Photography secrets from one of the world's top shooters. THE MOMENT IT CLICKS. Joe McNally. LEGENDARY MAGAZINE PHOTOGRAPHER. The Moment It Clicks: Photography Secrets from One of the World's Top Shooters By Joe. McNally - Legendary Magazine Photographer ISBN: Publisher: New. Riders. Prepared for Boris Pliss, Safari Books Online, LLC. This PDF is exclusively for your use in accordance with the Safari Terms of Service. Author: Joe McNally Shoot What You Love The Moment It Clicks: Photography Secrets from One of the World's Top Shooters By Joe Prepared for Boris This PDF is exclusively for your use in accordance with the Safari Terms of Service.
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The Moment It Clicks: Photography Secrets from One of the World's Top Shooters [Joe McNally] on terney.info *FREE* shipping on qualifying offers. It's called “The Moment It Clicks: Photography secrets from one of the world's top shooters” (Joe McNally). I'm yet to see a copy (I just ordered one) but it's. Joe McNally's The Moment It Clicks is the best photography book I t balasubramanian, partitura concierto de aranjuez para trompeta pdf.
Joe McNally has been producing photographs for the likes of "Sports Illustrated" and "National Geographic" for some time. Like many professionals, he no doubt is often asked to share his expertise with others, and he responds here with his descriptions of the background of photo projects, while clearly showing the technical and creative processes of getting publishable pictures.
He This is a great how-to book as well as a beautiful selection of random photographs from a well-known photographer. He constantly provides his expertise to participants in workshops and viewers of photo tutorials.
An aspect of the book which appeals to me is being able to enjoy the photos and Joe's accompanying dialog as you would experience in having a casual conversation with him, while being able to slow down and digest the technical aspects that I want to learn more about.
Beyond the descriptions of lighting and camera settings, however, is the constant reminder of what a photographer does. As McNally explains early in the book p. When that process works properly, a picture extracted from a frozen moment in a changing world results in something of value which contains an element that will be otherwise gone forever. McNally's appeal is his ability to boil down the picture shooting process to obtaining the result of the photographer's desire. It doesn't matter what the motive is for taking the picture, whether for commerce or for emotional attachment to the subject of the photo.
In the end, everyone using a camera to capture a moment important to them knows the happy feeling of knowing they got what they wanted through the lens. No serious attempt to capture images is accidental in McNally's world.
Too iffy, and he woulda been all sorts of unsharp. I also put a couple of ungelled strobes behind the rocks on either side of him. They do two things: Bye, bye light!
But without those wing lights, we would have had very little strobe punch, and thus very little sharpness in our screaming subject. When dealing with an exposure situation like this, you have two things you have little to no control over: David was a character, to be sure. He wanted a fake Uzi machine gun, and his blue painted face was entirely his idea.
We were chatting after the shoot and he asked me who I was going to shoot next. All the artists down there knew each other, and knew Life was doing a story. He nodded knowingly, holding the phony weapon, his face glowing blue. I needed a lead, something jazzy to kick off the story. I had good editorial reasons. This sends a message: Also, he was in the backseat of the limo. Another bunch of messages: It says to the reader: You can, until the driver forgets the light is boomed two feet outside his window and squeezes left onto 5th Avenue, splattering it against the rear view mirror of a double-parked van.
Ujtdi Chapter Two. Uh, wanna run that by me again? In English? One of the tough things about digital is the Fluorescent white balance setting. So I often do things the old-fashioned way. The only consistent thing about the NYC subway system is the fact that when the cars pull into the station, they always stop at the same spot.
That simple regularity made this shot possible in real time, without setups, models, and a staged train. Gelled it full green and put 30 points of magenta over the lens. One came in, blessedly. The doors opened, I shot three frames of Kodachrome, and the doors closed. By the time the next train rolled in, the sky was gone, and so was my shot.
Ebmsznqmf Chapter Two. Click, click, click. Ooh, ooh, ooh! But also dangerous. You can miss lots of moments with your head stuck in your LCD. None of these pictures is huge just on its own. It is the sequence that works, the moment-tomoment agony and apprehension of having your test paper corrected. Be disciplined. Keep your eye in the camera and your head in the game.
Plenty of time later to moan, cheer, laugh, or cry. That squeegee now resides in the Smithsonian. We got to know each other a bit. About a year later, I caught up to him at his home in New Jersey. The windows! Light source! I put a strobe on the front lawn, triggered with a pocket wizard.
He sat on the bed, alone with his thoughts. When you do this, use one strobe head. If you put up two lights, you might have double shadows, which is something the sun does not do, it being a singular light source. The interior chamber of the camera is the size of a one-car garage, and it was devised by Dr. Land and the engineers at Polaroid. Think of it as a really fancy garage door opener. Just kidding. One way to do that is to use water. Ever notice how the streets in the movies are always wet?
