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Archive for the ‘Jobs’ Category

Back to China

May 19

In In The Field, Jobs at 5:06am

SI_Beijing_001 copy

Returning to Beijing this week, one of the more resolutely fascinating cities I have ever been to. Been there many times, though it is far too large, too energetic, and too rapidly tilting and shifting for me to claim to know it well. Like a runway fashion model who quickly strips off behind the curtains and then reappears onstage in a blink as a totally different creation, Beijing is continuously surprising. I am fortunate to have great clients there, and they have assigned me to many a wonderful wander with a camera. Read the rest of this entry »

A Tripod in the Desert!

May 4

In Gear, In The Field, Jobs at 4:41am


I’m a perennial idea recycler. I’ve had picture notions rattling around in my head for years that have never met the click of a shutter. They’re the things in the attic of my head that go bump in the night, the meandering pinballs I try not to lose in the drain and keep frantically flipping up into the bumpers (otherwise known as clients) that might occasionally ring a bell, or sound a siren, and thus get done. Read the rest of this entry »

The Magnificent Lads on the Side of the Tower!

Mar 17

In In The Field, Jobs at 7:20am


It is a task as endless as the desert. The Burj Khalifa tower, tallest structure in the world, soars out of the sands like a sharply constructed, elegant needle, seemingly designed to pop the blue balloon of sky overhead.

Downtown Dubai

It is a magnet for the eye, and hence the camera. Courtesy of the gracious folks @BurjKhalifa, Waseem and his team, and the Emaar Group, I was allowed to climb to the very top a couple years ago, and made a snap of some very battered shoes.


This time, with the training given to me by the Grako Corporation, and the intrepid duo of Mike Flamson and Pieter Van Der Walt, who are top rated industrial climbers and safety experts, I went over the side of the tower with a crew of amazing, wonderful window washers.


These guys….geez. Diminutive to a fault, but crazy strong, they dangle from the side of this structure daily, vaulting into space on their ropes with the casual ease most folks display when getting on a city bus to go to work. It is their efforts that keep the desert, a raging, living beast that never sleeps, at bay. The sands rise up on the wind every day, and cloak the buildings of Dubai with a gritty, transparent shroud. Ignore it, and it will smother you. Fight it, and it becomes a task worthy of Sisyphus. The crews start at the top, shining up the chrome and glass, go to the bottom….and then start over.


Slinging into space at floor 112, as a newbie, can shrivel many things deep inside of you. Your confidence, your….well, never mind. Keep calm. Breathe. Fight gravity with battered legs that have carried too much gear for too many years. Don’t worry about the nothingness below. Your rig is bomb proof. Push off the glass. Walk the wall. Descend. Shoot. Repeat. Work it the way Mike taught you. Wax on, wax off. Establish a rhythm. Look down. Smile. Remember to enjoy this moment.


Go below the crew and look up. Now your cameras are getting pelted with soapy, sandy water. Tough to see. Wipe down your glass. Trust the gear.


My battered but functioning gear, with cameras straps wired, and extra tethers clamped to carabiners. Each camera swinging in space. D810, D4S, 14-24mm f2.8, 16mm fisheye, 70-200 f2.8. They do not fail me.


Nothing here except the air and the light. The click of your shutter mixes with the squeaks of the wipers, sweeping the desert off miles of glass. It is oddly, pleasantly quiet. Like a silent, invisible hand, the wind will take hold of you and move you. Let it be. You really don’t have a say in the matter.


Think! Say the photographer’s prayer. Lord, don’t let me screw this up. You won’t get this back. Work entire to detail. Shoot from above, shoot from below. Work wide, work tight.


Push off the glass. Descend. Concentrate. Do your job, while they do theirs.


It’s the coolest thing. You’re in the world, in the air, looking, seeing, with a camera in hand. Sweat and uncertainty drip off you. But, there is also the powerful knowledge that this is what you were supposed to do—for all the years, and right now, today.


On the other side of the fancy glass, people sit. Computers hum. Meetings take place. Paper gets pushed. Great things are decided. Or deferred. Words in the air. Notes in a ledger. Numbers on a screen.

Click of the shutter. Time trapped. Absolute certainty measured in hundredths of a second. A knot in the string of time, not to ever be undone.

Have I mentioned on the blog lately how much I love being a photographer? More tk…

Firstly, thanks to Mohamed Somji and Hala Salhi, both of Gulf Photo Plus. They created the tradition of GPP which has allowed me to visit Dubai now almost every year for 10 years. 

