Archive for the ‘Friends’ Category
One of the cool things about shooting for Nikon a bit of late has been hanging with my Italian and Jewish brothers, Mike Corrado and Lindsay Silverman. Among the three of us, we must have about eighty years of camera experience. (They would immediately assure you right now that they each have ten of those and the remaining sixty belong to me.) We collectively survived the acetate era, and arrived intact in the age of digital. Intact physically, anyway. Mentally, the three of us are a few pixels short of a full frame chip, if you know what I mean.
I love going on location with Corrado. His presence insures that virtually every activity will be in some measure inappropriate, yet somehow productive. He’s also a good stand in for, uh, the talent, while you’re testing, what with all of his roguish good looks and magnetic personality.
Lindsay, as I always say, has forgotten more about flash than I’ll ever know. He’s the conduit for information back to the engineer dudes about what is happening out in the field, and what we need to happen with future flash technology. My emails to him always start with, “Dear Obi-Wan…” And I report back as a not-so-young Jedi about my misadventures and lunatic impulses regarding light. He is a wise and knowing counselor, which is why I did his portrait thusly.
The above is cropped to a square, because Lindsay showed up at the studio wearing a perfectly ridiculous pair of shorts. I recall asking him if he always showed up to have his picture taken while still wearing his pajamas. I wanted to put a backlight into the above frame, but we were laughing too hard to continue to work. Plus, if I used a backlight for Lindsay it might once and for all prove that he’s actually a computer generated hologram, and indeed, not of this earth.
The two of them together are trouble. I was teaching once, and standing in front of a class (that happened to include the former managing editor of the National Geographic) when Lindsay, who was helping out with the instruction, got a call from Corrado, who promised to pay him $20 to immediately go up behind me and grab my ass. Which he did. While I was lecturing. The class was somewhat nonplussed, but, as I recall, I gamely just continued to teach as if nothing ever happened. I think they just wrote it off as a some sort of welcoming gesture culturally unique to the photographic industry. Sure enough, by the end of the workshop, all the participants were greeting each other in this fashion.
I do know this, however. I have learned much from both of them, both as a shooter and a person. They are enormously talented, and dedicated to helping photographers climb the ever steepening mountain we face every day. (The both are terrific shooters in their own right.) They push themselves at the office and in the field, and work crazy hours to make sure numnuts shooters like myself can figure out which way to point the pixels.
And, they’re family. We’re like three crazy siblings mom just gave up watching a long time ago. It’s a good thing all of us found photography to funnel our antic energy into, or all three of us would have ended up as wards of the state. What can I say? When my photo instructor told me in 1973 to buy a Nikkormat camera with a fifty mil lens (“a poor man’s F2,” is how he described it) little did I know that shooting these cameras would lead me to find a couple of brothers I never had.
Round this time of year, I usually send a message to my buddy Bill down at the Geographic about the richly rewarding experience of the passing of time, the accumulation (hopefully) of yet another year of wisdom and experience, the wonder of change, the increasing depth and importance of friendship, not to mention the shooting of a few more good frames. (The latter of course, unlike the certitude of aging, is never a given. There have been years gone by when I’ve looked around and thought, wow, I really shot a bunch of crap this past twelve months.)
The language of my missives is often ornately descriptive, flowery, even. A rhapsody to the passing of time. Then of course I yank his chain and say something to the effect of “There goes another year down the drain.” He generally responds by advising me to do something that, when considered, is anatomically impossible.
Good picture, bad picture. Tick, tock. Keep breathing, sometimes, seemingly, right through the lens. A day with your eye to a camera can be like a breath of fresh, beautiful air. At other times, back there at the eyepiece, it can feel like a bad asthma attack. So it goes, as they say.
Still, despite frustration, pitfalls, bad jobs, errant pixels and the like, passing another year with a camera in hand is cause for celebration, which is good to be able to say. At this point in my life, the calculus of making pictures is an interesting one. Not too often does it come down to, “Hey, let’s go take some cool photos!” and off I skip into the sunset, with a DSLR, a fast zoom and a light heart. As time marches, I factor in the love of the click times the degree of difficulty/expense figured against the fee, minus the arthritis in my knees divided by the 3:30am wake-up multiplied by the length of the line at JFK over the missed connection plus the cranky subject doubled by the weight of my bags. The sum of that is…..I still go shoot.
