Johns Hopkins Magazine -- June 1997
Johns Hopkins Magazine

JUNE 1997

Johns Hopkins Magazine

J U N E    1 9 9 7    I S S U E

Chris Burrell, illustrator, makes his home in Massachusetts and can be reached at 508/696-8257.
(See Art for Common Ground at Half Court)
Steffi Graham, photographer. Graham is a Baltimore-based freelance photographer who can be reached at 410/664-8493.
(See Top Cops Hit the Books)
Colin Johnson, illustrator, is Baltimore-based and can be reached at 410/484-4819.
(See Essay)
Mark Lee, photographer. A Baltimore photographer who specializes in environmental portraits, Lee can be reached at 410/663-3479.
(See Matthew Burtner, the Composer, in Five Prose Movements)
Kevin O'Malley, illustrator, lives in Baltimore and has several children's books to his credit. O'Malley can be reached by calling 410/377-4582.
(See health and science)
Louis Rosenstock, photographer, is Baltimore-based and can be reached at 410/685-1212.
(See Yesterday's Whiz Kids: Where Are They Today?)
Stefano Vitale can be reached via his representative, Lindgren & Smith Inc. in New York City, at 212/397-7330.
(See Empathy 101)
Leslie Wu, artist, is based in East Rochester, NY. Wu can be reached at 716/385-3722..
(See The Dance)

No, the young gentleman at left is not a Hopkins grad student doing research on marine biology--he is Mark Lee, a Baltimore photographer on location for the magazine.

Assigned to shoot this issue's feature on Peabody composer Matthew Burtner, Lee first read a draft of the story and "was immediately struck by how important nature, and the environment, and the elements were to Matthew and his music." Says Lee, "He seemed like a very cerebral person and I wanted an outdoor setting that would be elegant and beautiful." So he set out to scout a location at the Loch Raven Reservoir in Baltimore County, an area he knows well from weekends spent mountain biking.

He soon found the ideal spot, not 40 feet from the roadway. "There were heavy rock faces with lichen and moss, similar to an Alaskan landscape, and there were lots of pine trees," he says. The focal point to the scene was a lone rock, jutting up out of the water. But how would he get Burtner out to the rock without getting wet?

On the gray and blustery afternoon of the shoot, Lee arrived several hours early and set to work constructing a long platform, from shore to rock, out of 2-by-4s. When Burtner arrived, Lee slipped on his hip-waders and helped him out to the rock. Then he moved the whole contraption away and set to work shooting. Fortunately, Burtner managed to keep his balance--and his good humor--throughout the three-hour ordeal.

The only time he was less than obliging was when art director Shaul Tsemach asked him to trail his long sheet of music in the water, for effect. Burtner blanched and informed the duo that his "prop" was in fact an original composition--and his only copy.