Project Management and Photography

There have been many interesting assignments arising out of my work in commercial and advertising photography. 

During my 35 years at this, big projects have been part and parcel of what I seek.  That includes having built 6 foot wide by 20 feet long running water streams in my studio, constructing and painting sets,  receiving and sorting hundreds of ice cream cones in search of the perfect cone for each of a half dozen types for packaging for Joy Cones; check your grocer’s shelves. Plus, there are so many more!

  • Military contractors/manufacturers 
  • Medical implement manufacturers
  • Advanced scientific experiments designed to rid the US of VX nerve gas 
  • Intimate looks at how railroad cars are built 
  • Sailboats for Snark, the world’s largest maker of sailboats, for use in the Sears catalog
  • Ice cream cones
  • Restaurant chains
  • Beauty shots and documentary photography of the creation of the Galveston Island Trolleys (a 6 month project)
Our subjects include medical equipment, food, trolleys and so much more

Among the most interesting has been a recent four day photography session that took place earlier in 2019 for Rooster Bio, a world leader in products for growth of Mesenchymal Stem/Stromal Cells and Extracellular Vesicles for the regenerative medicine field.

The Rooster Bio project was a complex assignment.  Before we could begin photography, it required several meetings over a period of weeks in order to plan and schedule everything necessary for a successful completion of the project.  

Founder, Jon Rowley, PhD.
Jon Rowley with Alan Key quote
Margot Connor
CEO Margot Connor in office

With the guidance of the RBI marketing team including, Bryce Goodman, Tom Curtis, and Sandy Applebee we essentially storyboarded every aspect of more than a half dozen facets to the project, which ranged from executive portraits to headshots in a number of different milieus, to facilities photos, lab technology, products, procedures, researchers, executive and administrative team interactions to rotating turntable photography with as many as 45 fames each in order to create 360 degree GIFs.  Once we had a framework for the project, we were able to see that it would require 4 days of photography and a team of 4 to 5 in order to accomplish everything, plus a makeup artist for 2.5 days.  Many thanks to the team of Sam, Jessica, Chrissy and Sarah, plus hair and makeup, Julia.

“Jeff paid careful attention to planning and to his work to ensure the success of our project.  He is particularly adept in the use of specialized lighting techniques.  We enjoyed working with the team at Jeff Behm Photography.”

-Tom Curtis, Director of Marketing

Margot and Jon brainstorming
Jon Rowley presentation
A presentation in the Commons and meeting space
The Rooster Bio meeting space
Overview of the Rooster Bio Common Area and meeting space

It’s projects like these that lead me to think of what we do at Jeff Behm Photography as ‘corporate imaging problem solving’.   I love it!

Does your firm have a project requiring top quality images?  Call Jeff Behm Photography at 724-730-8513 or email

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Combat Photography, Gettysburg to Afghanistan

Yesterday, Sunday Aug 11, I missed photographing the flowers at my daughter’s farm market booth, which I almost never miss.  Why did I? Because this event was taking place in Gettysburg. As a professional photographer and a student of American history, I can’t express how much I appreciated it.  War Photography has evolved radically since the Civil War, as has warfare.

War Photography at the time of the Civil War

First up on the battlefield was Dave Wilson, of Victorian Photography Studio in Gettysburg.  Dave’s original period view camera and portable darkroom were extremely interesting to me, having started my career with a 4×5 view camera, film and a darkroom.  But what I did in 1985 was about as far from what photography was like in the 1860’s as digital photography is now from when I started.  Dave showed and explained his period appropriate tintype photos, then discussed the advances up to glass plate negatives.    Below is Dave’s portable tintype darkroom.

The portable darkroom was usually an enclosed wagon.

Then Louie Palu took over to discuss what he has experienced as a combat photographer in Afghanistan, Mexico, Guantanamo and many other locales.

Below, I’ll attach a few images from Dave and Louie’s presentation.  If you wish to see more of his work, there is an outdoor art installation of huge images in the woods behind the Visitor’s Center at Gettysburg National Battlefield.

The Kevlar vest: bare minimum for safety

That 16+ pound flak jacket

Louie and the 16 pound+ flak jacket that is essential gear for combat photographers and soldiers.  Hopefully the “Press” is helpful to safe travels, but it’s not a sure thing.

Below, we see a demonstration of the tourniquet Louie carries (two of them) plus the additional medical supplies in the small kit on Chloe’s stomach.  This is a much smaller kit than actually carried in the field, attached to the Kevlar vest.  All in all, with camera gear, medical kit, backpack and water plus helmet, it’s not unusual to have 80-100 pounds of gear on one’s person in the field, in 100-120 degree temperatures.

