
The break.
In New Jersey, in 2008, Stephen spotted a barge loaded full of stripped down subway cars and thus discovered the artificial reef project, wherein these erstwhile MTA cars are shipped to various locations off the US coast and dumped in the ocean to create artificial reefs both for sea-life and for tourism, images of which would become “Next Stop Atlantic.” The company concerned was Weeks Marine, and here began a wonderful relationship. Forward to 2009 and Stephen and his wife are out celebrating her birthday when Chesley Burnett “Sully” Sullenberger, III, makes his amazing landing on the freezing Hudson River. Mallon called Weeks Marine and sure enough they were tasked with retrieving the plane; they commissioned Stephen to photograph the project, bringing him in by tug boat to make an incredible photo essay that made national news. As well as all the licensing, the prints are still selling well in the fine art market.
How life changed.

Stephen says although he had his body of work of industrial landscapes he didnʼt have a solid assignment piece that he felt was both beautiful and relevant to fine art and for editorial. He says it took real effort to keep the momentum going so he wasnʼt “just a flash in the pan.” It was at another portfolio review that Stephen met Front Room Gallery, based in Williamsburg, Brooklyn. They offered him a solo show of Flight 1549, and also sold a few prints from “American Reclamation” which led to the suggestion of a solo show of that series, too, in 2010. Now some assignment work began to trickle in, including a trip to Brazil to shoot Petrobas for Fortune Magazine.
“All this time, the 5D Mark II is on the market, and people are talking about video. I equated it a lot to when clients began to ask for digital,” he says. For a while, people would still hire Stephen even when he said “no” to the question of whether he was capturing video, but he knew the time was coming when heʼd need to be able to say “yes.” Heʼd made a “bad” time-lapse around 2008, and only tinkered with the style since. In 2011 Weeks Marine called to say they were delivering a bridge by barge in New York, and was he interested in covering it? Stephen saw the perfect time-lapse project. He scouted the whole route, setting up cameras along the way, in the yard, and on the barge. The film was submitted to festivals, picked up by the Wall Street Journal, and got a lot of attention online. Stephen feels this was the catalyst for his time-lapse future.

The next big step was winning a contract to work for the City of New Yorkʼs Department of Transport – he produced a wonderful time-lapse for the Citibike program.

“I had been dropping my portfolio off at the New York Times pretty much my entire career – 10, maybe 15 years!” says Stephen, when eventually they saw some of his time-lapse work online, and wanted to meet. They loved what he was doing: “Kathy Ryan tried to hire me a couple of times but security at the locations we wanted to shoot in kept on stopping the projects from moving forward.” It wasnʼt until 2013 that she found the right assignment for him: to make a time-lapse over two days and two nights of set changes at the Metropolitan Opera. This video went on to win the Communication Arts photo annual award, and was accepted for the PDN photo annual.

The cost of video production.
“Day rates are pretty much the same for video as for stills – the photographerʼs fee hasnʼt gone up, but Iʼm shooting with seven cameras at a time, I need assistants to set up and monitor them, then thereʼs the cost of post, the editor, and audio licensing. I am busier than I ever have been, itʼs phenomenal, but no, Iʼm not making tons of money. When the budget is there, we put in enough post which covers color correction and rendering. The editorʼs fee is a separate line item, accounting for all the video editing and a couple of revisions. Weʼre always buying hard drives – a terabyte a month! Someone has to pay because we are archiving all these jobs.”
Mallon has been buying camera bodies, one job at a time: he has five digital SLRs and two GoPros so he doesnʼt always need to rent although he does say he could always use one more camera. He is more comfortable shooting live video capture now, and enjoying mixing time-lapse and video in the same piece (he has just finished another job for the DOT, made over 18 months, that mixes time-lapse and regular footage.)
Skills for the future.
“Editing video, the whole aspect of sequence, timing, speed, music, it was a whole new experience for me.” Now heʼs so much more familiar with it all, heʼd like to get a bit more long-form documentary work and is meeting with TV production companies. Heʼs enjoying video but also continues to love shooting stills: “It reminds me how much easier it is to make a photograph than it is to shoot video” he says, laughing.

So far this year Stephen is most proud of a piece made for New Yorkʼs Armory exhibition hall, the result of two years keeping in touch with an ad agency which eventually recommended Mallon to time-lapse the setting up of The Armory Show.
Looking to the future, he believes interactivity is going to be key. In a job heʼs working on now, a public awareness campaign about crossing the road, the conversation turned to how to make a video motion-sensitive, to turn it into an interactive smart-board. He believes he will need to be able to deliver multimedia components, potentially build apps for his clients, teaming up with tech and design professionals.
Stephen Mallon has a solo show this fall 2014 at the Waterfront Museum and a solo show at NYU in early 2015. You can view his work here:

Thursday, June 12, 2014

Provincetown Film Festival

Pleased to share the news that A Day and a Night and A Day and A Night  has been accepted into the Provincetown Film Festival!  Here's a little background on the festival and tickets here


