The talk will address seeing your final photographs as you shoot. Keeping in mind the viewers who will see your final photograph, you will be thinking about framing and fundamentals, setting your camera to the prevailing conditions- ISO, speed, etc. – so that you may concentrate on making the final image. The better the original image the less time is required in post production. There will be a slide show that will illustrate most of these points. I will also discuss the responsibility that comes with being a photographer. And elements of my former talk, ‘Shooting Digital With a Film Mindset’ — instead of shooting far too many images because you know that they can be deleted, to help you shoot those images that you want to keep.
Bob Straus’s Work
I'm Bob Strauss I'm a professional photographer I've been a professional photographer for about 45 years I was not trained as a photographer I know almost nothing about the technical side of photography I'm a Fortin economist by training are you videoing or you okay and I ran a couple of companies before I became a photographer and at some point I decided I didn't want to do that I went out and bought a camera and became a photographer and all of my career I have if I found something I didn't know how to do I've just asked somebody there are lots of people that I know and you I live in Houston lots of guys with the Houston Chronicle that had been there for many many years that no I don't know anything and because I because I call him at 3 o'clock in the morning and ask them how to do it and now that we use computers I know even less so I do know how to make a picture though and and the purpose of this is to have you and when I give these talks it instructs me as well make better pictures so that you don't have to spend all of your time in post-production unless that's what you really want to do I don't I don't shoot over shoot in digital but the mindset and I've given talks on shooting digital with a film mindset and I guess the core of that is that every time you take 36 images assume it's costing you 20 dollars because that's what it costs for a roll of film and processing so you don't go out and shoot hundreds and hundreds and hundreds of pictures just because you can delete them so the idea is to understand the basics of photography when when you shoot with digital and all that all the technical tools that it gives you to make better images to start off with and it's so when you when you finish shooting you've got a collection of images that you really like and for 30 years traveling around the world as a film shooter I never once doubted that I had the image on film and we would go out and Chris did that because Chris shot film we would go out and shoot we might shoot 100 rolls of film and we might be halfway around the world and we'd put that in a bag and ship it to to whoever sent us their raw film and we'd go to dinner and now every time you take a picture on a digital camera you look at the back of the camera because you know you're not sure you've actually made a made a picture and that's significant because you but one of the things that Digital has done it's done it with me it's done it with amp sure with a lot of you you you're not as sure every time you make that image that it's actually there with film you pretty much if you if you knew the fundamentals of photography when you started you pretty much knew that you had an image might not have been the best image but you knew if you pick the right film you knew how to expose it under the conditions whatever existed you probably had an image now I would go with traveling around the world kodak had had labs all over the world and they made the same commitment that coca-cola did in Second World War coca-cola said there's going to be a coca-cola for every American soldier anywhere in the world that they go and they did that Kodak pretty much after the war did the same thing for tourists which is one of the reasons that Kodak has the problems that it has because his competitors didn't have the bricks and mortar all over the world to deal with that that they did but as a Kodak shooter I got VIP treatment at these labs anywhere they had one in the world and so every once in a while I would take a role in and process just to make sure the equipment was working and that would be it that never processed the whole thing because it's too bulky to deal with so the object of this is is to think when you make a picture think how you how you want it to look how you want to frame it who's going to look at it which is very important the subject and and and remember all of those things and go back to basics and a lot of you obviously have been photographing for a long time and in many of you probably welcome the automation you get in new cameras but you really need to know the fundamentals and if you if you if you know the fundamentals and you and you lock those into your camera these new cameras and I shoot it at the tennis I shoot everything on manual I don't shoot and you know aperture preferred or or you know any of any of the automatic settings and I carry a light meter around which Chris has seen me use and everybody half the people there don't even know what it is but it makes me feel good I don't know what it works but it makes me feel comfortable to carry it so the fundamentals are important and my mission if there is one is to have photographers amateurs and professionals alike understand how important fundamentals are in making good images just because you can delete a picture or fix it on a computer is not an excuse to not make a good image to start off with