Did it always just rain? But the water truck just went through. They look cooler. You pick up f-stoppage. Not too tough, actually.
No biggie. But then, where is your subject standing? In a black hole, most likely. The green grass looks like the dark side of the moon and your environment is, well, gone. Holy mudhead, Mackerel, more Science High! But I digress. You can extend your sunset working life dramatically by putting your subject next to a body of water.
The water remains almost the value of the sky exposure and stays right with you till the sky is almost gone. Exact quote, I swear: It was all I had going in terms of an idea.
I called an animal talent agency and rented the bulldog from the Jake and the Fatman series. He was so ugly, he was cute. His trainer brought him to Dodger Stadium. Orel loved it. Sometimes you receive inspiration and direction, divine or editorial.
When you rent from an animal agency, it gets very pricey, very quick. I kid you not. To get the solid blue sky behind him, I underexposed the sky by two stops, and lit Orel and the dog with a strobe and an Octabank softbox to the left of my camera. Ifstijtfs Chapter Two. They National Gem Collection, I pretty need hard light to shine.
Michelle much had the run of the Smithsonian. She was storage areas, looking for pieces real straight about it. So I lit her with a straight-up forgotten, gathering dust. Loved beauty light combo. The gem? The people at Got a strobe projector, one of the Smith rolled their eyes, but those puppies that can throw a were gracious. I needed them moved and my instructions were the size of a dime across the room. Cut masks in the shape of every explicit. Handle them from the base.
Both are so I saw Raiders of the Lost Ark beautiful and both need to be way too many times. Qgfjggfs Chapter Two. It gives you a free pass. He was bewildered by the painted, wordless men. So put one more CTO on there, making it a double-gel. Always remember that warm and cool colors vibrate next to each other. They engage the eye. They work well together.
That, along with some underexposure on the order of —2 EV, will give you an intense, cobalt blue when shooting in a daylight environment, especially pre-dawn, or twilight. Not to play on words, but it is, you know, cool! Nothing fancy—Scotch tape. For a while I tried to put little Velcro strips on all my gels, but that was just too geeky—even for me. Internal Slave Eye: I was shooting a story on prayer and working with a lovely family who had great-looking kids.
One of the young daughters had the face of an angel. Threw a bed sheet over a window with hard sunlight pouring in. Turned the room into a studio. I got a cover. FYI, I am a bed sheet thief. If I think I need a broad light source, I swipe the bed sheet from the luxurious Motel 6 I might have stayed at that night and stuff it into my gear bag. Throw the bed sheet over the window and watch the room start to glow.
The window was off camera right and the shadow side of her face was just a little too dark. Of course, it depends on the mission. You can go either way—the important thing is to remember to choose. Technical talk starts here! Flash units come from the factory neutrally balanced for daylight.
The output is plotted as a bell curve. At the lower end of the curve, it is burning at a warm temperature. At the top of the curve, it is fairly cool in terms of degrees Kelvin. Depending on certain factors, like strobe duration and shutter speed, your exposure will carve out a piece of this bell curve, and more than likely, the cool chunk of it.
Hence, your neutral strobe might look a little blue. Try a Cloudy white balance, which is a slightly warm version of daylight. Or put a CTO on your strobe. A CT who? You can push it a little, which is natural and pleasing, or you can push it a lot and make somebody look like the Great Pumpkin. Be careful. I love talking this tech stuff. Strobe durations and bell curves! Follow your instincts.
They kept telling me: Now black is generally not the ticket for success when it comes to a cover. I had Tony for two hours and I ran four sets: We played Sinatra all day in the studio and Tony was in a groove, as he always is.
He loved the old prop microphone and he turned that wonderful face into the one light, and it was the picture of the day—and the cover, a rare twofer. In a scene like this, you try to match the light to the mood. I asked Tony to look toward the light while cradling the s prop microphone I had gotten him. I had gotten the mic the day before from an L.
Imagine this picture if he had nothing to hold. Cfoofuu Chapter Two. Chapter Three. The Logic of Light Eugene Smith. He was a legendary staffer at Life, a consummate photojournalist, and an architect of the photo essay.
He was also kinda crazy. That was obvious when he came to lecture at Syracuse University and put a glass of milk and a glass of vodka on the lectern. Both were gone at the end of the talk. He was taking questions and I was in the front row, hanging on every word. Smith, is the only good light available light? He leaned into the microphone. A shudder ran through all of us. That was it! This shot was taken outdoors at dusk in Jaipur, India, during the Festival of Lights using available light.
The soft glow through the veil was provided entirely by the candles. Rear curtain is to photograph Irish coal miners. I went to Kilkenny, the way to go. Always remember, no matter a small village.
