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Claire's Artwork

Red snake skin hair

Medusa Portrait

Episode 101

It wasn't until season two that Claire's calling as an artist is announced by her Aunt Sarah. But this piece was always in her room. It's like our little secret. The set decorator, Rusty Lipscomb, always analyzes the characters' psychology so deeply. We decided that this was something Claire had done in school or as a self-portrait. But the piece has never been 'announced' on the show.

Alan Poul - Executive Producer

Claire is a really angry teenage girl, and the producers said that's what they needed to convey. The timing was great: I was getting divorced from my husband. So I said, 'Yeah, I can do angst.' I used materials that I used when I was 16 or 17: charcoal, inky, collage-y things that were kind of messy. I was big into self-portraits then too. And Medusa is such a dramatic figure -- "don't come near me or I'll turn you into stone." Seemed appropriate for a really pissy teenage girl.

Margot Lovinger - Artist

What a marvelous portrait it is. When we redid Claire's room in season three, I put it in a prominent place, so when you shoot Claire in bed, you see the picture at the same time.

Rusty Lipscomb - Set Decorator

Blue dotted man

Blue Pajama Man

Episode 206

In an episode in the second season, Aunt Sarah first appears and tells Claire that she's an artist by looking at the stuff in her room. At the end, Ruth, in an effort to support Claire, digs up some of the pieces she made when she was a child. It's a very tender scene, and they come up with Blue Pajama man. So it's the earliest existing piece of Claire's art.

Alan Poul- Executive Producer

Blue Pajama Man was made by my son Rodney. We had four kids and it was always very, very difficult for me to get rid of any of the things they made over the years. Just like Ruth. When the idea came up in our concept meeting, this was one of the things I brought in and Alan loved it.

Rusty Lipscomb- Set Decorator

Back spine

Portrait of Billy

Episode 209

This is Claire's awakening as a photographer, and her sense that she might have some promise. The recognition of her talent is a gift imparted to her by Billy, when he invites her over to Margaret's condo and asks her to take pictures of him. Naked. It's a riveting scene: he hands her the camera; he tells her what to do. And at the end of the episode he emails some of the pictures, including this one of his back, and she realizes she has talent.

Alan Poul- Executive Producer

There's an enormous amount of energy that goes into picking just the right photos so that the quality comes through. There are rolls and rolls and rolls of film looked at by the producers and the prop masters. It's really not a random process at all.

Rusty Lipscomb- Set Decorator

Lady in coffin

School Project

Episode 210

When Claire has an assignment to write a book report on 'Spoon River Anthology' in high school, she creates a photo album of portraits of dead people, along with selected quotes from the book. She gets an 'F' on the report and her brothers scream at her for violating the clients' privacy. But she's experimenting, and she has a natural affinity for the medium.

Alan Poul- Executive Producer

She's an amateur photographer, but on the other hand she was supposed to be creative. Having gone that route myself, I knew that there are times when any creative photographer, no matter how amateur they may be, might create something quite striking - something that would be in their portfolio for their whole career.

Shooting "dead" people is a bit of a challenge in itself. You're dealing with somebody who's not moving. There's no feedback, no interchange. So I started working with different angles, which I thought might make it more interesting.

Danny Feld - Photographer

Elevated hair

School Project

Episode 210

When Claire has an assignment to write a book report on 'Spoon River Anthology' in high school, she creates a photo album of portraits of dead people, along with selected quotes from the book. She gets an 'F' on the report and her brothers scream at her for violating the clients' privacy. But she's experimenting, and she has a natural affinity for the medium.

Alan Poul- Executive Producer

She's an amateur photographer, but on the other hand she was supposed to be creative. Having gone that route myself, I knew that there are times when any creative photographer, no matter how amateur they may be, might create something quite striking - something that would be in their portfolio for their whole career.

Shooting "dead" people is a bit of a challenge in itself. You're dealing with somebody who's not moving. There's no feedback, no interchange. So I started working with different angles, which I thought might make it more interesting.

Danny Feld - Photographer

Man in coffin

School Project

Episode 210

When Claire has an assignment to write a book report on 'Spoon River Anthology' in high school, she creates a photo album of portraits of dead people, along with selected quotes from the book. She gets an 'F' on the report and her brothers scream at her for violating the clients' privacy. But she's experimenting, and she has a natural affinity for the medium.

Alan Poul- Executive Producer

She's an amateur photographer, but on the other hand she was supposed to be creative. Having gone that route myself, I knew that there are times when any creative photographer, no matter how amateur they may be, might create something quite striking - something that would be in their portfolio for their whole career.