and and if you've ever made a great picture that you really liked no matter what the subject is no matter where it is and then didn't remember how you did it the next time this this is what you need to do and the object of this is to think about how you made that picture why it looks the way you like it and why you liked it and why the other people that you may give it to or send it to or whatever likes the picture so as we go through this and there'll be a slideshow on here and and if you have any questions jump in and ask you'll see how almost all of these pictures on here not on well now preparation for this probably 60 to 70% of them were shot on film and some of these go back 30 and 40 years and there's virtually no cropping they were scanned off of film obviously slides mostly there's almost no cropping maybe some small adjustments but that's it and and if you can do that and you go out and you go on a vacation and you come back with 500 or 600 pictures you don't have to spend a week at your computer adjusting them you can make minor adjustments and and then you're ready to go to print them or however you tor send them on emails or however you want to do so if any of you have as I said if you have questions about what the purpose is about being a thinking photographer it's always understand the purpose of the picture and everybody has a different purpose I don't know why you shoot this gentleman right here said because he likes to do it it's something he now got the time to do and he likes to do it and many of us do that and I just told him that if I didn't enjoy what I'm doing I wouldn't do it because I wasn't a photographer I didn't work for the school newspaper I didn't I've never in my career never developed a roll of film I have no idea how to do it never wanted to know how to do it yeah I ran businesses and and and decided to be a photographer and if I didn't enjoy it I wouldn't do it and I've had I've had a great career I've had a blessed career in many ways I've worked for great companies and and hopefully some of these images are pretty good and and now that we have digital I see people out out there who don't understand the fundamentals because well one one they don't have to because they can fix everything on the computer and most of those people know far more about but computers than I do I use Photoshop their foot I don't know how many I mean how many tools are there in Photoshop 300 400 I know how to use maybe ten and the ten that I have to use and I don't want to know the other ones because I can it just like developing film I always knew I could pay somebody that knew far more about it than I did to develop the film instead of me standing in a dark room for eight hours a day I'd rather go to dinner and let them do it and that's the same way I feel about post-production I mean I I did an event recently and I had 8,000 images after it was a huge event a worldwide event and a huge event I had 8,000 images and I told my client I said you're lucky this isn't film because your film bill would have been through the roof and and but I had to deal with those images a lot of photographers there probably had 15 or 20,000 images now which I I won't do so let me let me get into this and I'll start a slideshow is anybody interested I have on here a bio if anybody's interested anybody interested in seeing a bio yeah I'll I'll show it briefly and then I'll show I'm gonna show a client list and we'll give you some idea the kind of companies that I that I work for David mentioned that I do volunteer work I if you're familiar with the Police Athletic League in New York which started here in 1914 I run it in Houston and it mentors inner-city at-risk kids with police officers and I was I was even doing things like that when I was in college in Philadelphia you know but this this will give you a little idea of my background and and and why I had to learn photography the way I did and I learned something every day I learned things almost every day at the open just from talking to other photographers and one of the things and I don't want to get off on a tangent but the Internet is a new beast for photographers because once you put something on the internet it's gone and I just I was just contacted by somebody through my website that wanted to use two of my images which they took off my web site without permission and put in a mock-up and it's a company that does collect collectibles online and the subject of the collect of the collectible let's say it's you in and you have you're a baseball player and you have a career they can then use those two to advance their own brand it's something you know and they wanted to know how much I was going to charge him I'd not a clue and I talked to five or six photographers at the open nobody had an idea but we came up with a pretty big number because this is worldwide and it's in its commercial use for a year so I go back to the guy and I say give me oh give me some idea what what should what should I charge he said well we normally pay $50 an image I said well you better go someplace else good you're talking to get them from me and and and not only is this new to all of us in there professionals but the legal side of it and and I have to deal with copyright and that's a whole different talk you know I've dealt with a lot the copyright laws have not kept up with the internet they really the not only do the lawyers not understand it but the judges don't understand it so it's a whole whole different different animal and I'm I won't I'm going to I'll put put the client list up here Chris you can't copy this it'll give you