Met my contact at the local pub what the shutter speed of your camera, the where else? I was excited to check it out. So He nodded and rubbed his chin. Can take ye out there for sure. I did go, and crawled down into a deep, black hole, just to be sure. What to shoot? The crucial question is: Not good for motion.
Met the family. They said yes. What a wonderful day! That way the camera is exposing, and the subject is moving and people let their hair down and, of course, in Ireland, blurring, and then BOOM! Had a ball and made them, with their blur and activity behind them, some fun pics. He was a farmer—barrel- across to the reader. He grabbed me by the shoulders. When the good times are rolling, you gotta roll with them, and show the frenzy, the fun, and the motion. How do you show things in motion when you are holding a still camera in your hands?
I had young assistants on this shoot, pre-fatherhood, and there were a couple of moments. Like when one of the assistants brought the tot here onto the set, plopped him on the seamless background, and walked away. Poor little guy teetered upright for a moment and then the baby went BOOM! We got him comfortable and he performed like a champ. Off to the side, I pointed out to the assistant that the baby was not a beer keg.
He was a baby, and babies like to get sort of settled in and comfy before you leave them off on their own. To get the reaction you want, you have to do ridiculous things, and sometimes even be kind of a schnook. Like dangling a Cheerio in front of the kid and then, just as he reaches for it, snatching it away.
I mean, you get a picture, but man, you feel like dirt. Shot in a studio on a white seamless background. Given a soft, rounded dumpling of a baby, the kind of light to use is soft and rounded itself, so the whole idea is to bathe the whole set in light—kind of pouring the light right on him. Remember, babies are soft and cuddly. Light accordingly. As I recall, he had a driver named Big Tony.
I made friends with Tony. Shot with available light in the back of the limo, going across the Queensborough Bridge. I kept my camera to my eye—every time I saw light, I hit the shutter.
Total luck. Usvnq Chapter Three. The Logic of Light Return to Table of Contents Page 12 Photographing hands has been one of my favorite activities, even to the point of suggesting to Sports Illustrated that we show a life in sports by photographing just the hands of the athletes. They approved it, and then killed it during a budget cut. It was fun while it lasted.
When shooting a story about someone, their hands should always be on your list to shoot. I lit Mr. The hands are the center of attention, so directly above him is a medium softbox, slightly angled back toward his chest.
Dpmfnbo Chapter Three. You sure you wanna use that lens? No guesswork. No dragging out attachments or a whole other camera system with an accordion bellows that looked like you were in search of a good polka instead of a picture. Now, we can just go click. That LCD! Gives us a whole ton of information right away.
You can see where dead zones are, how much or how little light to use, exact composition, shadow detail, histogram info, metadata, what you had for breakfast kidding! It gives you a starting point. Think of it as the photo weather report. Is it gonna be a good day or a bad day? In this instance, I took an immediate look at my LCD after what I thought was too slow a shutter speed. There was tremendously hot noontime light out on the street, so my eyes were squinting and interpreting the scene as bright.
That length of exposure enabled the sunlight to creep around the truck, off the ceiling, and through the windows, lighting the interior beautifully. The back of the truck stayed dark, so that is where I put Louie, my subject. I put up one softbox, just for him, and the sunlight did the rest of the work. Now, in the spirit of openness and trust that exists between Russia and America—not to mention the sharing of technology, expertise, and the exchange of cold, hard cash—American astronauts and Russian cosmonauts live and train together here.
The key to the picture was to establish a sense of scale: I lit her with two large battery-operated strobes, drawing attention to her size relative to the machine. I threw a couple other large strobes behind the machine, aimed at the far wall to create some separation. I shot this with a wide-angle lens to establish how enormous this device is.
The lights on her are gelled warm, which resonates well against the cool overall lighting of the building. I told her I was a photographer. She shook her head vigorously. You must call yourself somesing else. Save the ring light for the local tattoo queen, or Mr. Lifto from the Jim Rose Circus. Light speaks, just like language. You can make someone look like an angel, or the devil. Light speaks louder than words.
Notice his hands and arms fade out of the highlight. A circular light source that wraps around the barrel of the lens. Produces a hard, shadowless light. Very popular with fashion photogs. Mjgup Chapter Three. That was part of who would much rather I go away. For me, his comedy always had a wince factor, an underlying sadness.
That led to the tragic-comic masks and an in-camera double exposure. I shot a Polaroid double of myself the night an outlet, he could act. The shot was taken with three strobes: This had two purposes: Because I wanted to blend the Martin liked the Polaroid, so my assistant Garth headed to the basement to set up the double exposure. I tailed the comic through two photos together, I wanted the light to hit his face and then immediately fall off. When the double was ready, For example, on a Nikon D3, it has a double- we knocked it out in about 15 minutes.
