If it’s May, it has to be the Indianapolis 500. This photograph was selected by Sports Illustrated as the third greatest photograph in the last 100 years of the 500. They reproduced it in the centennial issue and on their website. That’s the good news, the bad news is they never asked me. Does the word “copyright” mean anything to anyone? Who said “power to the people”? No, it’s “power to the corporation”, step on all the people. In this society, we all have to play by the same rules. Actually, I think someone wrote that in the Constitution. To my friends; go out and make some great photos. Capture history with a camera. Life is good, life is great. Health and happiness to everybody, even SI.
The tulips are coming up, seems like the snow is almost gone and the Indy cars are starting to run. Remember what I said, one camera, one lens, all the time. Here’s a shot from the old days with one of my assistants. Count the cameras. Thank god for assistants. Would hate to be looking at his MRI today. On a recent Formula One, which in many ways is much more difficult than the Indy 500, I used 2 cameras and 2 lenses. Two Canon 5D Mark III, one 80mm-200 f/2.8 zoom and a second 5D Mark III with grip and 400mm f/5.6 and carrying a 1.4 extender. Gitso Monopod and 6 lexar cards, 8 gigs up to 32 gigs Simple. Keep it simple. The photograph on the bottom was named by Sports Illustrated as the third best photograph of all time of the last 100 years.
My dear friend Monica Cipnic asked me if I would come and do a few programs for the Adorama Inaugural Street Fair. My answer was, “Of course!” She put me in contact with Brian Green, who is Vice President of Marketing. Two phone calls, one email, and we were ready to go. To say the program was successful is really an understatement. They had over 9,000 attendees and it was a great cross-section of photographers, beginners to well-seasoned pros. And the bottom line is: It was a lot of fun. I managed to squeeze in 3 separate programs, and from the response on Facebook, that was pretty successful. (Notice how I’m throwing around all those high-tech, modern things like “Facebook”? You didn’t think I knew what that was, did you? If it’s good enough for Lady Gaga and President Obama, who am I to say it’s not cool?) Hopefully, this will be just the first of many. Thank the powers that be for the opportunity.
Well, next year it’ll have been 30 years since I loaded film into your Nikons at the 1982 Indy 500. It was a complete thrill to finally be able to work the other side of the fence after growing up at the track each May tagging along with my Dad. Of course things have changed a bit since then. In addition to the digital revolution, the Indianapolis Motor Speedway has undergone a major facelift and is a World-class facility. I started shooting the 500 for Reuters in 1990 and have been back ever since. Last year, I had the honor of having my college-aged daughter, Ainslie, join the family “business” and become the 4th generation of Millers to pick up a camera at the 500. Back at the 1982 you captured the memorable image of the Johncock/Mears finish, and who knew that 24 years later in 2006 I’d repeat the feat by capturing the Hornish/Andretti finish that would appear double-trucked in SI as well as the NY Times.
I am so proud of you not only as a photographer but as one hell of a fine human being. There are very few young people that would give up their bed back in the day so we could get to the Indy 500 at 5 A.M. to beat the traffic. And like many of my assistants, you did so much more than just load film into my Nikons. Without your help, that photograph would not have been done. It’s something that I’ve been aware of my whole life. We tend to think we work in isolation. We tend to think how important we are. But the same way that Rick Mears would say “It’s a team effort”, I say the same thing. We worked as a team. Your work is amazing. You deserve everything that you get and some more. And who knows- maybe in the next couple of years, we’ll have an opportunity to work together again. Keep on shooting and remember the first rule of photographing racecars: Never turn your back on one.