some idea of the kind of people that I've worked for over the years now this is this is by the way greatly abbreviated but you can see I decided when I became a photographer that one I wanted to work for myself and two I didn't want to do the same thing all the time and that has to do with sports it has to do with everything and that I really wanted to experience as much as I could as a photographer and I and if you look at this client list it's it's pretty broad it's far as the kind of work that it takes and and when you do the corporate side and this goes back to fundamentals which I had to learn when somebody sends you to Botswana or or Jakarta or someplace to shoot oil facility it may cost them and this was 30 years ago it may cost them a hundred thousand dollars just to get you there and you're there by yourself it's not not an event where there's 50 other photographers around and they expect you to come back with the product no matter what the conditions are now the good thing is if you if you work for an ad agency or something and you've got somebody from the agency if the conditions are horrible no but just completely impossible to photograph at least there's somebody there's a witness this host knows you can't do it but 90% of the time you're not and I had to photograph some art in a museum once and I was in a room that was probably eight times the size of this room and it was probably 200 million dollars worth of art on the wall and the only light in the whole room was a single cord in the middle of the room with a 60 watt bulb on it and I couldn't use I couldn't use lights because it damages the art so he had to learn how to do that we had to learn how to use filters we had the years learn how to do audit the US Open when it got dark you had to filter your film because it and if you filtered it it slows it down so you can't use high shutter speed so you had we had to deal with all of that stuff so this you get an idea of the breadth of this and it's pretty it actually impresses me so so hopefully give you some idea and when you see some of these images you know you'll get a you'll get a better idea of what I do so let's just start a slideshow and I don't know how to do this so it's yeah where is it huh under view yeah yep this is a new version of this is in Nepal and I went there with Care International a man had given a lot of money to to care to build to do water purification products projects and and I went there with with the thing it was a marvelous trip you know and these first pictures are are from from that trip there either in Nepal or India and it's you know when you photograph people you really especially in these locations you really have to have a rapport you know this is an India no no you don't over seas you really don't you do and I'll get into that later I mean you you you you don't want to impose on them and you don't want at least I don't and you don't want to do things that would make them uncomfortable so I try not to many years ago one second and years ago I used to carry a Polaroid camera with me because I would photograph people who had never even seen a picture of themselves much less had one taken and they wanted the picture and of course I have a shooting film I couldn't give it to him and so I would take a picture and I mean they would give me their house yes on the front on the first one I did the restroom no but but I had it set very low so it was not it didn't overwhelm the subject this woman gave me that fish by the way absolutely yes I know I understand light I could at one time I don't know if I can do it now but I can I could tell a quarter of a stop adjustment by the way the light felt on the back of my neck no I'm older now I can't do that so yeah always look again this is this is composition always look for angles different ways to do things and see things and you'd be surprised at how easy it is to move around a little bit too to define your subject yes I was up in the grid in the light grid above this above the the court okay and actually the story was physical contact in the NBA and from the floor you don't you can't really see it from up there you can see it let me just let me just look at this one picture let me just again one of my favorite players who haven't had my same birthday she's retired now using elements to frame a subject and again none of these are cropped and when you when you if you can do it and you'll see this in the next few pictures frame the picture in your head first and then see it as you as you get ready to shoot and if you have to move a little bit whatever then try to do that so amélie Mauresmo french player but here's on a drilling rig offshore and it's framed by the by the workers same thing here this guy makes pacemakers actually they made one for me with my name on and and have him surrounded but this is in his cleanroom here you get a design element this is for a farming company and you get a design element which I always look for with with the field doing this yeah you could have done that from ground level but you wouldn't have gotten the pattern this is not the way to start an Olympic bike race by the way I don't know where he finished if he finished and this was coming back from the US Open at Olympic not this year but ten years ago and I was with a friend and we came over this hill and I looked back and these guys had finished and they were walking out to the car and I jumped out of the car I said get back out there and put in putt and and and my friend said to me those pictures will never come out and he had but I think it sixteen by twenty over his desk this is Positano