Again, gracious thanks to Waseem and his marketing group, the folks at the Emaar Group, and @BurjKhalifa, @mydowntowndubai. Thanks to the Grako Corp. and Mike and Pieter, who literally showed me the ropes. Mike’s a pretty good shooter, witness his shot below. (https://www.facebook.com/michael.flamson?fref=ts)


And Pieter helped me be confident in the ropes, by showing me, during training, that even when you go upside down, you are not going to fall.


And to Waseem Khan, without whose can-do energy I would never have made these climbs! Many, many thanks. I think the two of us could converse all day just using Monty Python quotes. He likes to confuse the cat, and I like not to be seen:-)))

More tk…


Ozzie and the Mirrors

Feb 26

In Jobs at 8:28am


I shot this years ago, and have written about it, a bit. It was part of a huge Sports Illustrated project about defensive magicians on the baseball diamond. And of course, at that time, if you talked defense, you talked about Ozzie. The Wizard of Oz! The shortstop who looked like he played the position from at least five different starting places at once.

My answer was to use mirrors, and simply reflect him around the infield. Coming up with this notion was certainly easier than shooting it.

So much so, that the estimable Syl Arena, a speed light magician himself, showed the picture to his class (I believe it’s a high school class) and none of them believed it did not involve Photoshop. He reassured them it was a straight up film shot, but alas, he sent me an email saying “they remained skeptics.”


The man in the middle above is Howard Simmons, who after his assisting stint went on to a wonderfully successful career as a staffer at the NY Daily News. Perched atop the Gitzo tripod is a Mamiya RZ Pro II medium format film camera, a great system I let go of a long time ago. The key to the whole deal was that high flying Speedotron head dangling off of a movie style boom arrangement. I had to get that light above the sight line of my frame, hence the thirty or so feet of speed rail angled up into the heavens. It’s a quad head, if you notice the multiple power packs plugged into it. It produced a slow moving wallop of photons. But, it was cool. Flash duration wasn’t the issue here. Ozzie, atypically, was just standing there.

I shot it several ways, with Ozzie physically in the picture, and with just his reflection. I was looking to the east, dealing with darkness in the background, as the sun dropped like a stone behind me. That flying backlight, which defined the whole set and rimmed out Ozzie’s form for his reflection to stand out clearly in the blackness, became crucial. (Remember, the mirrors are angled in such a way as they are facing into complete darkness, so my subject, the gentlemanly Wizard of the Infield, had to literally pop with contrast.)

For the same reason, the Norman 200B units, gelled warm, sitting behind each mirror, needed to pop pretty hard, to separate those glassy slivers of silver from the encroaching darkness.


All of the above produced, well, a limited return at the magazine.


The picture’s gotta go somewhere, even it means cropping out the largest of the meticulously crafted Ozzie reflections. It’s cool. Hey, it ain’t my magazine, and my favorite shot was the one up top, that had nothing but reflections, and that’s never been published.

It was a lot of effort. We crisscrossed Florida in a crew van, with an eighteen wheeler of a movie grip truck tailing along. Lit up whole ballparks for simulated action pix. What a privilege to work this way! We had a 650 amp genny onboard the truck, so I didn’t even have to snag electricity from the spring training stadiums.

Eric_Davis_TearsheetAll of this had to be set up. There’s a guy off to camera right, throwing a baseball up near the wall, and Eric Davis gamely leaps for it. When you punch the shutter on this type of pic, and you know you have it, done, etched in film forever, an isolated split second, electrified and petrified by the power of 30-40,000 watts seconds of light, well, dang, you’re at the ballpark, so give yourself an attaboy and have a coke and a dog.

Likewise when I got Keith Hernandez of the Mets to dig one out for me at first base.

Keith_Hernandez_2And Mike LaValliere, nicknamed Spanky, who wore the tools of ignorance, quite ably, for the Pirates.


The pix all ran as a feature, and chewed up quite a few pages in the baseball issue. Not something SI will ever do again, as this was quite a high ticket budget item, marshaling all these resources.

But it was a thrill to shoot it. Click of the shutter. Done deal. photo

And there it is, on a light table, a bunch of moments from quite a while ago. More tk….

It Started with a Shimmer…..