Founded in 1999, the Provincetown International FilmFestival (PIFF)is one of the country's preeminent film festivals, presenting diverse programming - the only year-round programming in Provincetown - that reflects the town's unique place in American history.Provincetown from above
Its 5-day festival in June presents a wide array of American and international narrative features, documentaries and short films, and makes a particular point to honor and preserve Provincetown's rich and diverse history as an arts colony, Portuguese fishing village, and gay and lesbian mecca-while never forgetting the area's original Native American inhabitants.
Special programs include "Youth and Diversity" and Portuguese film sidebars, retrospective and archival programs,and panel discussions that provide deeper insight into festival selections, the filmmaking process, and the careers of festival attendees and honorees.
The defining honor of the Festival is its "Filmmaker on the Edge Award," honoring outstanding achievement, innovation, and vision in filmmaking and given to a film artist whose admirable body of work pushes the boundaries of the medium. Filmmakers honored with this award represent the breadth and scope of independent filmmaking-as well as the Festival's continued relevance and importance to the industry's leading innovators:New Art Cinema
  • 1999: John Waters
  •  2000: Christine Vachon
  •  2001: Ted Hope & James Schamus
  •  2002: Gus Van Sant
  •  2003: Todd Haynes
  •  2004: Jim Jarmusch
  •  2005: Mary Harron
  •  2006: Greg Araki
  •  2007: Todd Solondz
  •  2008: Quentin Tarantino
  •  2009: Guy Maddin
  •  2010: Kevin Smith
  •  2011: Darren Aronofsky
  • 2012: Roger Corman
The Provincetown International Film Festival (PIFF) is dedicated to showcasing new achievements in independent film and honoring the work of acclaimed and emerging directors, producers and actors. PIFF is equally devoted to expanding the audience for independent film and to serving our Provincetown and Outer Cape community by filling the void for annual film programming and reflecting the community's rich diversity in our selected films and honorees. An integral part of PIFF's mission is to contribute to the economic and creative vitality of America's oldest art colony.

Wednesday, May 14, 2014

PDN Photo Annual!

Excited to share that "Behind The Curtain" has been accepted into the 2014 PDN photo annual!  You can see the video and more of the winners here

Wednesday, April 23, 2014

The Armory Show in Motion

The Armory Show 2014 from The Armory Show on Vimeo.

Happy to share latest time lapse project The Armory in Motion.  Comissioned by Our Man in Havana for The Armory Show, this film was created from over 100,000 stills on six days of shooting!

HUGE thank you to Ahron Weiner for coming up with this!
Edited by Karlyn Michelson

Friday, April 18, 2014

Communication Arts Photo Annual 2014

I am very pleased to share the news that  my time lapse film about the Metropolitan Opera has been included in the  2014 Communication Arts Photo Annual!  Commissioned by Kathy Ryan and Stacey Baker at The New York Times Magazine.

a day and a night and a day and a night at the metropolitan opera from stephen mallon on Vimeo.

Thursday, March 6, 2014


Fountain Art Fair

Happy to post that my work is on display at the FOUNTAIN art fair at the  69th Regiment
Armory on Lexington Avenue in New York.  Please stop by Front Room Gallery  at BOOTH C103 to see the work!

Praise for FOUNTAIN:

“Fountain remains truly a haven for the self-taught, self-represented, and DIY rogues of the art world — a sort of organized free for all, with one part street art and one part explorations in formalist craft.”


“This is the inviting, accessible, out of the box, punk rock attitude fair you have to see at least once in your art loving lifetime.”


“Fountain… is the badass big brother who leaves a tag in his wake, probably plays in a band, and never quite makes it home by curfew. Fountain’s exhibitors represent experimental spaces across the country and beyond.”


“Art was everywhere, from top to bottom… the most social and friendly of all the art fairs.”


“The way an art fair should be.”

-The Economist

Visitor Info:


tickets are also available at the door
VIP Pass $50.00Weekend Pass $15.00
Friday Pass (includes evening events) $10.00
Saturday Pass (includes evening events) $10.00Sunday Pass $10.00
VIP Pass Benefits:A portion of VIP sales will benefit the Detroit Institute of Arts
VIP Preview on Friday March 7th, 12 – 7pm
Priority VIP entry throughout the weekend

Friday, March 712 – 7pm: VIP/Press Preview
(Open to the public) 7pm – Midnight: 
Opening Night Reception- Saturday, March 8 12 – 7pm: 
Open to the public 7pm – Midnight: 
Sunday, March 9 12 – 5pm : Open to the Public

LOCATION 69th Regiment Armory (Lexington Ave. & 26th Street) Manhattan, NY 

Monday, February 24, 2014

Featured on L'Oeil de Photographie via ASMPNY this past weekend


I am happy to share that my  projects  The Salvage of Flight 1549 and Next Stop Atlantic were selected at the ASMPNY fine art review to be featured in L'Oeil de la Photographie.  You can see more of the selected talent here.

BIG THANK YOU TO SUSAN MAY TELL!! Susan is the fine art chair for ASMPNY and has helped this review grow into the event that it is 
&  Jean-Jacques Naudet, the editor in chief of L'Oeil de la Photographie.

This event started nine years ago by ASMPNY and has continued to make connections and give members another great benefit 100%  free.
© Stephen Mallon
© Stephen Mallon

© Stephen Mallon

Thursday, January 16, 2014

The Salvage of Flight 1549 5 years ago

It has been 5 years since Capt sully successfully made an emergency landing in the hudson.  It was great to see all of the passengers and Capt Sully as well together last nite celebrating the bond of surviving. Thank you to Elizabeth Avedon for posting the images again!  You can see here piece on  the project here