Shooting "dead" people is a bit of a challenge in itself. You're dealing with somebody who's not moving. There's no feedback, no interchange. So I started working with different angles, which I thought might make it more interesting.

Danny Feld - Photographer

Old hands

School Project

Episode 210

When Claire has an assignment to write a book report on 'Spoon River Anthology' in high school, she creates a photo album of portraits of dead people, along with selected quotes from the book. She gets an 'F' on the report and her brothers scream at her for violating the clients' privacy. But she's experimenting, and she has a natural affinity for the medium.

Alan Poul- Executive Producer

She's an amateur photographer, but on the other hand she was supposed to be creative. Having gone that route myself, I knew that there are times when any creative photographer, no matter how amateur they may be, might create something quite striking - something that would be in their portfolio for their whole career.

Shooting "dead" people is a bit of a challenge in itself. You're dealing with somebody who's not moving. There's no feedback, no interchange. So I started working with different angles, which I thought might make it more interesting.

Danny Feld - Photographer

Multicolored pants

Harlequin Pants

Episode 211

Claire gets high on ecstasy with her friend Parker and embarks on this mad sewing project, creating these pants for Ruth. Ruth is so moved she insists on wearing them, even though they're kind of ridiculous.

Alan Poul- Executive Producer

Rough sketch

Olivier's Class

Episode 303 and 305

Here we're showing Claire trying to find her way in different media and sometimes stumbling. This piece is not all good-the puppet piece is supposed to be a complete fiasco. But that's because you're having to churn all this stuff out in art school and it's not supposed to be all good. Olivier wants them to be brave enough to fail.

Alan Poul- Executive Producer

To produce these pieces, I'd come in for meetings with the writer and the director and they'd give me a couple of pages of the script. I really knew what I was doing and why. The first time, with the tombstones, we had almost no time. I'd work on the set in the dark during filming, just working with charcoals or whatever they had there, running back and forth between shots to show them what I was doing.

I would go around and do the drawings from all the other easels, where all the other students were. Just in case they got in the shot, it was the right drawing, from that angle. And on the day of shooting, they had me come in to show the actors how to hold the brush, how to dip it in the medium. It was amazing. They went over every little detail.

Kim Dane- Artist

Person sketch

Olivier's Class

Episode 303 and 305

Here we're showing Claire trying to find her way in different media and sometimes stumbling. This piece is not all good-the puppet piece is supposed to be a complete fiasco. But that's because you're having to churn all this stuff out in art school and it's not supposed to be all good. Olivier wants them to be brave enough to fail.

Alan Poul- Executive Producer

To produce these pieces, I'd come in for meetings with the writer and the director and they'd give me a couple of pages of the script. I really knew what I was doing and why. The first time, with the tombstones, we had almost no time. I'd work on the set in the dark during filming, just working with charcoals or whatever they had there, running back and forth between shots to show them what I was doing.

I would go around and do the drawings from all the other easels, where all the other students were. Just in case they got in the shot, it was the right drawing, from that angle. And on the day of shooting, they had me come in to show the actors how to hold the brush, how to dip it in the medium. It was amazing. They went over every little detail.

Kim Dane- Artist

Grave sketch

Olivier's Class

Episode 303 and 305

Here we're showing Claire trying to find her way in different media and sometimes stumbling. This piece is not all good-the puppet piece is supposed to be a complete fiasco. But that's because you're having to churn all this stuff out in art school and it's not supposed to be all good. Olivier wants them to be brave enough to fail.

Alan Poul- Executive Producer

To produce these pieces, I'd come in for meetings with the writer and the director and they'd give me a couple of pages of the script. I really knew what I was doing and why. The first time, with the tombstones, we had almost no time. I'd work on the set in the dark during filming, just working with charcoals or whatever they had there, running back and forth between shots to show them what I was doing.

I would go around and do the drawings from all the other easels, where all the other students were. Just in case they got in the shot, it was the right drawing, from that angle. And on the day of shooting, they had me come in to show the actors how to hold the brush, how to dip it in the medium. It was amazing. They went over every little detail.

Kim Dane- Artist

Tomb sketch

Olivier's Class

Episode 303 and 305

Here we're showing Claire trying to find her way in different media and sometimes stumbling. This piece is not all good-the puppet piece is supposed to be a complete fiasco. But that's because you're having to churn all this stuff out in art school and it's not supposed to be all good. Olivier wants them to be brave enough to fail.