I guess I’m feeling that Father Time thing especially this morning. I’m looking down the pipe of a huge and physically challenging job for a client starting soon, and I put on weight last year, writing the book. So now, back to the gym, and back to occasionally seeing Ederin, my boxing teacher. I’ve known him now for over eight years. Massively quick, and fit, he regularly makes me feel clumsy, stupid, slow footed and witted. (To make a photographic analogy, think about the first time you took the camera out of the box. That’s how I feel every time I get in a ring with him.) Recently, he was counseling me to keep him away. “Joe, think of me as a zombie, and if you let me get too close, I’ll bite you and infect you!” A few minutes later, backpedaling with spaghetti arms, he was closing in, up against me, chest the size of a movie screen, smiling maniacally, face close to mine, shouting, “I’m a happy zombie now Joe! I’m eating you!”
But then, every once in a great while, I connect. I move through a combination with authority, my legs and arms working in concert, and when I hit his target mitts there’s a flat, satisfying crack that bangs off the cinder block walls of the gym and reports back. On the rare occasions when I do that, Ederin spreads his arms out and nods. “That’s it,” he says. He thankfully leaves out the “dumb ass.” Christ, he could be a photo editor.
But, with the passing of time, there are gifts. One I’ve come to appreciate as I’ve stuck with this is the sense that, much more important than the ever crucial, actual photograph, is, at least at times, the connection that photo might make to someone who views it. And what might happen around that photo. I guess, it’s about the wonderfully important, positive effect of pictures on our lives. It isn’t about whether it’s your best photo, or how hard you struggled as the shooter to make it. It’s about the reaction to it, and how that might affect someone’s life in a hopefully good way. You become linked to that person, even if you don’t know them. Ever see those projected maps of the world used by the FAA, and air traffic controllers? In the early part of the day, as flights get in the air, there are lines tracing the flights, city to city, all over the place, like the beginnings of a spider web. As the day progresses, so many planes are aloft, the earth might as well be a ball of string. Same thing happens when you throw a picture aloft. It takes flight, and makes connections. Destinations? Multiple, and unknown.
Thankfully, I’m connected, wonderfully, with my good friend RC Concepcion, and his lovely wife Jen, and daughter, Sabine. They are dear friends. And recently, they gave me a wonderful gift, a kind of a present that started with a picture. Win, lose or draw, good day or bad in the field, things like this are the reason to keep putting your eye into a lens.
A gift I gave myself this year was finishing Sketching Light. Again, many thanks for patience whilst I doodled and bumbled. My dear friend Syl Arena gave it a thumbs up on his blog. Seeing as Syl knows his way around a Canon speed light better, literally, than the Canon engineers, his positive review was very welcome. I always tease Syl about being like that Denzel Washington character, Eli, from the movie. He has the book of Canon in his head, and he travels the world dispensing its wisdom.
Ron Martinsen also was wonderfully gracious over on his blog, citing the book, and showing some of the spreads.
I’m reading this book now and loving the hell out of it. It’s going to be my holiday vacation companion (even more so after I get my Kindle Fire on Christmas <g>), and I think you might enjoy doing the same. This version has more depth and details as well as a couple chapters to set your bearings before he dives in to the good stuff. Based on a 2 hour skim of the entire book, I see nothing that will keep this one off my highly recommended list, so I’m going to jump the gun and say this is a “great to have” book.
Many thanks for the kind words, guys. I’m quite sure the long suffering, ever patient Peachpit team–Ted Waitt, Lisa Brazieal, Charlene Will, Kim Scott, Scott Cowlin, and Sara Todd–appreciate them, too. They were about to transform themselves, I think, from being book editors into a SWAT team, and show up in my driveway with a bullhorn. “Just give us the book, Joe, and nobody gets hurt.”
More tk in 2012…..Happy, safe, and blessed New Year to all…..
Laughter comes easy to Donald and I. We’ve know each other for ten years or so, and to me, it’s just one of the small but rich gifts of this nutty business that he ends up on the cover of this new book. He’s a decent soul who takes his honey out for several spins on the dance floor every Friday night, sips Cuervo like it’s medicine, and always has a bit of a twinkle in his eye. As he said to me once, “The day they put me down, all the music in the world’s gonna stop.” I think he’s right.
