Every once in a while the Moon and the stars align and life is good. Over the last twelve years I’ve been using WD exclusively for my studio, gallery, learning center, office (you get the idea). ABSOLUTELY! You are cordially invited to join me on December 11th at the B & H event space and a good time shall be had by all. To all the ships at sea, see you there.
Photographers are creating more and more images and managing your archive so that all the images you create are secure and easily located is essential to the professional photographer. This task is of paramount importance and there are tools that can be of great benefit to the photographer/videographer but on the other hand, many creative’s can find this part of workflow daunting and potentially disastrous. In this seminar we will concentrate on the benefits and show you how to avoid the disasters while providing inspiration from Joe DiMaggio’s work.Joe DiMaggio, a lifelong photographer with an illustrious career shooting; sports, environmental portraits, stock, video content, photo illustrations as well as fine art depends on his vast archive to survive and thrive. This seminar sponsored by WD, a leader in digital storage and hard drives, will highlight Joe’s work and show you in a honest and straightforward way how to manage a state of the art workflow. While professionals will walk away with sound advice and archiving tips, this presentation will also be of benefit to amateur photographers who are concerned with saving the precious moments of their family history.
WD will have a product expert on hand to show off new features on their current drives as well as field the most difficult of questions.
Joe DiMaggioJoe DiMaggio is an internationally known photographer who’s been making award winning photographs for four decades. His dynamic photographs have appeared in Time/Life, Sports Illustrated, Time Magazine, HBO and the list goes on. One of his Sports Illustrated covers was selected by Time Magazine as Picture of the Year. DiMaggio made the obvious transition to advertising work for fortune 500 companies and was extremely sucessful doing photo illustrations for companies such as AT&T, AOL, Barclays, Xerox, Computer Associates, HBO, RJR Nabisco, Sony, Verizon, and Ford Motor Company. DiMaggio has contributed as an international pool photographer, to several Olympic Games. During his illustrious career DiMaggio’s done radio talk shows, television shows, magazine articles, and lectured at some of the most prestigious colleges and universities throughout the world.
DiMaggio has been part of the American Photo Popular Photography Mentor Series. He’s hosted several ABC’s World of Photography television shows and hosted numerous Canon Photo Safaris. He’s hosted Internet TV’s Visual Impressions television show and completed numerous episodes showcasing his skill as a world renowned photographer
Recently, Sports Illustrated selected one of DiMaggio’s photos as one of the third greatest photos in the last 100 years of the Indianapolis 500.
Hi to All the Ships at Sea,
Let’s see if I got this right-I don’t like Photoshop, right? Right. I don’t like software where you can manipulate images…right? Right. I believe everything should be done in the camera…right? Right. Never crop, right? Right. Less is more, right? Right. Digital will be just like 8-tracks, it’ll never last. So let’s check out the reality, I guess it’s impossible to be right all the time.
The photograph of this young lady catching a cod-fish off the coast of Prince Edward Island, up until today, was flat, muddy, indistinguishable and almost two stops under. There’s a technical term in photography for a photo like this…it’s blank blank blank blank. Well through a little bit of work in Photoshop and NIK software it came alive. The young lady’s name is JoAnne Kalish.
On one level, if photography is magic then Ann Raine was Houdini. She put forth an unbelievable effort in everything that she did, and she reinvented herself on at least five occasions. We had very long discussions on where she wanted to go photographically, and in many ways I encouraged her with all my heart and soul. That was on the right hand; on the left hand I explained to her that the overall perception of photography was losing some of its magical powers. With the advent of digital, the image became a little too easy and a little too common. Having said that, the cream always comes to the top, and Ann was on the top and in many ways still is. Both JoAnne and I think of her all the time. There’s no doubt that she’s no longer in this consciousness but she has progressed and moved on to a finer one. Her great work will always be here; it will be archival in the truest sense of the word and last to infinity. The next time I see you, you are going to have to lead me on your workshop.
Please see the beautiful tribute from Warren Rosenberg.
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.
Jeff Cable is an exceptionally fine photographer, and to say the least he is well traveled. Check him out and enjoy his blog below-he’s a good dude. You can follow his blog at http://jeffcable.blogspot.com.
All the best,
Las Vegas – The Strip at Night
Last Friday, I returned from the Consumer Electronics Show (CES) in Las Vegas, Nevada. Most of my daylight hours were spent either presenting or in meetings, but I still managed to get out for a couple of night shoots along the famous Las Vegas strip.