Alan Poul- Executive Producer

To produce these pieces, I'd come in for meetings with the writer and the director and they'd give me a couple of pages of the script. I really knew what I was doing and why. The first time, with the tombstones, we had almost no time. I'd work on the set in the dark during filming, just working with charcoals or whatever they had there, running back and forth between shots to show them what I was doing.

I would go around and do the drawings from all the other easels, where all the other students were. Just in case they got in the shot, it was the right drawing, from that angle. And on the day of shooting, they had me come in to show the actors how to hold the brush, how to dip it in the medium. It was amazing. They went over every little detail.

Kim Dane- Artist

Blurry face

Fisher Family Portraits

Episode 310

Here Claire is consciously trying to do art photographs of the other Fishers. It was the first time that she did that, so it prefigured the later big leap, when she has her big inspiration with Russell and gets into the collage photos.

Alan Poul- Executive Producer

She's experimenting at school, so I thought she'd use what she knows, which is her family. She'd talk them into doing these photos. The actors --Peter and Michael and Frances-interjected their own ideas into the shots. I'd set it up: 'ok, you're here with Claire, you guys can go however you want to go with it.'

Later on, when we shot a self-portrait of Claire, we shot it kind of simple, because we wanted her to look at it and say, 'uh, this is boring,' -- and that's when she rips it up and puts the pieces on her face.

John Johnson- Photographer

Back of head

Fisher Family Portraits

Episode 310

Here Claire is consciously trying to do art photographs of the other Fishers. It was the first time that she did that, so it prefigured the later big leap, when she has her big inspiration with Russell and gets into the collage photos.

Alan Poul- Executive Producer

She's experimenting at school, so I thought she'd use what she knows, which is her family. She'd talk them into doing these photos. The actors --Peter and Michael and Frances-interjected their own ideas into the shots. I'd set it up: 'ok, you're here with Claire, you guys can go however you want to go with it.'

Later on, when we shot a self-portrait of Claire, we shot it kind of simple, because we wanted her to look at it and say, 'uh, this is boring,' -- and that's when she rips it up and puts the pieces on her face.

John Johnson- Photographer

Quarter face

Fisher Family Portraits

Episode 310

Here Claire is consciously trying to do art photographs of the other Fishers. It was the first time that she did that, so it prefigured the later big leap, when she has her big inspiration with Russell and gets into the collage photos.

Alan Poul- Executive Producer

She's experimenting at school, so I thought she'd use what she knows, which is her family. She'd talk them into doing these photos. The actors --Peter and Michael and Frances-interjected their own ideas into the shots. I'd set it up: 'ok, you're here with Claire, you guys can go however you want to go with it.'

Later on, when we shot a self-portrait of Claire, we shot it kind of simple, because we wanted her to look at it and say, 'uh, this is boring,' -- and that's when she rips it up and puts the pieces on her face.

John Johnson- Photographer

Girl waving color

Fisher Family Portraits

Episode 310

Here Claire is consciously trying to do art photographs of the other Fishers. It was the first time that she did that, so it prefigured the later big leap, when she has her big inspiration with Russell and gets into the collage photos.

Alan Poul- Executive Producer

She's experimenting at school, so I thought she'd use what she knows, which is her family. She'd talk them into doing these photos. The actors --Peter and Michael and Frances-interjected their own ideas into the shots. I'd set it up: 'ok, you're here with Claire, you guys can go however you want to go with it.'

Later on, when we shot a self-portrait of Claire, we shot it kind of simple, because we wanted her to look at it and say, 'uh, this is boring,' -- and that's when she rips it up and puts the pieces on her face.

John Johnson- Photographer

Two people sitting by grave

Duratrans

Episode 309

Claire is one of the very few first-year students to get a piece in the alumni art show. A lot of the other pieces are selling and nobody's buying her piece and finally, it sells. Then she discovers it was actually Russell who bought it to make her happy.

Alan Poul- Executive Producer

I'd like to say that this shot was all my idea and I'm a great photographer, but this was really a collaborative effort. The wardrobe department, props guys, casting people all had a huge influence on this picture. The director was there; we were giggling the whole time. It was more like a movie than a photo shoot--a collaboration. It was a lot of fun.

John Johnson- Photographer

Cracked egg

Egg Sculpture

Episode 306

Olivier singles out this piece of Claire's and calls it "termite art." The idea was that her piece was kind of opaque and mysterious and Russell's was overly symbolic. Olivier trashes Russell's. But at this point, it's clear that Olivier was playing them off each other. He's manipulating them and keeping them off-balance for his own selfish reasons.