Tourniquets are two per person, due to landmines and multiple limb injuries

In the foreground (above) are a video camera and the white “gun”.  As you can see, it would be impossible to tell which was which, especially since the guns are never white like this one (which was selected in order to not be alarming to other visitors to the Park).

(BTW, in training for medical use in the field, you have to learn to apply your own tourniquet with one hand.  Think about why.)

IEDs may not be bright yellow, but are often seemingly harmless for a reason

A few samples of potential IED (improvised explosive device) type containers, meant to lull soldiers into making mistakes.

Landmine warning

In war torn parts of the world, especially developing nations, its necessary to warn people away from land mines, often without the sophisticated signage put up by western armies.  The indigenous population uses such simple tools as rocks to surround known mines.  That doesn’t mean there aren’t others undiscovered nearby, however.

Is that a shooter or a photographer?

The dilemma created by aiming a camera in a combat zone: To a soldier, usually much further away than this, the question becomes “Is that a camera or a gun?” Can you tell?  This happens to be a “gun” (with orange tape on it to prevent frightening park visitors) as well as making it visible enough to lull a soldier into a fatal oversight.  Combat photographers must be aware of the dangers of pointing a camera at a soldier who may shoot first and ask questions later.

A mile walk in Hell

And, as I leave the presentation, looking back over my shoulder, I see Dave Wilson, still talking with visitors.  He’s standing on the ridge that is  the “high water mark” of the Confederacy, where on July 3rd Pickett’s Charge came closest to breaking the Union lines on Cemetery Ridge, which might well have resulted in a defeat sufficient to divide the United States into two nations.

On the far right side of this photo is the 28 foot tall statue of Robert E Lee.  The deceptive distance between that stature and where I stand to take the photo is 1 mile.  The attackers walked that entire mile under a constant barrage of canon fire, until they drew close enough for Union rifle fire to be effective; plus of course, canister (think huge shotgun shell, fired from canons).  Of the roughly 12,500 Rebel soldiers taking part, 5100 were killed or wounded and 3700 were captured.   That took place in about 45 minutes to an hour.  Do the math.

Commercial and advertising photographer, Jeff Behm, is also an enthusiastic student of American history, and can frequently be found at historic landmarks and parks throughout the United States.  See “” for an account of his visit on the 150th anniversary of the Battle of Gettysburg.

Call Jeff at 724-730-8513 (cell) or email to discuss your advertising or corporate event coverage.  Be sure to visit to review his portfolio.

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Yep, I’m admitting it…

Soooo….as some of you may have noticed, I am totally enamored of Sony DSLR cameras, but I don’t mean the A7 series and their E mount lens system.

I’ve become a total fanboy of the A mount a850 and a99, both of which I have and use.   I might, one day, also become a fan of the a99II.

Both of my Sonys use Sony branded lenses (no surprise there), Sony-Zeiss lenses and – oh happy day – Minolta AF mounts from the Maxxum cameras.  I have to say, with the exception of some lens coating improvements, the Minolta glass is essentially the same design as the Sony brand lenses.  But – and it’s a big but – Minolta’s go for pennies on the dollar.  Cuz they’re old.  So they can’t be good, right?  Wrong!

There, the big secret re: A mount Sony bodies is out – and may be the reason Sony is now pushing E mount bodies.  They can sell more lenses!   Because with all the great Minolta glass that’s out there, I’ve been sucking up whatever I need.  In fact, I sold a highly prized Sony-Zeiss 24-70 f2.8 because the Minolta 24-105 I also own, cost 1/8 as much, performed every bit as well or better, and weighs about 1/10 as much.  It is slower, however, having a variable  max aperture of f3.5-4.5.  But since nearly all my Sony shooting is in-studio with studio strobes for product work and usually at f6.3 to f11, I’m not often impacted by the slower lens.  

Anyway, I told you that so I could tell you this.  After the Minoltas, the only Sony lens I have now is the incredible 70-400 f4-5.6.  And I mean INCREDIBLE!  It’s sharp, it’s fast focusing, it has enormous zoom range and performs marvelously.  In one of the rare instances in which I took a Sony out of the studio…cuz, let’s face it… where are you going to need 400mm inside?  I took the a99 and the 70-400 to my brother’s farm on 4th of July, just to play a little.  It’s new and I had done nothing with it, and NEEDED to.

As it turns out, I shot nothing of much interest to you all.  I took some photos of family and friends while we were talking and hanging out on the 4th of July at the farm.

