Joe McNally Photography

We really gave small flashes a run for their money at the one day workshops over the weekend. Kristen showed up and it seemed like a good idea to put her in this wash basin. It was a difficult setup , and at the end, we were totally drained. (I’m goin’ straight to hell for that one.)

Actually it was easy. The existing light pattern was already pleasing. All we had to do was supplement light, gently, which is where TTL really shines. There are two SB900 units overhead, through a 3×3 Lastolite panel, and another, very low power, bounced off a silver reflector on the floor. Add Kristin, with her bubbly (I deserve a beating now) presence in front of the lens, and we were done. Clean light. Ouch.

Onto more water sports. Nathalia in the same location, this time with a Elinchrom Ranger ring flash. Ring flashes are cool, in small doses. Considering it is used mostly by orthodontists, it is a light with specific intent, and should be used sparingly, and carefully. Keep it beam onto your subject, and make those hard shadows it produces disappear exactly behind them.

Then Aaron, who is just an amazing physical presence, stepped in front the lens. We are on the second floor of this building, not a particularly conducive height to lighting from the outside, but I had a notion we could push two SB900 units to the max, so we put a hi roller out there by the railroad tracks, about 50 or 60 feet from the windows. Hi rollers, or hi-boys, or hi-hi’s, go to 24 or so feet. Seemed mildy demented to put two of these tiny flashes on the end of a stick that can support a big ass movie light, but in the interest of ongoing experimentation, it was potentially worth the effort.

Of course, some issues presented. Aaron’s main light is an EzyBox Hot Shoe soft box, camera left, boomed up and away from him. We had to trigger that interior light along with the exterior set of 900’s. Hmmmm….. Took two SC-29 cables and hooked them together, and ran it to another 900 on a stand, camera right, out of frame. That way, the TTL signal raked across the soft box light and continued outside to the pair on the hi-boy. TTL control of lights inside and out. Cool. Not as cool as Aaron, but cool enough for the geek behind the camera. (Uh, that would be me.)

Other things had to get solved, too. See the shadow, camera right, on the floor. That’s a Lastolite 3×3, with an opaque reflector on it. Had to block the sunlight that was hitting Aaron. A Tri-grip did the job, but left a curved shadow on the floor. Forensic lightologists would immediately see this as the footprint of the photographer. “Lookee here, Sam, a curved shadow in the shape of a Tri-grip! Yep, and that shadow’s not two hours old. We’ll catch ‘im. Carrying all that gear, that sumbitch can’t get far on foot.” Spit tobacco juice on the floor.

So we went with the imperfect solution of the 3×3 cause it is rectilinear, and fits to a degree the grid pattern coming from the real sun that is hitting the floor. There’s also the touch of it on the far right wall. But it wasn’t gonna stop me from shooting this picture, one of my favorites of late. And, lighting this with 3 SB900 units, at these distances and scale….well, surprising just ain’t the word.

I also knew we were going here….

Moved the soft box down and to the left, and had Aaron basically look at it. But, you know one of the great things about working with Aaron? He shows up with Valarie, his girlfriend.

Now that, ladies and gentlemen, is a plus 2 EV smile. Valarie just walks in and lights up a room. She and Aaron are among the sweetest, most easy going and physically gifted people I have ever met. We were just jazzed by their presence on the set. Got me jumping, trying to show Nathalia how to get some hang time, which was perfectly ridiculous. Will is there on the set, aiming a cannon of a wind machine at us…..

Having fun in Dobbs.  More tk.

Days 2 and 3 in Dobbs. Still playing with that mask I got in Venice, and I promise to stop soon. It just seems to me there are certain faces that belong on stage, or perhaps in another century. Vanessa has one of those. A magnificent dancer, we have worked together now over 4 years. She has danced, posed, gone on pointe, been tied up with ribbons like a marionette, had SB900 speed lights attached to curlers in her hair…..geez, she is patient with me. She’s even flown on the set occasionally, and I’ve been lucky enough to have a camera in my hands.