if you've been on the Amalfi Coast and I was driving along the coast and I looked down and the Sun was setting and it only illuminated the city there's no adjustment on this at all no cropping nothing else that was exactly what the light was obviously there wasn't a lot of light in I was shooting film so get back back to fundamentals there's there's Diana this happens to be at Wimbledon and she's wearing the ring of course that was the famous the famous ring it's been knocked off by everybody in the world one of my favorite pictures of Jordan I was a photographer of CBS Sports for 10 years and this was this was one of the NBA championship games well that's what we get paid for one of the things Chris has never had this problem but but one of the problems with film is often you would have film in the camera and you need to put you need to put a faster film in there you take it out and you've got images on there and you mark it or whatever and then you put it back and use it again and this was totally accidental I put a roll of film that I'd shot these flowers on it and then I shot Kournikova and this picture was absolutely total accident of double exposure but they can work out Arnold Palmer has been a friend for many many years next picture is the cover of his autobiography and that's his last US Open at Oakmont and every every other photographer shot it from the front and I shot it from the back because everybody knows Arnold Palmer and and this is a muck to me it's a much better image and this is again this is what I wanted I knew this before so I didn't scurry up there to get get the picture by the way after this Arnold went in through a little opening in the stands to a secured area back there and he asked me to go with him I was the only photographer there and he was crying and I was talking to him again he had to be interviewed he had settled settle down and I asked I said can I photograph you and he said no problem so I have the only pictures of it and then he went into the interview and and sat down there were no still photographers there on the TV was there and they asked him one question and he started crying again and and stood up and they gave him a stent he said I can't do this gave him a standing ovation he left and so I was the only photographer that photographed you so there are benefits to having friends this is the cover of his autobiography I shot that down in Jamaica and that picture that picture was used probably 20 times licensed 20 times over the years there's Ali and he's fighting Spinks did you want a picture of things no I have a picture somewhere every but this was America's Cup the last time it was in Newport when we lost it to the Australia – which is in the lead there and I've shot that hand holding a 600 millimeter lens standing on the front of a boat and and you could shoot from the air but it did I wanted to shoot it from the water so I again thinking ahead I had to know what the lens could do I had to know what speeds I could I could use and the limits of the film I don't have any idea but let me tell you photographers that you know five years later they say well I shot that at f56 and 507 they're guessing unless they kept notes which I don't do so yeah this is this is this actually all my and I don't know why that that that the the the bird was up there because this is on my desktop you know this is the Amish in southern Pennsylvania I have photographed in that area for 50 years I've driven back and forth I Drive up from Texas drove up to Philadelphia when I went to college and I Drive up here once a year and edit its marvelous photograph this was last this was last fall on my way back and again if you look at the composition you know I wanted to tree in there because it gives it gives it perspective it gives it scope in and these next pictures are and so you know here obviously there are lots of ways you can shoot a picture like this but if you have the clothes it's sort of obviously those are the clothes the Amish use and the cows and the farm in the back sort of tells the whole story now get to storytelling in a minute and this I just took a couple of weeks ago on my way up well this this girl was picking flowers and I was in my car and I and I pulled up next to her and I said would you mind if I take your picture and she said no I don't want you to take my picture and then she thought a minute she said okay you can take my picture so I made a picture of her actually a tight shot and and she came she said can I see it and you know so she obviously knows digital so she came over and looked at the picture and I said would you like a copy of it and and she said she thought for a minute she said no I don't think so because I don't think she wanted her family to know the kid and there's a family at the end of this road next to their farm it's a very prominent family to Fisher family and I got to know him five or six years ago because I was photographing there and one of the kids ran over and grabbed me and she'd bring your camera come with me and he ran around the barn and there was a bald eagle in the field which you never see in that part of thing so I photograph the bald eagle and I made about 50 prints and sent them to him and some guy called me that it was doing a calendar an Amish calendar and wanted to use it anyway I said I'll leave the print at the Fisher's and you can go pick it up if you went and she thought and she said no I don't want to do that so but I got wonderful pictures of her so little just down the road yeah I saw this and I went over and and they do have a problem although they deal with it in