The only thing I got that I even remotely like is a photograph of a sparrow, wa-a-ay across the pond from where I sat in the boathouse.  As you can see, he was beyond even the reach of 400mm!

Sony DSLR Love

But then, LOOK AT THE CROP!  Given that I focused on the fence post, so not exactly on yon sparrow…and that the shot was handheld…and that the cropped portion is a tiny part of the frame, not bad.  Look at it! How great is that?  I want more use out of it now!

No…this isn’t winning any prizes, and I’m not going into wildlife photography now.  This isn’t anything Grayson Smith would publish.  Heck, maybe I’m taking a chance of turning off an advertising prospect by even showing it, I don’t know.  It shouldn’t, but people are funny and stranger things have happened.  Mainly I just love what the gear is capable of doing, even in less than ideal conditions.  Makes some parts of my job easier, for sure.  And I love, love, love, photography – any way I slice it.

If you wish to read up on the Sony 70-400, see Kurt Munger’s review, here.

[Edit: 7-29-19]  Another reason I love Sony’s a850 and a99 so much is the tremendous advantages of In Body Image Stabilization.  Whether I’m using Sony’s lenses or Minolta’s (they’re really about 95% the same) I know that camera shake is reduced to manageable levels, even when hand holding at incredibly slow shutter speeds.  For example, the image below was made at 1/40 second, f4.5 with the 105mm extension of the 24-105 Minolta.  Technically, I should be taking this at least at 1/125th of a second to reduce camera shake, but the IBIS system has provided 2.5 extra stops of stability in this sample, which is shown full frame, then with a 200% crop of that same image.

Jeff Behm Photography.  Local to Frederick, MD and serving the eastern US since 1984.  Call 724-730-8513 or email for a free consultation.  Let’s see what we can do for you.

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Great Black and Gold watch photo

Great looking black and gold watch and band

A sharp looking but reasonably priced man’s watch.

It had been a while since I photographed a watch, so I’m happy to have done this one.  Watches are how I started in jewelry photography 30 years ago, so this feels like old home week.  In fact, my first were black and gold watches too, now that I think about it.

 My goal was to create a somewhat masculine ambiance and texture as if the watch has just been taken off the wrist and set down, and by controlling the depth of field, to focus the viewer’s attention on the watch face itself, where it needs to be.  

If it had been desirable, I could have used focus stacking, whereby the entire watch and band, front to back, would have been sharp.  The shiny stainless steel inside of the band wasn’t the point of the photo, though, so focus stacking was inappropriate for this particular session.

With over 30 years experience photographing jewelry and other fine products, we’d be happy to assist you with your photography needs, too.

Call us.  Jeff Behm Photography.

In Frederick, MD., 724-730-8513 or  Serving the greater Washington DC, Baltimore and Frederick metropolitan region.  Be sure to visit our gallery of jewelry photography  created for jewelers located all around the eastern United States, and thanks for looking.


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Still Playing With My Food – Photography


Chocolate Truffles in stacks and layers

A plethora of Chocolate Truffles


Tasty oven roasted chicken, fajita spices, pico de gallo, cheddar cheese and sour cream

Chicken Fajita Wraps

Let’s face it, we love food; food of all kinds.  

We love it when it’s pretty, we love it when it’s simple.

For your diet conscious dining, a lovely chicken salad

Delicious and Healthy Cubed Chicken Salad

We love it when it’s exotic

Scallops, clams, salmon and more

Incredible Cioppino, Italian seafood and pasta

We love it spicy.

Masterful "wet" KC style ribs

BBQ ribs Kansas City style

We love it sweet.




Delicious, buttery, sweet sticky buns

Homemade Sticky Buns



We love it when it’s comfortable.


Of course, now days, we also love to show online what we’re eating.

The problem for restaurateurs is, those phone photos don’t do your food justice, but it may be all that the public is seeing.  

Take charge of the imagery for the food you produce.  Jeff Behm Photography specializes in food photography, having done so for 3 decades.  Food and bar specific trade magazines like “Cheers” have sent Jeff around the country to create imagery for publication.

Companies like Joy Cones, the world’s largest maker of ice cream cones, use our images on packing for your grocer’s shelves, as does Rocca Foods, for their frozen pasta meals.

Prior to photography, Jeff spent 12 years experience in food service management in the Midwest, working with restaurants making everything from baked goods to entrees from scratch.  

Put your best foot forward.  Call or email Jeff for your restaurant or food packaging photography.  724-730-8513 or

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