Yesterday I asked her to be two people, masked and unmasked. Nikon D3, two SB900 units into matching (well, almost matching) Ezybox Hot Shoe soft boxes. Gary Astill, the lead designer for Lastolite, has flown over from England to be here, watch us work, get field feedback and ideas.

Speaking of faces, one that belongs right here, right now, is my bud Kent Miller. We’ve known each other for years, and I shot his wedding to his wonderful wife,  Amy. I always ask him, “How’d you end up with Amy, dude?” He counters. “How’d you end up with Annie, bozo?” We both shrug and accept life’s wonderful mysteries.

He came by the workshop, and we lit him with two Tri-grip diffusers, each with an SB900 running through it. Sent different power levels to both from the commander at the camera. Converted to B&W with NIK filters. (Amazing! Mongo push slider good! Though he still remain pawn in game of life.)

We did some high key, kinda commercial looking stuff with Jillian….

Low key with Mariana….

Simple, soft lighting for Nathalia……

The scene in the studio, and on the loading dock, courtesy of Jeff Snyder at Adorama……

And Kent ended us with a leap…doubled up CTO warm gels, leaving him warm, while the stormy Northeast goes drab and blue (been nothing else lately around here) with the D3 programmed to incandescent white balance, B4, which is really, really blue. The loading dock itself was the light source, as we just draped an old 12′ silk on the garage door with A clamps.

We’re having fun up in Dobbs….again, a big thanks to our sponsors….Nikon, Adorama, Bogen….tip of the hat from all of us. More tk…..

Man it was rough at Kennedy. I mean, it’s never easy at that nexus of sweat, angst, nerves and fatigue nestled near the Brooklyn shoreline. It’s a classic case of way too many of the frayed, obnoxious and demanding being serviced by way too few of the disinterested and disgruntled.

The cafeteria line was really long, made longer by people demanding specialty food alterations that really didn’t have a prayer of making anything that had been baking under glass for several hours in the noxious JFK terminal air taste any better.

One of the guys slinging food behind the counter did a quick, mostly covert move and appeared to get his finger so far up his nose as to indicate there might have been something truly valuable up there, but, ahhh, relief, he turned around and put on gloves. Thank goodness….with the motley and colorful variety of pizzas served there it would be tough to pick out a booger.

I got stuck behind two pleasant ladies who insisted on debating the various tantalizing merits of almost every offering, but then got themselves one slice of cheese pizza to split and moved forward. I was right behind them at the register when they sparked a lively debate with the cashier about getting the pizza/salad combo price and were informed the discount didn’t apply to a piece of plain cheese pie.

It was all cordial and chummy, but it took several minutes to agree to the ala carte pricing. And then! Drumroll please! The search for the wallet begins! Both of these ladies had shoulder bags the size of say, a large turkey. They were both crafted in that puffy, fabric-y style that looked like they were stitched together from the also rans at last year’s county fair quilting contest. Colorful is the kindest word I can find at this writing.

Eventually, the wallets were found, and the aforementioned pizza was bought. Why do women do that? Wait for the cashier to tell them the total and have a hand out before they in turn reach for the dough? I mean, they hadda zip open these bags and begin a rummage that would make the search for the holy frikkin’ grail look as easy as a connect the dots game on a Denny’s placemat.

I would not have put my hand inside one of these bags. The innards were spilling out and looked a bit reminiscent of that plant in Little Shop of Horrors. I was waiting for one of them to belch “Feed me!” in guttural tones. I’m surprised these women had all their fingers.

See, men don’t do that. They belly up to the counter, $20 in hand, and just fork it over. Like Robin Williams says, you get your McBurger and fries, grab your McChange and get the McFuck outta there. Maybe it’s cause we all remember our first illegal beer bought at a bar and we had no idea what it was gonna cost so we had a twenty ready to go so as not to get embarrassed by having to fish out some extra dough on the spot. Dunno. Might be genetic. Might be that chromosome right next to the one that causes Male Refrigerator Blindness.