Alan Poul- Executive Producer

The hardest part is trying to tell someone your vision. You have something in your head and you've got to get it out there to an artist and there's usually only a few days to get it. At the gallery show, for example, we had to create all of these hero pieces, and you're always wondering, 'My God, did they get what we were talking about?'

Suzuki Ingerslev- Production Designer

Red liquid in tub

Art Photos

Episode 402

When blood erupts in the house's plumbing, Claire's first reaction is, 'Wait a minute, let me get my camera.' She's very psyched about her work as a photographer. And when the Fishers have their big bonfire later, she takes pictures of that.

She ends up giving David one of the photos his birthday, after he's been traumatized by the carjacking. The look on David's face...it was planted way ahead.

It's very eloquent, in terms of expressing her belief in him and her sympathy for the trial he's been through. David appreciates that so much more than any words of consolation. I think it's a beautiful moment, and the picture has been hanging on the wall of David's kitchen ever since.

Alan Poul- Executive Producer

Claire was a photography student going to an imaginary school called LAC-Arts, which I imagined was Cal-Arts, my alma mater. So I got into the spirit of it. I saw this green bowl in an ivory sink and the blood spattering the special effects guy did was really great. On its own, the image was pretty striking, but I decided to push it, as would be the habit of a Cal-Arts student, so I did some posterizing, exaggerating the colors.

Doug Hyun- Photographer

Claire Fisher close up hand on head

Self Portrait

Episode 405

When Claire does these self-portraits for a class, Nate looks at them and says, 'Oh, are you trying to be a model or something?' And Claire gets very offended, because she's going for something very arty in these. But in her self-conscious, empty gaze, what she's going for is very superficial and mannered, and her teacher makes her realize that.

Alan Poul- Executive Producer

I got to spend a few hours with Lauren and had the benefit of the entire grip department and set dec, and we went across the street in this little neighborhood in Hollywood. We actually started using people's front lawns and sidewalks and wrought iron junk piles. She was in this beautiful antique lace nightgown and it was really fun, intimate and sexy. It was a lot like the shoots I had done in college.

Claire's class caught her in the classic art school trap of not having a rationale for what she was doing. I thought that was really interesting, because that used to happen to me in art school all the time. I came to realize that it was more about the dialog you could lay on people about what you were trying to accomplish than what you had actually accomplished.

Doug Hyun- Photographer

Blond girl close up

Portrait of Edie

Episode 407

When Claire shows the photography class her picture of Edie, everyone praises her. Because she's found something urgently evocative and mysterious about Edie to show. Of course, what's coming through in the picture is Claire's total infatuation with Edie, even though it's an infatuation that she's unable to follow through on sexually.

Alan Poul- Executive Producer

This was shot in between filming. I'd watch the scene go down and consider the possibilities. Then they'd cut and I'd say, could I have her for a second and get the shot. I think this photo really captures the sexual intensity of this moment between Edie and Claire. And I take no credit for it, because Mena is an extremely sexy girl to start off with.

Doug Hyun- Photographer

Green dress girl dollhouse

Dollhouse

Episode 409

She just creates this as a personal project, this little miniature idealized version of the Fisher house. Nate comes in and reminisces about when he used to go down and see his father with the dead bodies and how sad he felt for them. They've both been through a lot, and having this safe, encapsulated version of their lives in front of them creates a kind of healing space. It's a very close moment between them.

Alan Poul- Executive Producer

In my art, I make miniature houses with unwholesome scenes and sort of messed up dioramas. Pretty dark but humorous stuff. The producers game me a lot freedom, it just had to look like the Fisher's house. So I made sure Ruth's signature corn dish is on the kitchen table. But in the refrigerator (which is a casket) I put a gentleman's legs in, along with the foods and stuff.

Matt Burlingame- Artist

When we saw Matt's web site, we thought, 'oh, that's really cool and very morbid.' He came in and showed us his work and we knew he'd be perfect.

Suzuki Ingerslev- Set Designer

Four room dollhouse

Dollhouse

Episode 409

She just creates this as a personal project, this little miniature idealized version of the Fisher house. Nate comes in and reminisces about when he used to go down and see his father with the dead bodies and how sad he felt for them. They've both been through a lot, and having this safe, encapsulated version of their lives in front of them creates a kind of healing space. It's a very close moment between them.

