Section mm; Column 0; T: Men's Fashion Magazine; Pg. 76

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Copyright 2008 The New York Times Company

1053 of 1231 DOCUMENTS

The New York Times

February 21, 2008 Thursday

Correction Appended

Late Edition - Final

Picture, Picture on the Wall ...


SECTION: Section F; Column 0; House & Home/Style Desk; Pg. 1

LENGTH: 1210 words

THERE has always been a certain status attached to owning a home that is featured in a magazine. And a certain pleasure, for a homeowner, in leaving the evidence lying casually on the coffee table.

But now there's another way to flaunt the importance of your house, and your affection for it: hire a well-known photographer yourself to immortalize it. To some, that's even better than a magazine photo spread, because the results can be displayed in entry halls and over fireplaces, just like any piece of art, or bound in a book.

''We fetishize homes now, in a way that we never used to,'' said Todd Eberle, a photographer whose work appears in Vanity Fair and in prominent museums. He has been hired by many celebrities, including Martha Stewart and Bill Clinton, to document their homes and offices. His clients, he said, want him both to memorialize their homes as they really are, and at the same time to ''take it to a different level, and somehow improve upon the reality.''

Jon Miller, an architectural photographer and an owner of Hedrich Blessing, a firm in Chicago that has been documenting American architecture since the 1930s, said he had seen a marked increase in homeowner commissions in recent years.

''People have a lot of pride in their homes, and they want to glamorize them,'' he said.

And George Penner, of Deasy/Penner & Partners, a boutique real estate firm in Beverly Hills, Calif., has observed that potential buyers are often more impressed of late at seeing a house's portrait on the wall than in a magazine.

''It gives the house cachet,'' Mr. Penner said, ''and may even give it an edge in the market.'' Elliott Kaufman, a well-known architectural photographer, recently started a company called Legacy Editions because he noticed the growing interest in photographing homes. He not only takes the pictures, but interviews clients about how they live, including their favorite time of day in the house and what space they particularly like.

Then he puts it all together in a hand-bound coffee table book. Some clients, he said, have books made for each house they own. His fee starts at $3,500 for a day of shooting, comparable to his magazine day rate, and $3,500 more for the bound book, and it climbs from there, depending on the time spent and the number of locations.

''My clients take great care of their homes and have deep personal connections to them,'' he said. ''It is my hope that the images I create evoke emotion.''

One client is Laura Bohn, 67, an interior designer with offices in New York. She hired Mr. Kaufman to photograph her country house in Pennsylvania and two apartments in New York, and said she regrets not having her homes photographed sooner. She and her husband have moved eight times, and though pictures of many of her homes have been published in design magazines, she said it's not the same because a magazine doesn't have the staying power, or the beauty, of a glossy hand-bound book.

''Ultimately, I'd love to have one big coffee table of all my homes, divided into chapters,'' she said. ''It preserves that moment in time and in your life, and it's a way to keep those memories alive.''

Often, the decision to hire a photographer, for fees that can run to $75,000, is made when someone buys an architecturally important house or oversees a painstaking renovation. Dana Garman, 35, and her husband, James Jacobsen, 36, commissioned the architectural photographer Julius Shulman, who is 97 and whose prints now sell for $10,000 and up, to do their home in Los Angeles. (Mr. Shulman's archive was recently acquired by the Getty Research Institute, which like the Getty Museum in Los Angeles is owned by the Getty Trust.)

''His images are so iconic, we were thrilled that we live in a home that he felt was worthy of photographing,'' said Ms. Garman, whose 1952 house, which she and her husband have restored, was designed by the architect A. Quincy Jones.

Mr. Shulman spent the day shooting the house and entertained the couple with stories about famous architects and Los Angeles history. He even praised their renovation, which meant more to them than having the photographs taken, said Ms. Garman, who owns Superstudio, a production company in Santa Monica, Calif., and whose husband is a real estate developer.

''To get a stamp of approval from someone as legendary as Julius is incredible,'' she said, adding, ''It was really much more about the experience of having him photograph,'' although they plan to frame and hang many of the photographs, whose cost they would not disclose.

For others, it's just fine to hire the local big fish in a small pond. When Julia Butler and her husband, Malcolm, both 50, recently completed the renovation of their 1852 town house in Savannah, Ga., one of the first things they did was commission a photographer.

''Much in the way you might have portraits of your children taken, we wanted the same quality in a photograph of our home,'' Ms. Butler said.