Back to the ladies. Oh, we’re not done!  They also asked for cokes with lots of ice cause they had just got back from Europe, and you know, “In Europe, they just don’t serve anything with ice! I mean, really! They drink their soda warm! Can you imagine? And you can’t get tap water anywhere, it’s all in bottles, they cost like $6 each! I tell you, we’re glad to be back in America!”

And by golly, we’re glad to have you back…

I got on the plane and was seated next to someone who was part of a group that couldn’t get seats together so they were shouting to each other over the aisles. Pleasant. My neighbor allowed in a loud voice as he probably shouldn’t have just had those 4 beers. It was a swell flight. More tk…..

The blog’s been a touch erratic. (Okay, remember who writes it.) But definitely having ups and downs. Truth is, I’ve been completely knackered of late. It’s been harder than usual for my pinball machine of a brain to make it to the keyboard. Fatigued. Get up in the morning, and feel like going back to bed–right away.

Plus my legs have been killing me. No surprise there. Trust me, after being a photog for 30 odd years, there’s not too much on my body that don’t hurt. My legs have taken the biggest beating. When I started in this game, it was standard operating procedure to use a camera bag (Domke was the way to go) and walk, run, adjust, bend, climb, scurry, jump, sing and dance all day long with a 40 pound anchor on your shoulder. This is the reason the x-rays of lots of photogs spines look like the S curves at LeMans.

My back, being of Irish descent, remains intact, thankfully. But the knees and ankles–yikes. I think about the offensive linemen in the NFL, the big guys. They pretty much shoot their lower extremities to hell and back in the course of a 5-10 year career. A fast cha-cha to Limpville. For photogs, it’s more of a slow bump and grind. You basically throw your knees in a blender and hit stir instead of liquefy. It takes longer, but the end result is the same. After an average Olympics, for example, for about a week I’ll unfold out of bed like an unwieldy, collapsible card table. When I was shooting the Sydney Games, for instance, my first few steps of every day sounded like I was walking on bubble wrap.

But lately, with both the pain and the fatigue meter spiking, my wonderful wife, Annie, blessedly (and sternly) greeted me at the door and turned my sorry ass around and pointed it at the doctor’s office. Pop diagnosis? Lyme disease. I pretty much concur. Had a bout of it before.

First got it in Nashville, on assignment for SI. I was shooting Mike Reid, former pro football player turned singer-songwriter,  and lighting his house from the outside, traipsing my lights around his garden.

Then shot in a local theater….

Noticed at the end of the day I had picked up a tick. Hmmm. Not much I could do about it, cause my next stop was Barrow, Alaska, the northernmost tip of the continental United States, and one of the true garden spots of all time. My ultimate destination was Cooper Island, a tiny stretch of ice and sand a bit off the off the North Coast. I was shooting a cover for the New York Times Sunday magazine, and was going there to profile George Divokey, an ornithologist who had been studying a colony of birds on Cooper for over 20 years. His copious notebooks of their behavior had become an empirical, indisputable record of bird biology to be sure, but additionally, very significantly, global warming.

Had to helicopter out there due to the ice conditions, and the weather had us socked in for two days. Welcome to Barrow.

I was staying in a shack of a hotel, feeling worse and worse, and by the time I got choppered out (small bird, had to lash all my gear onto stretcher boards out on the skids) I was running about 103 fever or so. No source of heat on the island, except the cooking stove. Had a pup tent, out there shimmering around in the icy wind. I crawled into my sleeping bag and started dosing myself with antibiotics I had in my old Nat Geo medicine kit.