different ways and I was talking to them and and instead of bringing my big camera I brought this out and I shot this with this camera and the girl with the flowers walked up while I was doing she's obviously the same family and which he saw me a big smile and she but she didn't say anything because he didn't want anybody to know that she had talked to me and this little girl came in and and looked at the picture and like it and the father who's working on the hitch on this wagon got up and he said he said where'd that picture come from and I said well I just made it he said you know we don't like our picture taken and so I mumbled something moved on this this was from this tournament and again this is from the promenade which is upstairs and it does a lot of things you get very graphic pictures you'll see some more later you get very graphic pictures but you also get a clean background you don't get advertising you don't get hands and feet and people in the background this is obviously Andy Andy Roddick here's here's from the top of the stadium this is not this year because I don't think Chris was there a day that it was this full in the daytime I don't remember no not not with this light that's right this was last year and there's if you're a Bjorn Borg fan one of the nice things about the way the tennis were used to be this is in a swimming pool in Jamaica we knew these guys well who traveled with them and had dinner with him and went out with them and and the orange still a good friend and today you don't have that access I mean the world changed after 9/11 and and the whole mindset of parents and agents and everything else I mean there's some exceptions but there not many exceptions and you don't get this kind of access anymore by the way there's no rhyme or reason to the order of these pictures that's Barbara Mandrell the singer and she flew with the Thunderbirds this was for Time magazine and here we are afterwards this isn't Bali she's she's a sheepherder hurtis whatever they are again Bali you know any part of that that world over there the light is unbelievable the colors are great and all this is on film this isn't a battery plant in Italy and once again you get the perspective this is there's no cropping here but you get the depth percept perspective but you also get somebody in there to give you some idea the size of these things and the size of the room which is very important anybody here read Emily Post the manors books when did Emily Post live 60s and she made her books in the 20s which is what I would have said 1890s this is her grandson and he's 86 and she his wife unfortunately died of cancer a little over a year ago she does he she she did the books and she just died of cancer I don't know what's going to happen and he's now there are neighbors I we have a home in Vermont and they're our neighbors and he's now moved to Florida but it I was amazed because I thought she wrote her books in the 20s and 30s it was in the 1890s there's Billy Carter I traveled with Billy Carter for five days which was pretty amazing and actually he was an extremely interesting guy he got a bad rap he wasn't drunk 24 hours a day he did go out party every night but which I didn't he was promoting this toy which was a pickup truck and I was working for the toy company this is in Newport and again it's its composition and color that's the Blue Mosque in Istanbul and instead of taking the standard Blue Mosque picture I made it a silhouette which I did at the time and that's that's exactly the picture that I took these are these are pump jacks in Texas and again using silhouettes because a picture of a pump jack is not very interesting by itself unless you happen to be Lufkin and make the pump jack yes yes no nope it was that it was that this is prior to the first of the great Borg McEnroe matches at Wimbledon and and I might add that I have McEnroe's racquets from both of those matches then he handed me on the court first one from this match is broken because he broke it over a chair because he lost the first I I was I have done a number of movies is still photographer number of movies and this was anybody seen local hero well then I was a still photographer for local hero and and I had met Burt Lancaster on the set but not really talked to him and he called me one day and he said can you come to my hotel I need a photograph for Architectural Digest I said sure so I came up and I which I could have done I could have done the picture for you know in five minutes we spent about three hours together and and we actually stayed in touch the rest of his life here we are I think the belt bellboy took that picture yeah I was younger bit by the way and again this is this is elevated makes a clean background it's composed the way I wanted and in blurred this is digital and I have it framed and you'll see later in here you'll see some cards that I've made this is exactly as I shot it these are obviously Canadian Geese I don't remember where I shot it but I did do it yeah anybody a Sex in the City fan nobody this is the author and and that's in 1977 and that photograph was used in her next-to-last book which was Carrie before she came to New York so they wanted a picture of her when she was before she came to New York and this was before she came to New York know Candace Bushnell by the way yeah once again this this was on this was digital but I knew what I wanted I thought it out this is shot not underwater this is through an aquarium but I knew I knew what the light was I made the adjustments before I started and and I only took a couple of pictures because the people that owned