Alan Poul- Executive Producer

In my art, I make miniature houses with unwholesome scenes and sort of messed up dioramas. Pretty dark but humorous stuff. The producers game me a lot freedom, it just had to look like the Fisher's house. So I made sure Ruth's signature corn dish is on the kitchen table. But in the refrigerator (which is a casket) I put a gentleman's legs in, along with the foods and stuff.

Matt Burlingame- Artist

When we saw Matt's web site, we thought, 'oh, that's really cool and very morbid.' He came in and showed us his work and we knew he'd be perfect.

Suzuki Ingerslev- Set Designer

Red hair girl dollhouse

Dollhouse

Episode 409

She just creates this as a personal project, this little miniature idealized version of the Fisher house. Nate comes in and reminisces about when he used to go down and see his father with the dead bodies and how sad he felt for them. They've both been through a lot, and having this safe, encapsulated version of their lives in front of them creates a kind of healing space. It's a very close moment between them.

Alan Poul- Executive Producer

In my art, I make miniature houses with unwholesome scenes and sort of messed up dioramas. Pretty dark but humorous stuff. The producers game me a lot freedom, it just had to look like the Fisher's house. So I made sure Ruth's signature corn dish is on the kitchen table. But in the refrigerator (which is a casket) I put a gentleman's legs in, along with the foods and stuff.

Matt Burlingame- Artist

When we saw Matt's web site, we thought, 'oh, that's really cool and very morbid.' He came in and showed us his work and we knew he'd be perfect.

Suzuki Ingerslev- Set Designer

Black shirt doll

Dollhouse

Episode 409

She just creates this as a personal project, this little miniature idealized version of the Fisher house. Nate comes in and reminisces about when he used to go down and see his father with the dead bodies and how sad he felt for them. They've both been through a lot, and having this safe, encapsulated version of their lives in front of them creates a kind of healing space. It's a very close moment between them.

Alan Poul- Executive Producer

In my art, I make miniature houses with unwholesome scenes and sort of messed up dioramas. Pretty dark but humorous stuff. The producers game me a lot freedom, it just had to look like the Fisher's house. So I made sure Ruth's signature corn dish is on the kitchen table. But in the refrigerator (which is a casket) I put a gentleman's legs in, along with the foods and stuff.

Matt Burlingame- Artist

When we saw Matt's web site, we thought, 'oh, that's really cool and very morbid.' He came in and showed us his work and we knew he'd be perfect.

Suzuki Ingerslev- Set Designer

White shirt black shorts doll

Dollhouse

Episode 409

She just creates this as a personal project, this little miniature idealized version of the Fisher house. Nate comes in and reminisces about when he used to go down and see his father with the dead bodies and how sad he felt for them. They've both been through a lot, and having this safe, encapsulated version of their lives in front of them creates a kind of healing space. It's a very close moment between them.

Alan Poul- Executive Producer

In my art, I make miniature houses with unwholesome scenes and sort of messed up dioramas. Pretty dark but humorous stuff. The producers game me a lot freedom, it just had to look like the Fisher's house. So I made sure Ruth's signature corn dish is on the kitchen table. But in the refrigerator (which is a casket) I put a gentleman's legs in, along with the foods and stuff.

Matt Burlingame- Artist

When we saw Matt's web site, we thought, 'oh, that's really cool and very morbid.' He came in and showed us his work and we knew he'd be perfect.

Suzuki Ingerslev- Set Designer

Torn up face on Ruth Fisher

Mask Sculptures

Episode 412

This is something where we worked backwards. We were looking for Claire to have some kind of artistic breakthrough, and Suzuki brought in this work by David Meanix. Then we took the process by which David makes the collage portraits and worked it into the storyline. So the inspiration for making the portraits came in a shared moment between Claire and Russell, which sowed the seeds of conflict for later on.

Alan Poul- Executive Producer

When I showed everyone the artwork, everybody felt something for it, it just had that Six Feet Under Feel to it. It was macabre, you know, haunting. They feel almost like dead people.

Suzuki Ingerslev- Set Designer

When I look at my photo work, I think it reflects how we're always managing all these different aspects of our personalities and trying to sort of balance the power of all of our different selves and outlooks. And how we're constantly transforming. I like the sculptures to look like they're morphing, almost. Everything swimming around, as if you're on a cellular level.