The Butlers, who run an investment management company in Savannah, bought the house three years ago and spent two years renovating, trying to blend its 19th-century architecture with modernism. They documented the project with their own snapshots, but Ms. Butler said they didn't have the professional equipment or the eye to do the house justice. They decided to hire Eric Prine of Attic Fire Architectural Photography in Savannah, which typically does commercial advertising work. His fee starts at $4,000.

The couple hung one of his pictures in their front hall, a highly stylized portrait that makes the house appear to glow. ''Every single person who has walked into our house has commented on it,'' she said. ''I think it really reads like a piece of fine art. And when people see it, they understand why it's important to hire a professional. He really captured the magic.''

Mr. Prine does a lot of retouching on his photographs -- garbage on the street and telephone poles can disappear in a flash. ''The client wants to see their home shown in the best way possible, so we enhance every aspect and detail,'' he said.

Mr. Eberle put it more bluntly. ''The most successful picture is a complete lie,'' he said.

Four years ago, Mr. Eberle photographed a Norman Jaffe house in Sagaponack, N.Y., for Sandy and Steve Perlbinder, who won his services in a local charity auction.

Although Ms. Perlbinder, whose husband is a retired real estate developer, did not want to say how much they paid (it was a silent auction), the catalog said the minimum bid was $10,000 for the photo shoot, which it valued at $20,000.

The house, which had been photographed and shown in magazines after it was built in 1969, had survived a fire and a move prompted by beach erosion, and had been renovated by her son-in-law Cristian SabellaRosa.

''I think Todd Eberle was pleasantly surprised when he found out about our house,'' she said. ''I think he was nervous he might get a McMansion.'' (Indeed, Mr. Eberle said, he was.)

She has the three framed portraits hanging in her New York apartment to remind her of the house. ''They are modern and abstract and beautiful,'' she said. ''When my family comes to stay, someone always comments on those shots. They bring us all there.''





LOAD-DATE: February 21, 2008


CORRECTION-DATE: February 28, 2008

CORRECTION: A picture caption last Thursday with an article about homeowners who hire professional photographers to take pictures of their houses misidentified Juergen Nogai, who was shown with two such homeowners. He is a photographer and the business partner of another photographer, Julius Shulman, who was also pictured. Mr. Nogai is not Mr. Shulman's assistant.

GRAPHIC: PHOTOS: ALL IN THE FAMILY: After Julia and Malcolm Butler, above, renovated their 1852 town house in Savannah, Ga., left, they commissioned a photographer to shoot it, ''much in the way you might have portraits of your children taken,'' Ms. Butler said. (PHOTOGRAPHS BY STEPHEN MORTON FOR THE NEW YORK TIMES


GROUP SHOTS: Elliott Kaufman, above, has photographed Laura Bohn's Manhattan apartments, above and right, as well as her country house. (PHOTOGRAPH BY JOYCE DOPKEEN/THE NEW YORK TIMES


PRACTICED EYE: Julius Shulman (above and left) was commissioned by Dana Garman and James Jacobsen (both standing at left, with Mr. Shulman's assistant, Juergen Nogai), to shoot their home in Los Angeles (center left and right). (PHOTOGRAPH BY ABOVE AND ABOVE RIGHT, MONICA ALMEIDA/THE NEW YORK TIMES) (pg. F5)

COUNTRY IN THE CITY: After Sandy Perlbinder, left, and her husband, Steve, won a Todd Eberle photo session at a charity auction, they had him photograph their home in Sagaponack, N.Y. The three framed portraits hang in her Manhattan apartment to remind her of the home. ''They are modern and abstract and beautiful,'' Ms. Perlbinder said. (PHOTOGRAPHS BY ABOVE AND TOP RIGHT, JOYCE DOPKEEN/THE NEW YORK TIMES



Copyright 2008 The New York Times Company

1054 of 1231 DOCUMENTS

The New York Times

February 21, 2008 Thursday

Late Edition - Final

Passports Essential for These M.B.A.'s


SECTION: Section C; Column 0; Business/Financial Desk; ENTREPRENEURIAL EDGE; Pg. 5

LENGTH: 1024 words

SOUTHERN CALIFORNIA universities have long led the nation in the number of students enrolled from other countries. Now the universities' business programs are taking the globalization of education to a different level, offering courses that go beyond dry corporate case studies and broadening their collaboration with universities and businesses abroad, particularly in Asia.