the business ran me off but but it worked again you have to look at everything because I walked by and saw this and luckily I had a camera in my hand I don't think that child would do that if those bars weren't there anybody motor racing fans Dale Earnhardt this was the day he died I was the night before I was the last one with him photographer with him working for Fox this is about three laps before he died and and this is Michael Waltrip who he earned heart was actually blocking for Walter when he was killed and this is I gave this I gave a friendly this to Michael and this was two or three laps before he died and this is Dale's last I think yeah that's his last pit stop I was in Junior's pit when Dale was killed and once again this was this was the New York Times this is these are oil drilling pipes in the hole of a ship I would have liked it if some of these guys were wearing bright red or something but but I wanted to design element again composition that's that's Warren Moon and Earl Campbell both are good friends and I don't this wasn't the end result but it was my favorite picture of the take yeah here's the picture that was this was shot on a golf course since the picture that you saw when you came in and this is exactly the way it looked the water from the angle I was this was behind a tee box and the water was absolutely black and and the Egret was there that's evil a galleon I don't know if you remember one of the great actresses and this was a mootness was on a movie set in Texas this is this is the this is in Fez Morocco and they're dying camel skins and and the only way you can get this picture you can shoot it from the ground but the only way you can get this to climb up on one of the buildings and of course the buildings are only two stories high so but it's a much better picture and this picture I've used quite a few times over the years this was a long time ago but because of the design it's great there's Farah and that's shot with a fisheye yeah and I'm probably about that far from herself and once again I have I have a colleague who's a great photographer he is one of his photographs was the photographer was a photograph of the year about five years ago worldwide and he says the only lens I know how to use as a fisheye which I use a lot and here's this is an example of that and I was actually hand holding this a lot of people use remotes this is at the Country Club in Boston and it's define it's the Sun D round of the US Open which ended in a tie and they had a playoff the next day and there was virtually nobody there so luckily I got up on the broadcast booth in front of made this photograph there's Gary player that that's on a beach in jump in Jamaica there that's Gordon Parks is everybody here have a good idea of who Gordon was there are two exhibits that Gordon has here now in New York one in Harlem and wanted died at international center for photography and I have not been to him Gordon was a very very close friend and I'm going to take that picture to the exhibits this is the dreaded halliburton and and the people there I mean equipment is massive and the people there are again four perspective and I framed it specifically this way and once again I knew exactly what I wanted when I went in there this is not how to dismount a bull I shoot a lot of rodeos and I used to stand out in the arena with the Bulls I was maybe this far 1012 feet from in those days I could run fast enough to get up the fence if they if they came after me all of you probably have tried to shoot fireworks and and once again I go back to what I said earlier but if you've ever made a picture a really nice picture and then couldn't remember how you did it I never remember how did it and this is for the city of Houston and I was on a building at noon and this is this is the natural light there's a wall behind this and I did it in silhouette and here's the same it's a different feeder in the same place and I chose to do this in the silhouette so I set everything before they got there because I knew what I wanted in and I said everything before before the speed everything before before they arrived this is Rick Mears at Indy 500 Rick's car is on fire I have the only that I know of the only still pictures of it I was on my way to his pit if it had been one pit stop later I would have been standing right next to those tires when his car was on fire and it it's burning ethanol which you cannot see when it burns until you walk into it and Rick has scars today rick's never looked at these pictures his crew has and I know Rick pretty well he doesn't want to see him but as far as I know I shot I shot 20 images and they only as far as I know they're the only still pictures of it this is recently and all these guys were playing in a tournament and they were taking them they were just finished and they were taking them to a press conference and I said no no if they're going to take a picture with me because I know them all and they're all friends and the press people went crazy because I wouldn't let him go and I forced him to take this picture so huh no no is a special exhibition this is Jake Webber I don't know if you know him he was a star of a TV show and Jake's a friend and this was a movies in New Mexico and we were actually on lunch and I saw this rainbow and I grabbed Jake and I said get up on that hill and I made this picture and it became the signature picture of the movie as in Jamaica and I'm standing in the water right next to these guys with a wide-angle lens and again I could have shot them in anyway long lens and chose not to do that environmental portraits