The secret to doing this moving fast is the focus cursors: When he turns, you move to the equivalent cursor on the left side and now you know the two faces are in register. Nbsujo Chapter Three. Sometimes this is easy.
Leave it hot shoed to the camera, crank it up, and bounce it off the ceiling. Or the wall. That can be very easy, or it can be a bear. Pull that puppy out and start moving it around. Even getting the light source out there at the end of the reach of your arm makes the light better.
All to get that cheek shadow on the camera side of his face. Highway heats up, the bike chrome gets nuked, and a lot of the tough-guy-on-the-chopper feel goes away. Xfmcpvso Chapter Three. Give or take a smidge technical term. Flash settings: Looks like candlelight. Just remember to stay close to the candle. And remember, the candle is warm, yellow light. The last thing you want to do is blow that away with a strong, neutral white light. If you do that, you are setting up a psychological disconnect for the reader.
Set up your main light. Look average? Need a little glamour? Bounce a light into it at —2 EV off the main light value. The Logic of Light Return to Table of Contents Page 28 Always remember, being in front of the camera is a very vulnerable place to be and nothing makes your subject more queasy than to just be out there, alone, while you and the assistants hover, pace, look shaky, and talk pixels and f-stops.
But your subject is right there, listening. Is it serious? Am I gonna die? Think of it this way. He and other New York athletes had stepped up to encourage and support the city. Flames started shooting out of the softbox. Big ones. It looked for a minute like I had painted the Octa with a set of low rider decals. I walked up to Mike and shrugged. Remember, as insecure as you are behind the camera, they are doubly so in front of it.
Even if you just peed your pants! I know I do. It was halftime at a Syracuse University football game and I was daydreaming, camera in hand, looking up at the stands, trying to ignore the band. Out of focus or not, it hit almost every paper in the country—even People magazine.
It never hurts to look. There is a logic to light. Try to be logical and give your reader something to hang onto. Small and light is the way to go onboard a sub.
You want high-key. Danger, Will Robinson! You are for my signature, apparently oblivious to the approaching Ice Planet , where there is fact that when I sign something, the value no sustainable life!!! I mean, it was a long line, kind of around the block. Program Have to admit, I was feeling pretty good about it. Push it right to the he said, in his best Brooklyn accent. Bracket your EV.
I saw you had a big line for your poster. McNally, if you Usually the rule is to get your subject away were charging a nickel…no, no, wait…if you were from the background to minimize shadows charging a penny for those posters, there woulda on the background , but here I placed her been nobody on that line, McNally, nobody.
I do this? Simply, I had seen it done and I shadows fall sharp and hard. So why did You know something else? Especially white on white on white. I wanted to play. A lot of fashion gets shot this way, and although this was shot in a daylight, rooftop studio in Miami, I assisted the available How to Get This Type of Shot: Most provided the overall light, but the movie camera meters will look at this scene light is what provided the crisp shadow.
Then he avoided me. Luckily, he had this great hammock on his front lawn and it was summer. I took a long nap. Came back the next day and did the same. Went to lunch. Came back. Took another nap. Late on the second day, he came outside.
So Kesey and I started throwing bales of hay off the back of a moving pickup truck to a bunch of hungry heifers. He relaxed after that, got in his Eldorado with his cocker spaniel, and I got a picture. I think he just wanted me to leave. This is shot with available light—late afternoon, using a 20mm wide-angle lens. Lftfz Chapter Three. Svui Chapter Three. When slides were shown, the managing editor at the time was generally the only one who spoke.
There would be a burble of approval around the room. I had never realized I was out there looking not for pictures, but for yanko supremos. The pale haze muted the colors and made the sun shootable as a perfect round ball.
Mike did some This one I believe got at least a yanko. The story was about Mike Ruth, a massive best sports photo of that week. Couple of simple rules of thumb here: You have to get your subject to extend, and make their body a graphic shape.
I was once assigned to photograph the biggest a dark lump on the horizon. Biggest in relation to what? The only thing I got out of it was the biggest bill I have ever run up in a Red Lobster, when I caused the front line of the Indianapolis Colts to miss their training camp dinner.
I had to spring for a meal. Each of them ordered two entrees. Bigger is better here, in terms of lens. Low camera angle helps, too. Remember to think like a comic book: Turn your subject into a superhero! I grew up on comic books. Always the new kid.
It informs my pictures now. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day.
When I was behind a camera, it was the only place in the world I wanted to be. The more it tells the less you know. I was fascinated with the materials. But I never dreamed I would be having this much fun.
I imagined something much less elusive, much more mundane. I trust pictures. A good photo is a miracle. The mirror is just another function of the window.
It gives me both a point of connection and a point of separation. What is at the core of my work is, in essence, a mediation on being a human being. I photograph the things that I do not wish to paint, the things which already have an existence.