Home. Feels good after a tumultuous year. For the rest of the year on the blog, I’ll be focusing on some of the highs and lows of another year of survival as a shooter. I looked around my tiny apartment in NYC in 1979, and realized I was paying all of my meager bills with a camera, and knew right then that I was a professional photog. At that point in time, being called a pro was high praise indeed. It was a mark of distinction that acknowledged the fact that your pictures were not only being consumed by people and influencing them every day, but that your livelihood flowed through a lens. It was a stamp of approval that only a hardy few could merit and sustain. So, as we approach 2012, 33 years with a camera in my hands and counting. Sheesh. I get points for stubbornness, anyway.
But, lots of highs and lows, as always. The new book is one of the highs, and it’s a fun read. Lots of survival lessons in there, right next to the lighting diagrams and production shots. Having my friend Mr. Blake on the cover of Sketching Light is one those wonderfully odd pieces of serendipity that occasionally come a shooter’s way. Donald looks a bit stern and forbidding on the cover for the gentle soul that he is, but I know he likes the picture.
Shot this during a workshop demo, when the sky and the wind just gave me a feeling I could find my way to a picture.
On the other hand, one of the more notable lows occurred this year aboard Flashbus, when a hard turn ended me up in bed with David Hobby. He reported on this incident thoroughly in his blog of yesterday:
Also, if anyone woulda told me five years ago that one day I would be traveling in a tour bus with Joe McNally, I woulda told them that they were nuts.
And if anyone woulda told me five years ago that one day, I would suddenly and unexpectedly find myself in my underwear, sharing a bed with McNally, I woulda punched ‘em in the mouf.
Suffice to say you never know what turns life has in store for you. Especially an unexpected hard left-hand turn by a bus, resulting in the above. After that, I slept in full clothing.
Lots of laughs, twists and turns out there on the road.
The picture up top was shot by Kent Skibstad who attended a workshop and who wrote to me that the workshop “really kickstarted my photographic career, thank you!” It was a wonderful note to get as a teacher.
Had a wonderful time yesterday at NAPP. Just great. The folks in Tampa are well and truly family. We started the day with The Grid, with Scott Kelby and Matt Kloskowski throwing out questions to Trey Ratcliff and myself about popular “myths” or rules that get passed around in photo circles, like, “Never shoot somebody’s portrait with a wide lens,” and the like. There was some good discussion in the midst of general mayhem and laughs.
Then, last night, Scott led me through a fast paced Q&A in between clips of the most recent video I did with Kelby Training called, A Day with Joe McNally. Scott is so sure footed, both in the video and on the set, in terms of leading the conversation, and steering it in a positive, informative direction, that three hours passed quick as a blink. People sent in some wonderful questions, and the whole thing was pretty lively. The thing that always gets reinforced to me during these exchanges is how much passion there is out there for shooting pictures, which is, you know, pretty great.
My thanks go out to Scott, RC Concepcion (who shot the above pic), Brad Moore, Nancy Masse, and the whole Kelby Training operation. I’ve done videos with the Tampa gang since the start of their online training efforts, and watched it, in short order, become literally the best resource anywhere for photo and post-production education. As an instructor, you’re able to teach well, and have fun doing it.
The video of Scott and I in NYC is going live today, so check it out here.
Looking forward to hanging with Scott Kelby and the gang down at Tampa this week. (Click on the image above.) Scott and I did a video together in NYC recently, where we started in the wee hours, right at my studio, in the equipment garage, packing the truck and talking our way through the shoot. We talk about the whole deal, from why certain equipment gets brought or not, to strategies for survival on assignment, to location difficulties and solutions. And not just the nuts and bolts. We talk back and forth about the why of a job, the choice of a subject and the motivation to put your camera to your eye in the first place. And, we wander through the workroom, checking out the stuff on the walls, the accumulation of thirty years of imagery, sprung from travels to what is now over 60 countries.
See the picture up above? I look a bit reserved, don’t I? Calm, almost. Well, as you know, it’s anything but calm when Scott and I get together, yakking as we will in the studio on Wednesday night, and also in the location video we did this summer. It’ll be no holds barred, and all questions welcome. Here’s the link to register.
During the day of the video, I shot dance in NYC, at the old Brooklyn Navy Yard, which was a kick, and something I have always loved doing. Below are a couple of shots we generated that day, one with Jonathan, an amazing dancer who uses the urban environment of NY as a springboard for his artistry, and the other with Jenny Ringer, one of the most elegant principal dancers with the New York City Ballet. Just a great day at a great location.
Hope to chat with you on Wednesday! More tk….