this is a very good example of it where you use all the elements that are around there and I obviously I shot tighter photographs as well but but this is my favorite because I use all the elements just for the dog I don't know who the girl is this is this is John Connally and he was the governor of Texas and he was in the car with Kennedy and was shot when Kennedy was shot and this was a take that I did out at his ranch and it was a great take and I did basically two portraits of him that one in this one I've never decided which one I like better and Connally is no longer with us here's another portrait there's a woman and her two children that she's adopted and again composition is that this is everything here is exactly the way it was done I keep beating that that point in Kenny Rogers I've known Kenny Rogers since he was probably since the late 60s when he was with the first edition he was Kenny was born in Houston here we are on a golf course here's here's BB King and Willie Nelson and that's Kris Kris Kristofferson sticking his face in the picture this was backstage at a concert and and this I did a movie with Kris Mitch that's this was who was I saying about my equipment that's that same lens and this was a long test my 302 eight that's a long time ago that's Lamar Hunt who died unfortunately a couple years ago and Lamar he had been jogging and JA and he and I ran together in places that he ran world championship tennis which went all over the world and he and I used to run in different cities all over the world and at Sea Hunt I actually met his stunt double once years ago this this is an example that Chris can do this of course because he's a top photographer but most photographers today could not make this image because this is not with autofocus I took one picture I estimated where that girl was going to land in that thing and I focused on that spot and I've made a slight adjustment as she as she was airborne but this is one shot and I'd backlit everything this is just an example of limbs and what limbs and this is this is a cricket ground in London and this is with a fisheye and this next picture is from exactly the same place with a 1200 millimeter lens exactly the same spot this Chris were you at this 1975 this is when Martina Martina abdicated and and Russ Adams who Chris knows of course in rust was my mentor 45 years ago and he's the only photographer in Tennis Hall of Fame and Russ ran past me he grabbed my armies had come with me and he didn't know what it was but they were doing an impromptu press conference and this little enclosure that was about the size of these two tables and and she was announcing that she was advocating and not going back to Czechoslovakia and they're only about four or five images of it there's John McEnroe with his first girlfriend in the backseat of my truck he's changed and there that was a full page in Look magazine that's in Germany this is in the lair on islands of the coast of France that's where the man in the iron mask was imprisoned and this is one of the monks that I spent a lot of time in the South of France and in France this is a water vendor in Morocco I shot this probably in 1968 this is Moscow under communism and this is a communist rally and you see the Stalin and Lenin and in in the same place now instead of that they have weddings so it's it's changed there I am in Red Square I apologize for all the pictures of me in here but this is this is a perfect example of planning one you weren't allowed to take pictures in here – it was freezing outside and very warm inside and I had a camera with the 50 millimeter lens inside my coat and I knew that when I went in there the lens was going to fog over which it did and I couldn't pull it out and start cleaning it off so I went in and didn't say anything and stood there for five or six minutes while I knew it was going to you know I kind of did this and then I pulled the camera out and had made two images and this is one of them and it's no it's perfect when you get the candles if you look at the light on on the two subjects on both sides from chest level no but I knew I knew how far it was I knew I knew all of that so here's Nancy Lopez she's actually doing that for me this is not a tournament this was a for a hospital Corporation and again this is shot on film and still lights no strobes I had still lights set up this is offshore Jakarta and I'm in another helicopter and this is the company that I was working for as that the boat down to the service vessel is theirs and helicopters there's and I shot for this company all over the world yes yeah stop here I want this show yep and I've spent hundreds and hundreds of hours in helicopters and I was going back and you know not too long after Vietnam that most of the pilots were Vietnam pilots and they were nuts I mean there were great pilots but they were nuts and and I was in Alaska photographing we were at 4,000 feet and I was standing outside the helicopter on the strut with a little line around my waist and photographs – photographing boats but you couldn't do it from inside Delica and that's why I shoot and all of a sudden the helicopter turns in my and I'm hanging I fall off the strut that I'm hanging by this little safety cord and he straightens out and I get it back and I won't tell you what I said but I said why the heck did you do that he said well I saw a whale and I wanted to chase him that's Rick this is patty Berg who was a very good friend who died one of the founders of the LPGA and one of her favorite portraits this is you know Walter Josas the great Sports Illustrated photographer who's one