David Meanix- Artist

Torn up face on David Fisher

Mask Sculptures

Episode 412

This is something where we worked backwards. We were looking for Claire to have some kind of artistic breakthrough, and Suzuki brought in this work by David Meanix. Then we took the process by which David makes the collage portraits and worked it into the storyline. So the inspiration for making the portraits came in a shared moment between Claire and Russell, which sowed the seeds of conflict for later on.

Alan Poul- Executive Producer

When I showed everyone the artwork, everybody felt something for it, it just had that Six Feet Under Feel to it. It was macabre, you know, haunting. They feel almost like dead people.

Suzuki Ingerslev- Set Designer

When I look at my photo work, I think it reflects how we're always managing all these different aspects of our personalities and trying to sort of balance the power of all of our different selves and outlooks. And how we're constantly transforming. I like the sculptures to look like they're morphing, almost. Everything swimming around, as if you're on a cellular level.

David Meanix- Artist

Torn up face close up

Mask Sculptures

Episode 412

This is something where we worked backwards. We were looking for Claire to have some kind of artistic breakthrough, and Suzuki brought in this work by David Meanix. Then we took the process by which David makes the collage portraits and worked it into the storyline. So the inspiration for making the portraits came in a shared moment between Claire and Russell, which sowed the seeds of conflict for later on.

Alan Poul- Executive Producer

When I showed everyone the artwork, everybody felt something for it, it just had that Six Feet Under Feel to it. It was macabre, you know, haunting. They feel almost like dead people.

Suzuki Ingerslev- Set Designer

When I look at my photo work, I think it reflects how we're always managing all these different aspects of our personalities and trying to sort of balance the power of all of our different selves and outlooks. And how we're constantly transforming. I like the sculptures to look like they're morphing, almost. Everything swimming around, as if you're on a cellular level.

David Meanix- Artist

Torn up face leaning on train stairs

Mask Sculptures

This is something where we worked backwards. We were looking for Claire to have some kind of artistic breakthrough, and Suzuki brought in this work by David Meanix. Then we took the process by which David makes the collage portraits and worked it into the storyline. So the inspiration for making the portraits came in a shared moment between Claire and Russell, which sowed the seeds of conflict for later on.

Alan Poul- Executive Producer

When I showed everyone the artwork, everybody felt something for it, it just had that Six Feet Under Feel to it. It was macabre, you know, haunting. They feel almost like dead people.

Suzuki Ingerslev- Set Designer

When I look at my photo work, I think it reflects how we're always managing all these different aspects of our personalities and trying to sort of balance the power of all of our different selves and outlooks. And how we're constantly transforming. I like the sculptures to look like they're morphing, almost. Everything swimming around, as if you're on a cellular level.

David Meanix- Artist

Torn up face close up side

Wedding Gift

Episode 501

This collage is a really nice piece; it creates a new face out of pieces of Nate and pieces of Brenda. In later episodes we see it hanging on the wall in Nate and Brenda's house. They put it in a prized place.

Alan Poul- Executive Producer

Black white Ruth Fisher George Sibley spill drink

Wedding Photos

Episode 501

Since Claire is a photographer, she hired herself as the wedding photographer. We wanted the photos to be distinctive, to show that she has a natural eye, so we hired Lara Porzak, who is one of the premiere wedding photographers in Los Angeles.

Alan Poul- Executive Producer

Black white Brenda Chenowith dancing

Wedding Photos

Episode 501

Since Claire is a photographer, she hired herself as the wedding photographer. We wanted the photos to be distinctive, to show that she has a natural eye, so we hired Lara Porzak, who is one of the premiere wedding photographers in Los Angeles.

Alan Poul- Executive Producer

Black white Nate fisher dancing

Wedding Photos

Episode 501

Since Claire is a photographer, she hired herself as the wedding photographer. We wanted the photos to be distinctive, to show that she has a natural eye, so we hired Lara Porzak, who is one of the premiere wedding photographers in Los Angeles.

Alan Poul- Executive Producer

Black white Ruth Fisher George Sibley spill drink

Wedding Photos

Episode 501

Since Claire is a photographer, she hired herself as the wedding photographer. We wanted the photos to be distinctive, to show that she has a natural eye, so we hired Lara Porzak, who is one of the premiere wedding photographers in Los Angeles.

Alan Poul- Executive Producer

Black white Nate David Fisher in sun

Wedding Photos

Episode 501

Since Claire is a photographer, she hired herself as the wedding photographer. We wanted the photos to be distinctive, to show that she has a natural eye, so we hired Lara Porzak, who is one of the premiere wedding photographers in Los Angeles.

Alan Poul- Executive Producer

Behind the Scenes