This blog has been a long time coming, as Lynn tends generally prefers to stay in the background of things. All of us at the studio had a hand in prodding her just a touch to write this. Which is a wonderful turn of events. Lynn and I have worked together for nearly 20 years. She is one of the treasures of my life, and the dearest of friends. She has been a confidante, fortune teller, business manager, representative, finance magician (occasionally conjuring something out of nothing), producer (which is her tale below), rights and rates adviser, font of wisdom, voice of reason, and organizer of all things. And, as I mentioned, the most unflappable, unshakable, and understanding of friends. Without Lynn’s guidance, we would have run aground long ago. Like a compass with a heart and a voice, she continues to steer our tiny studio through thick and thin, through rough and calm seas.
She’s also an amazing cook. Every year at her house, we have Abbundanza! Which is Italian, for roughly, too much food. All the friends of the studio gather at her house for a feast. And the two of us stand and toast each other from the deepest part of our hearts. Another year. We made it another year.
Hi all, Lynn DelMastro here, Joe’s long time studio manager / producer. Ah, yes, a voice from behind the scenes of a Joe McNally shoot. What really goes on? How does all that stuff actually get dialed into the scene? Well, I’m here to tell you, in part, about some of the “magic” (even though most of the magic actually doesn’t happen, as we know, until Joe gets behind the camera.)
(Joe here. And let me be the first one to step forward here and be completely candid about the fact the sometimes the magic happen, and sometimes it don’t. But that’s on me. The beauty of a Lynn production is that when I step up to the camera, all I have to worry about is what I see through the lens, and connecting with it. All the other stuff has been taken care of, done deal, lock solid.)
Sometimes photographers have asked, “does everything Joe shoots require a producer?” No, certainly not. For some less complex shoots, Joe puts together everything himself. It’s all very circumstantial, when a shoot is either extremely complex, or when Joe’s schedule simply won’t allow for him to oversee every step himself, the production falls on my desk. Over the years, I’ve produced everything from the McNally Workshops in Dobbs Ferry, to Joe’s Language of Light DVD, to small magazine shoots, to full blown commercial assignments for him. Some of the more memorable ones have been for Nikon. The most recent production for them was for the launch of the D4.
When we were first awarded the project, our studio team sat down for a pre-production meeting. Joe proceeded to explain what his wishes and desires were for the visuals (aka his imagination on steroids). My mouth dropped, my heart raced, my body overheated, and my head throbbed. So, for about 30 long seconds, I think I actually blacked out, without really losing consciousness. You know what I mean? Like when you hear news that makes your whole being go into a virtual freeze frame mode? Hmm, why did I have this reaction? Well, he used words like… circus, animals, swamp, Delta blues artist, multi-city locations, studios, body painters, models, performers, helicopters, and the list went on and on. Oh sure, just sounds like a long “to do” list, right? Yeah, well you go out and try to find a custom-made circus, a swamp that won’t swallow up the crew, and an authentic Delta blues artist, etc… all the while keeping within the confines of a budget and a looming deadline. He may as well have told me that he wanted to shoot a full- blown production on the moon with Gisele and Bono. No worries.
So, once I stopped hyperventilating, I dipped into my brain’s, “who do I know” file, to kick start the action. Assuming that the circus scenario would be the most challenging to orchestrate, I contacted my good friend, Chiara Adorno, a very talented filmmaker in Hollywood. Never know who she might know, etc. I explained what I was looking for, “Joe wants to shoot an old- school looking circus, a family type deal”. However, the kicker was that we needed it not for a day or two, but for a week, and it had to be all for ourselves. We needed a closed set, no public allowed (hey, we had to keep the D4 a TOP secret, after all!). I also mentioned that Joe had been visually inspired when he saw the film Water for Elephants, with Reese Witherspoon. Chiara gave me the contact info for a friend of hers, who is in the circus business, explaining that he would be a fantastic starting point. So I contacted VW Scheich, and well the rest of the conversation was simply music to my aching ears. He replied, “my cousin was the animal trainer for Reese in the movie”, “let me put you in touch with her, I’m sure she can help”. Oh.My.God. I then contacted his cousin, Darlene Williams, and so it began. I can’t even explain how incredibly wonderful this woman was. She put me in touch with her mother, Eva Williams.
