Archive for the ‘history’ Category
2012. Twenty years ago, at this time I was headlong into shooting my first cover story for the National Geographic. Lots of clicks downstream from that now, to be sure. (Most of them, blessedly and appropriately, remain unseen. So many bad frames in pursuit of the few worth spending time with.) And changes. Man, is that an understatement. High res digital cameras have replaced film cameras. Hard drives store pictures, not little yellow boxes. Kodak’s stopped making carousel projectors. Photographers go to the magazine far less often, given digital transmission. Ties and jackets are seen less frequently.
But, the main mission, over time, has remained. Tell a good story in pictures. The major components–photographer, picture editor, designer, magazine editor–are all still in place, and the interplay among them is ongoing and largely unchanged.
This video looped on a continuous basis in Explorer’s Hall at the headquarters of Geographic for many years, and was seen by lots school groups, tourists and visitors. Geographic graciously gave us permission to put it on the blog. It’s a fun interior look at how the magazine puts a story together, if you can stand the time warp and the truly embarrassing haircut I had back then.
Here’s the funny thing about persistence. Bill Douthitt and I are still at it. We start another story in a couple of weeks. Like unruly children, we refuse to pipe down or go away. Bill continues to shape coverages as only he can, and his warped brilliance remains a lifeline when things don’t go well in the field, as is often the case. (He won a Picture Editor of the Year award for his efforts on the sight story. And in the video, he actually appears rational.) The upper echelon of magazine management is all different now, of course. Bill Marr art directs the look of the book. And the shop is run by a photographer, Chris Johns, which is appropriate, given the pictorial bent of the magazine. As a shooter, in the field, he turned a two lane strip of pavement into one my favorite stories ever published in the magazine–The Hard Ride of Route 93.
The people change, but the pictures remain. I look forward to shooting some more of them in 2012.
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…..
Been rattling around the city quite a bit of late, and made a quick snap of what I presume is electronic sign maintenance at the north end of Times Square. TS has always been a whirlygig of light, but what it was, back in the 70′s, when I first moved into the Big Apple, was positively quaint compared to what’s out there now. Comparatively, it could have been the equivalent of an old movie marquee on a otherwise darkened main street in a small town somewhere, as opposed to the computer driven maelstrom of neon, LED, tungsten, merc vapor, and what-have-you sources of illumination that are out there now. There’s a tidal wave of wattage in Times Square, flaring across the masses, who respond with pinpricks of point and shoot flash in return. Those little flashes basically light the air five feet in front of the lens, but hey, in New York, that could be interesting air, and worthy of a flash solution.
A far cry from the first time I climbed the Coke signage at the upper reaches of the Square years ago.
As I said, quaint, right? Every bulb had to be changed by hand…..more tk…
I’ve often commented on how a photog’s life runs in circles, and there are pictures you make and people you work with that somehow, either stick with you, or you encounter again, many years after that first set of exposures. This weekend, there will be a small gathering of friends of the Ground Zero exhibit, with Tom Brokaw in attendance, and saying a few words. We both worked on the update of LIFE’s One Nation book, Tom writing the new forward, and me shooting the ten years later portraits. Not the first time we have ever gotten together.
Almost 30 years ago, we went to the top of Rockefeller Center, just when he was taking the reins of the NBC evening anchor chair. It was the opener for a cover story about Tom for People magazine. Good guy, knowledgeable journalist. And of course, in the distance….
Hi from Joe….please consider today’s blog an invitation to visit Scott Kelby’s blog…..
I did a story once on Korean green grocers in NYC. Running a produce shop in New York is a tough, 24 hour a day job. To make sure the story got off to a good start, I of course needed a picture of a green grocer that, ideally, showed the enterprise, and the all night, 24/7 nature of it, and, very importantly, show the reader we were talking about New York green grocers, not, you know, ones in San Francisco, or Seattle.
After a lot of scouting, and some pretty fast talking, I got these folks to allow me to shoot their shop. Reason being, of course, the Trade Centers give it a sense of place. They of course thought I was just going to take a picture, not load up their fruit bins with flash. Which is what I did. There’s a bunch of strobes in the store, all green gelled, with a magenta on the lens of the camera. Standard operating procedure for Kodachrome.
Like many NY shooters, I go way back with the Trade Centers, now gone. I write a bit of that story today in Scott Kelby’s blog. Scott, as always, was amazingly gracious in offering me a slot for a special blog post during this very significant week.
My thanks go out to him, and all the wonderful folks at NAPP. If you have a couple minutes, head over to Photoshop Insider, Scott’s blog. More tk….