Oct 29

In Jobs, Lighting at 7:09am

Actually, a shimmer and an idea. I don’t know why the folks at Nikon and the Photo Plus Expo administration listened to me when I came to them with Halloween ideas. For someone such as myself, raised up on comic books and the dark fantasies of Mordor, the notion of distressed trick or treaters, of small children poised on the verge of fantastical disaster and mayhem was completely normal. I was somewhat nonplussed then, when most people I tried to explain my ideas to would listen politely, tilt their head, look at me and say, “Sounds cool. You’re a sick bastard.” PPE, which is itself a fantastical land of mystery staged every year in the glassy cage on 11th Avenue known as the Javits Center, falls on Halloween weekend. Why not create some spooky, fun pics to advertise it? Doing these snaps immediately combined a lot of things I love. Being on location. Struggling my way through complex lighting scenarios. Being with a crew of talented people. Body painting people into other worldly wonders. And mostly, letting my imagination out for a healthy romp. In this scenario, I conjured a little girl, reading a scary story by flashlight, long after she should have gone to sleep. Her wall is a wonderfully innocent mural of leafy woodlands, filled with faeries and other mild mannered creatures of the forest. Except for one, who seems to be coming alive, literally out of the woodwork, a malevolent creature, one with mischief and more on her mind. She is freaking out the other faeries, who would warn the little girl….if only they could. The key to a job like this is preparation, and the assemblage of a bunch of amazing skill sets. The empty room had to first be illustrated with a vibrant, richly done mural. Dana Heffern, a terrific painter, worked in this room for eight days prior to the shot, creating the dreamy woods. Anastasia Durasova, a truly brilliant body painter, combined with hair stylist Jerome Cultrera to transform the lovely Tanya Sinkevica into the creature living in the wall.  And of course, all these people would never know to all show up at once to do this were it not for the herculean efforts of the ever talented Lynn DelMastro, friend, colleague and extreme producer. I’m not sure of this, but Lynn at this point in her career might actively fear my imagination, as it is that fevered sense of what might be possible in a photo that has translated into many long nights of work for her. I halfway expect her at some point to just look at me and say, “Can’t you just shoot a goddam head shot?” But noooooo…….Joe’s gotta get an evil faery, and moonlight in the woods, and trees that eat little children! Of course, when her work is done, she is more than happy to hand off this hot potato of a location effort to me, and then, I have to figure it out. When I scouted this empty room, I noticed there was a shimmer on the wall, coming from high sunlight banking off the backyard pool, creating an upward cast, gleam through the window onto the wall. Hmmmm….how could I recreate that? I gave it a stab by firing three Profoto Acutes into a 6×6 Lastolite silver reflector, angled up from the backyard into the window. The prop stylist, Katherine Hammond, draped a sheer over the glass. I took my #D810 into incandescent white balance. Boom. We had moonlight, glinting of the waters. The D810 has incredible resolution, and is the perfect camera for this. But, all those millions of pixels combine to make a stern taskmaster of a sensor, one that shows every flaw, and every undone, incomplete part of your picture in stunning detail. Hence, the light had to be right. It ended up being a combination of five SB 910 speed lights, mixed in as accents with three 2400ws Acutes, one B4, and two B1’s. Each light had a job to do, in a specific area of the photo. Then they all had to mesh into something plausible. The process of doing this is slow and steady. Put up a light you think you need. See what it does. Modify or ratio it, up or down. Where are the dead spots? Fill those in, but with a governed, controlled light that doesn’t blow away the look and feel of the light you have already painstakingly created. I sometimes think about the physician’s creed when putting up a light into an already existing grid. “First, do no harm.” Then I think of the photographer’s prayer. “Please don’t let me f%#@* this up.” This is like building blocks. They are independent pieces, but they all rely on and react to each other. For the forest idea, the light was just as carefully controlled, except, it wasn’t a bedroom, it was a forest. The below is about 12,000ws of light, sprayed across a spooky forest, where two trick or treaters have unwittingly stumbled into. Mommy told you not to go into the woods! They say the trees in there come alive at night! More on the construction of the below on another blog. I talk about the creation of these pics, and do some live, small flash demo in the Nikon booth at PPE. My sked to be there is 11:45 on Thursday and Friday, and then 1:15 on Saturday. Many thanks to Mike Corrado and Mark Suban at the Nikon Ambassador program, and the folks at PPE, for listening to my wacked ideas! Happy Halloween! More tk… (Many thanks to Lynda Peckham in our studios for shooting lots of the BTS stills!)