Eva is a circus agent, and literally became my one-stop-shopping circus guru. Darlene, who could have bowed out at that point, stayed with it, periodically emailing and calling me, just because she cared. Wow, like mother, like daughter, these women were amazing. Okay, so with the circus planning underway, I turned my attention to the swamp production. Holy mackerel, or rather, holy gator… seriously? Again, Joe had a vision in his head (shocking), of how he wanted the swamp to look. So many things to consider… plus we needed a willing hair-M/U artist, wardrobe stylist, and model, all able to deal with the most unappealing environment ever (think major humidity, mosquitoes, gators, poisonous snakes, and other unknown creatures), a location vehicle, a medic, and a park ranger. There were major permissions to deal with, as well as scheduling issues. Okay, so I’ve been doing this long enough to know that, although I pride myself in my ability to multi-task and tackle large productions, sometimes I just have to hand off a piece of the pie. So I called my colleague and friend, Lyn Wik, a very experienced producer, to see if she’d be willing to pitch in and help. Lyn, being the incredible person she is, replied, “for you and Joe? Just say the word and I shall be yours!”. So I put her in touch with a former assistant of ours, photographer Scott Holstein.
Scott is a swamp LOVER, who lives in Florida. Scott was so psyched about the notion of working with Joe in a swamp that he offered to assist and help out in any way he could. At that point, with Lyn and Scott being on board, I KNEW that I had nothing to worry about. Naturally Lyn and I still talked and emailed 24/7, for about 3 weeks.
Okay, so amidst the tons of emails and phone calls with Lyn on the swamp, I was simultaneously dealing with the other shoots. Communication with Eva, for the circus shoot, was constant. We had to review options for tents, locations, talent, elephants, permits, dogs, horses, contracts, and the list went on and on. Then there was the selection of the model, which took days, just to find the right girl. I also had to find a wardrobe stylist, and due to budget, needed to find someone in the vicinity close to the shoot. I totally scored with the stylist, Deana Anais, represented by a wonderful agent, Sarah Hamilton-Bailey. Deana had an incredible sense of style and was totally intuitive about the look and feel of what we wanted. I also contacted Deborah Engelsman, an extremely talented hair-M/U artist, whom I’ve worked with many times over the years. Together, this team caused a fashion sensation at the shoot…
There still remained the [not so small] matter of finding a Delta blues artist. Once again, I tapped into my personal resources… a wonderful and special friend, Jody Wenig, of Wenig-LaMonica, a source for amazing talent. I knew that Jody could point me in the right direction, and man did he ever! Two emails later, and I was in direct contact with Wacko Wade, the manager of Delta blues artist, Little Freddie King. Wacko and I created an instant bond (with a name like that, how could we not?), and he helped me to iron out all the details of how and when to work with LFK. Joe requested a run down, patina ladened, character driven house that evoked the flavor and style of old New Orleans.
Location scout, Michael Dittmar to the rescue! Michael did an amazing job and sent us lightboxes of properties to consider, all over the city. Joe settled on the one that suited his purposes the best, which turned out to be absolutely beyond perfect for the shoot and the video that we shot of LFK. Our local assistant, photographer Donald Page, brought us to the dual bridge location, where Joe shot an incredibly cool image of LFK.
For a separate photo situation in New Orleans, Joe had his heart set on shooting at Preservation Hall, a musical landmark institution there. As with any landmark, it’s subject to policies, procedures, and long wait lists. My motto, “be pleasantly persistent”, was what had to be put in place. Five emails and three voice messages later, I finally heard back from them. I just needed that voice contact to make a new friend of the business manager there and we were in. Good to go. Right down to the wire.
But wait, there’s more. Let’s not forget about, “Snake Beauty”. Although not as many moving parts as the circus, the swamp, or even the New Orleans shoots, the snake shoot presented its own set of complexities. After an extensive search, I found the brilliantly talented, NYC based body-painting and make-up artist, Anastasia Durasova. Understanding that not every model is willing to sit perfectly still for eight hours to be painted, but also not every model is willing to wear an 8 ft python, as an accessory. Anastasia highly recommended Marina, the model, and she was an absolute dream to work with. Sexy, beautiful, pleasant, and had zero qualms about “wearing” the snake. Along with the supremely talented hair stylist, Sasha Nesterchuk, “Snake Beauty” came to fruition and was shot at NEO Studios on an extremely memorable day.
Also, as with any production, I had to work out all the travel arrangements – hotels, flights, ground transfers, truck rentals, catering options, etc. In the end, it was 10 jam- packed weeks of pre-production, for 18 days of travel, scout, pre-light and shoot. Phew. Of course, the key to any successful production is to surround yourself with an awesome crew. In each location, I was blessed to have the best, most experienced helping hands. Back at our Ridgefield studio, supremely organized Lynda Peckham, thankfully held the fort down in my absence. My primary boys (Drew, Grippi, and Cali), provided unstoppable comic relief (with the help of Nikon’s own inimitable Mike Corrado), and the joy of working with two of the nicest, most talented, and incredibly wonderful clients, made it all so rewarding.
And then there’s Joe. He’s in a genre all by himself. Aside from being one of the most decent human beings on the planet, his beautiful mind (although a tad twisted) is captivating and his sense of humor is infectious. As long as I have a brown paper bag nearby, I’ll hyperventilate for him anytime ïŠ.
All pix of Lynn shot by Lynda Peckham.