It’s all a little fuzzy now, but I basically spent two days sleeping and taking doxycycline. Poor George thought the magazine had really sent a deadbeat. Out there they give you a PLB (personal locator beacon) which, if you punch the button, means the Coast Guard rescue choppers are on the way. I remember looking at that thing. The magazine was paying me the princely sum of $350 bucks a day to shoot this, and I thought, ya know, I don’t wanna die out here. Had all sorts of fever induced imaginings. Like my remains would be eaten, along with my Kodachrome, by a polar bear and crapped out on the tundra, and then found many years later by a team from the National Geographic, and somehow the pictures would be published, albeit in a different magazine.

Spent 8 days out there with George, his research assistant Tamara Enz, call sign Tango Echo, and the birds.

George is a great guy, very dedicated scientist. He did enjoy the fact that when I returned to life, I was very hungry, and started cooking up a whole bunch of Dinty Moore stuff with red pepper and anything else spicy I could find in the food locker. Also, the article did him some good, cause he ended up on the Letterman Show of all places, which had to help his fund raising. We’re still in touch, off and on.

But the antibiotics are kicking in! Feel better today than I have in two weeks, and I’m driving everybody in the studio nuts. I think they’re gonna hide my prescription. Got some energy back, thanks to my doc, and my regular breakfast of cheerios, skim milk, a banana, a couple of those little red sudafeds, and 8 cups of Cafe’ Bustelo.

Good thing too, cause there’s a bunch of stuff in the pipe. On a plane tonight to Italy. Then, in couple weeks, a commercial gig I be looking forward to. Great folks, fun to work for. Got a Geographic job cooking now, and a story coming out in the June issue. More on that stuff, as they say, tk….

My view, lately. A lot.

Checked in for a US Air flight. Very helpful guy at the counter. Checks my gear, charges so much excess baggage my credit card is handed back to me smoking, but does all this pleasantly. He looks over at me and asks, “Do I know you?” I say, you know, I don’t think so. He pauses.  “But I know your name…McNally. Are you a photographer?” I reply yes. “For Discovery?” “No,” I say, “But I have shot for the National Geographic for a long time.” He beamed. “I knew I knew you! That’s my favorite channel!”

So it goes for us ink stained wretches involved in that remarkable growth engine known as print media nowadays. We get more and more wretched every day. Suits me actually. When I’m this tired I’m truly unpleasant on board the plane, especially the 50 seat styler I’m about to get on. So I might as well be wretched to boot. Have to feel sorry for the poor bastards around me, all of us stuck together like spam in a can. I’ve been working all day in the heat of Charleston, and I smell like low tide.

Charming, huh? I guess I hear stuff like the above, as innocent and pleasant as the comment was, and I start to feel like the Clint Eastwood character, Walt Kowalski, still desperately clinging onto the Gran Torino of mass communications, the printed page. I start growling at 3 year olds with websites.

Oh, well. Got on board, with my trusty Moose bag. I have never had my cameras gate checked on a regional jet, because of this bag. Oh, not that they don’t try. I’ve had lots of gate side folks tell me the bag is too big and here’s a yellow ticket. I smile and nod and then tear the ticket off while walking down the jet way and get on the plane. Even had couple of people be insistent about it, whereupon I pull out my best, most imperious impersonation of Inspector Clouseau. “Aha, but zis is zee Moose bag, it is expressively design-ed to fit in zee compartment over zee head of zee regional jet!”

Had one airline type actually follow me onto zee plane to check. I slung it up there with a flourish, it fit perfectly, and he had to slink away, because I had heaped upon him zee great shame.

That’s for the cameras, especially on the small jets. Lately have been toting the bigger stuff in Kata Bags, and they are amazing. It’s like wrapping your stuff in Kevlar. Attached wheels, cool spacing and compartments, handles in all the right places. They rock. I’ve got all my flash gear, big and small, in Kata now. Check ‘em out.

This hasn’t been long hauls with big stuff, though. This one has been a trip filled with regional jets. Short hops. Just came outta DLWS Outer Banks chapter, and I always have a great time with my landscape family. Shot some stuff, you know, windswept beaches, dunes, etc. It was cool, though I do think if I saw another damn light house I woulda called in an air strike.