The Anderson School of Management at the University of California, Los Angeles, and the National University of Singapore have programs allowing students in the executive master of business administration program to be awarded degrees from both universities after 15 months of taking classes in Singapore and Los Angeles, and also in Shanghai and Bangalore, India.

The Marshall School of Business at the University of Southern California in collaboration with Jiao Tong University in Shanghai has a global M.B.A. program involving executives from 10 countries studying in China and Los Angeles. The Paul Merage School of Business at the University of California, Irvine, collaborates with the Indian Institute of Technology, Peking University in Beijing, City University of Hong Kong and others in teaching business courses around the world.

The programs are not simply overseas duplications of standard courses in accounting and finance. ''In our global access courses, we challenge teams, in a language that is not that of the United States, to drop an egg from two stories without breaking it,'' said Andrew Policano, dean of the Merage School. ''One must learn to innovate with other cultures.''

Judy Olian, dean of the Anderson School at U.C.L.A., agreed. ''It is critical to learn other cultures,'' she said. ''We are taking entrepreneurial leaders to operate in Palestine and Israel, in India and China''

She added: ''That has not been thought of as the mission of business schools, but it is in the emerging world of today. If we did not do this, we could be accused of staring at our own navel.''

C. L. Nikias, provost and head of academic affairs at the University of Southern California, wants the university to become a place where ''students and faculty can cross academic and geographic boundaries to innovate, an institution with a public service mission that spans continents.'' About 21 percent of the students at the university's Marshall School are international. The university is ''receiving requests to put branches of the school in many countries,'' said Adam Clayton Powell III, vice provost for globalization.

The Global Access Program at the Anderson School provides a good illustration of the new types of offerings. The program enrolls 175 M.B.A. candidates who are working at other jobs during the three years it takes to earn their degrees. Their average age is about 33. Students consult for six months at a time for international companies that want to get into the American market or simply ''operate beyond their current borders,'' explained Robert Foster, dean of the program. The students, who work in teams of five or six, average 500 hours of work on a typical project.

Payem Tehrani, who graduated last year, counseled ICAR Vision Systems, a developer of identification cards and equipment in Barcelona, Spain. ICAR wanted to break into the American market. But after the students surveyed that market and worked in Spain, Italy and other countries, ''we found that its equipment was not advanced enough to make it in the U.S. market, but that ICAR had opportunities for expansion in Italy,'' said Mr. Tehrani, a 35-year old electrical engineer who now works for Yahoo. The Spanish company, like all other corporate customers of the program, contributed $15,000 to the Anderson School to cover part of the program's expenses.

Gerald Gutierrez, 33, who also graduated from the program last year, worked with an Italian company that wanted to sell thermoplastics to Boeing and Airbus. But the company's products were less advanced than the thermoplastics the companies already used to build aircraft. ''We advised the company that it needed to do more research and development,'' Mr. Gutierrez said.

In another case, a team of students studied markets in Russia for the Technology Agency of Finland, a government office, on behalf of software, communications and construction service firms. Why would Finland hire American students to study a market in Russia? The answer, Mr. Foster said, is that the Americans ''know how to commercialize technology, to map out the complex of distribution channels, marketing and finance that any product needs to be successful.''

The global access program is expanding in 2008 to 240 students and 48 projects, reaching out to India and China, Mexico, Spain and Austria for new companies and opportunities.

Global study brings perspective. Ronald Lewis, 21, a student at the Marshall School, studied for four months at the Hong Kong University of Science and Technology and visited the bustling port city of Shenzhen, China. It was, he said, ''my first time immersed in another culture,'' an experience that he will bring to a management consultant job at Bain & Company after graduation this year.

Alda Mostofi, 28, found that his fellow students of many nationalities, had differing views about Western culture when they visited the General Motors plant in Shanghai as part of their studies for the dual business degree from U.C.L.A. and the National University of Singapore.

Ronson Wong, an executive at, a Hong Kong-based provider of cable and satellite communications, said, ''A degree from an American university, from U.C.L.A., is highly valued in Asia.'' He received a dual degree from U.C.L.A. and Singapore last year.

American universities are so prized abroad because ''we have a different kind of pedagogy,'' said James Ellis, dean of the Marshall School. ''We are much more inclusive of students, allowing their participation on many levels, in contrast to the classic Oxford lecture model. The students learn from one another, particularly in the global classes where individuals from different cultures work together.''

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