I spent an afternoon chilling in New York Times columnist Thomas Friedman’s office for Turkish newspaper Hurriyet. I’d previously worked with the same reporter on another interview with a different NYT columnist for a Turkish GQ article. That was the assignment where some jerk NYT writer (editor?) screamed at me for taking pictures of the newsroom. I saw him again during the walk to Friedman’s office and gave him the stink-eye. I don’t think he remembered me. Anyway, this shoot was slightly less dramatic. I did almost impale myself on a collection of very pointy crystal on Friedman’s coffee table. I tripped but caught myself just before loud, sharp disaster could derail the interview. I shot Friedman while he talked and then had a few minutes afterwards to get my portraits.One thing I like to do in office shoots is turn off all the lights. Most of the people I get to shoot in DC have nice corner offices with lots of windows and natural light, so I pull what I’m now calling the House of Cards maneuver. Seriously, have you seen the show? It only looks as good as it does because they eschew the lousy overhead and sconce and lamp lights in the corridors of power in favor of window light. It’s the most glaring example of creative license I’ve noticed with the show because, in reality, DC is lit like any photographer’s worst nightmare. I’ve been turning off the lights in fancy people’s offices for years, so I guess it’s kind of nice to see high-end production validation of my aesthetic preferences.