I do learn a lot of stuff from Moose, Laurie and Kevin, though. They are always talking about eliminating the color cast of a digital file by dropping a black point/white point in either Photoshop or Capture NX2. Very cool. Always snaps up the frame. Thus inspired, I tried to eliminate the middle man and went to find a picture that really was just one big ass black point/white point.

In OBX we as a staff welcomed the lovely and talented Stephanie Cross. I’m glad she’s on board, cause she’s a complete hoot. Definitely a woman who runs with the wolves and takes few prisoners and less shit, especially from Drew, my assistant and DLWS staffer. Being a young female, she will help us ease up on the old guy testosterone gas pedal that gets stepped on big time whenever a DLWS meet up is called. She’s a very welcome addition.

I also got a chance to update…WHERE IS LAURIE’S HAIR? Put her next to these signs they have on the beaches down there. Evidently, per this sign, if you have a WWII era Willis jeep, you cannot go on the beach with it. But if you’ve got a Mini Cooper, or perhaps a Prius, you are welcome to try.

Went from OBX to Charleston, and met Annie, and the two of us were very proud to help our friends Stacy Pearsall and Andy Dunaway launch a workshop at the Charleston Center for Photography. It’s a great place run by terrific people. Both Stacy and Andy come out of the military, where they have had long and distinguished shooting careers. (Stacy was MILPHOG of the year twice, and Andy was for a period of time designated as Rumsfeld’s photog. Between the two of them, I believe they have 5 tours of Iraq and Afghanistan. Andy’s still with Combat Camera, and of such stature they recently assigned him to the now infamous NY flyover of Air Force One. Lots of hoo hah, obviously, but through it all Andy just did his job. He’t a total pro. Supported the mission. Shot great stuff.)

Stacy did an amazing job wrangling talent for our class to shoot. Ashley came over and participated in a studio session.

Her sister, Meghan was with us as well….

Not to put too fine a point on it, but this is a good looking family. Total of five speed lights used here. Three effectively became one light via the Bogen Tri-Flash umbrella adapter. One is on the background, and one is skipped off the floor.

Used roughly the same combo, with some white walls and black cards to add and subtract light to come up with a group that included Wayne.

And then really subtracted some light to come up with a harder, more character driven light for a single of Wayne.

Used the tri-flash again with the amazing leaper, Michael Fothergill of the Charleston Ballet Theater.

Also went to the historic military prison in the middle of the city and tried a few things. Been playing with the Lumiquest Mini Soft Box 3.0 a lot lately. Great, punchy, hard/soft light all at once.

Tried using two of them, over and under, in a beauty light combo, and got this of Piper, a gymnast, diver and all around font of energy in front of the lens.

Just one overhead produced this of Courteny. Not a light for everybody, but she has such great structure to her face, as I mentioned to the class, you could hit her with a car head light and she would look great.

And the combo, with the low fill washed off a gold Tri-Grip diffuser, gave this look, with Mike in front of the lens.

And then one overhead Ezybox Hotshoe Softbox gave us this of Steven.

Been trying to ramp up my skill set a bit with the NIK suite of filters in Photoshop. These moves are terrific, and perfectly set up for me, who has kind of this love-hate thing with the computer. I’ve been messing around, and it’ll be a cold day in hell before I get good at any of it, but it has been fun. Tried to include many of the models we worked with in Charleston, cause they all just worked so hard.

All in all, a great three days in a wonderful city. Stacy and Andy are on track to take the Charleston Center and make it a magnet for shooters everywhere. They will be doing more workshops, shows, custom printing, mentoring, you name it. Got a chance to hang with Bill Frakes, who came in to knock out a video promo for Stacy. He just shot yet another great SI cover of Mine That Bird at Churchill Downs. In the 25 years I have known him, despite the circumstances and the pressure, he just never fails. The guy defines what it means to be a pro. More tk….