On my first night in town, I met up with my good friend, Matt Sweetwood (who is the President of Unique Photo in New Jersey) and we had an awesome dinner. What is the best way to work off dinner? Take a walk around and shoot some photos, of course! (Photographer’s note: I shot this photo with a 6 second exposure to create the light trails from the cars. I timed this exposure so that the cars were turning towards me. I found that the curved lines were more appealing than straight lines. Since I was not planning on shooting at this time, I did not have my tripod with me. I set my camera on a nearby wall and used the 2 second timer on the camera to avoid any camera shake.
I’ve had an opportunity to spend ten years at the University of Arizona doing workshops and lectures, and in the day shooting some assignments and stock work. Funny how it all seemed to come around in January and February hmm…, first thing when I got to Tucson, would be I’d hire one or two assistants and interns. One of the best was Lee Ann Fox, extremely bright, creative and a lot of fun. As the sun was setting, I came up with a photo of Lee Ann her (nickname was the Fox) on her motorcycle. If you look closely at the bottom photograph you will see a hell of a lot of industrial stuff. In the day before Photoshop I would attempt to do a multiple exposure, shoot the background separate, another at speed, and then I’d have an assistant photoshop it. Camera 35mm, lens 35mm f/1.4, the platform was a moving rent-a-car,1/60 of a second, at f/5.6, ISO 50. If you look close, you will see me in Fox’s mirror. Photo tip of the day,is to make sure you have a great driver and a model that can take direction by hand motions. Do not try this while driving the car, it could be dangerous.
You would think after several decades of making photographs there would be no surprises, but the greatest thing about photography is that there’s always a surprise. You can pre plan everything to the final millimeter, you can pick the perfect day for light, you can have the best athletes or models, but invariably something will come up and will bite you on the –whatever. This is a perfect example, of Murphy rearing his ugly head. We planned this shoot several months ago waiting for the right rain conditions so we could make great photographs on the upper portions of the Raymondskill Creek. Cue the cameras! Cue the kayakers, let’s go! But Murphy cued three logs that broke loose and were blocking the creek. Ya can’t kayak over a log, and you can’t kayak through a log, so we went to plan B. Plan B was a 44 foot drop. To put that into perspective, that s a 4 story building straight down. The problem with the shot is the extreme heavy mist. It was like putting a Tupperware cap over your lens. The front element of the lens was absolutely soaking wet all the time and as we all know, anything put in front of a lens will degrade the image. I was shooting with the Sigma 150-500 and I didn’t have the underwater version- OK that’s me trying to be funny again. One of the keys in photography is your ability to be flexible, when you don’t get what you want- you gotta get something. We hiked up one more mile to a tributary and were able to get a 30 foot drop shot with the 24-70 Sigma. ISO and exposure are approximately the same; the difference would be considerably less mist. Keep on shooting, it’s all good. Next time I see you- I’ll have a brand new set of wheels- half titanium and half ceramic.
I had a half hour off the other day. Decided to just look through some of my old TIME magazine and Sports Illustrated assignments and I stumbled across this photo that I did for them to celebrate the opening of Giant Stadium. I was totally blown away when I heard they were going to build a new stadium. It seems like yesterday they just built a new stadium. Of course, a businessman friend of mine explained that it’s all about the super boxes and the Fortune 500. Well, considering my only interest is between the goal line and the goal line, a super box just doesn’t do it for me. If TIME asks me to go and shoot the new one, it’s gonna take me a little longer to get to the birds’ eye perch. See you at the game!
As a photographer, one of the first things you learn is eye-hand coordination. Your ability to look at 300 people, 7 people, front-lit, back-lit, and see the photo that you want to make. And before you can even think about it, you’ve made 3 or 4, each one a variation of a theme, not just a motor sequence. Making back lit adjustments on the fly, always thing about where the next photograph is going to come. That’s the good news. The bad news can be all of those things that work against you. And you miss the obvious. It’s happened to me before, and I’m pretty sure it’ll happen to me again. You never want to have blinders on. You want to be open to new lighting, new composition, new stories, and new direction. Invariably, you will grow and your work will improve accordingly. While looking at this very beautiful young lady and preparing to do a very shallow, depth of field simple photograph, I look down and to my right and saw one eye and one sideburn and a little bit of a mustache. I said “Oh my god, could that be Melchior DiGiacomo?” I took the photograph, looked down, I tapped him on the shoulder, and he said “Joe D., just a minute”. I guess it’s like two chubby italians meeting in the daylight, or is that two ships in the night? I can never get it right. The funny thing about it is I haven’t seen Melchoir in 30 years. And my god, nothing’s changed! It’s good that there is some consistency in this universe.