of the great photographers in the world and Walter and I were standing next to each other and you cannot obviously its luck but to have him standing right in the middle of that arrow and I'm and first of all to have them back where I could use a lens and they wouldn't be tiny because if they were five yards further they wouldn't have worked and and then you've got Walter Payton holding too tall Jones and I gave I gave both of them prints of this but so it worked out fine and in the framing that's in that's in the old Dallas Stadium that's it at Olympic this year that's Phil if you think they don't watch the ball and you can see this is a man that was arguably the greatest polo player that ever lived there's a Texas cowboy and I spent quite a bit of time with him he's deceased now and man named Cecil Smith that Bernie Texas yes yes I am and I and it's it it's I'm using probably on that 450 around 450 in and of course high shutter speed and wide open oh yeah to a yeah because it otherwise it I mean the lens will do that the longer you further away it's going to shorten the distance behind the image if you're closer it broadens that and if you've got people back there you lose the subject in in the in the frame oh yeah I got where I wanted to be and had the right shutter speed and to write everything this is from a 10 meter board to a 3 meter board this was an Olympic trial event and I framed it this way because I wanted to be offset and I never could decide whether I'd wanted that vertical or horizontal but I ended up with the horizontal this is a man who who was a remarkable man his name is Ricky Alvarez he was the last living member of Pancho Villa's army he was a very good friend he was a very famous sculptor in Mexico he actually grew up in New Orleans on the docks in New Orleans he's a Mexican Indian and this is in his studio in Mexico and I shot this that's all available light Ricky was amazing if you give him a few drinks it stories he would tell were really amazing here's this is this is an Olympic event and everybody knows what the rifle looks like everybody knows every so I chose to do this in silhouette because it shows the targets it shows everything and it worked perfectly and of course I knew it would be close to me and again angles it gives you a view that most people never see yes no I don't I don't wreck it and I don't know how to bracket digitally it's got a function on the camera but I don't I don't know how to do it yes sometimes you had to yes well color color adjustment yeah because it because the lights yeah I always went when I worked for CBS or things I always wish that they would be at some of the facilities that we had to work at because if you go into a high school gym or a lot of college gyms back then the light was horrible and when television came in of course television can shoot at anything they don't care about still photographers but when television would come in they would boost the light and change the color temperature so that would balance with daylight film or Sun but if it wasn't balanced you had to make corrections I mean I I have a Minolta color meter which I used to use all the time to make the adjustment yes yeah oh yeah probably maybe three images yeah yeah uh-huh because I know I've done this before for 40 years on the golf tour and and the tennis tour yeah I don't I don't know I mean I there guys did it they'll shoot literally 30 or 40 images on something like that and just throw them away and find the one that they like and I don't I don't do that and that's the truth I do here's an example one of the things that you should know is the limitation of your lenses because it's important when you're doing anything and and I would always prefer not to have to crop something if you don't have to that you can frame it in the camera frame it in your mind first then frame it in the camera but you may not have that option and and this is an example this is with my 450 on my camera from the promenade this was that they opened just the other day and this is the actual picture but I can then if I wanted to crop it afterwards I can do that it's sharp enough to do that so I can make a more interesting picture I didn't do it in the original image because I couldn't I was shooting at the complete range of the lens but if I want to do it afterwards then to me that's okay so I you can do that in frame it and make it make a more interesting him of course if it's not sharp can't do that this is a Rolex ad and this was done in natural light just with a reflector no additional light it's inside of a inside of a building this was sent to me by somebody that works for Olympus this was in the LA paper and this was the US Open Golf at Congressional a year ago and this was published in the paper and you'll notice that the only photographer that's not taking a picture is me up there in the upper right hand side so so he's generally shown the trophy yeah and and in and this was in the on the sports page of the LA Times and he and my friend saw it and sent it to me he said why don't you take your pick everybody else is taking a picture so I so I sent him this to show him that I actually made the same picture I just didn't have to shoot it for 30 minutes like everybody else said since the royal couple is in Singapore now this is a portrait of a man in Singapore this was my 40th birthday I'm 70 so it was 30 years ago and as a present he was drawing a picture of me which I still have in my house as a present that he would do this is an artist down on the quay and the quay is not there anymore they moved it this is done with a very wide angle lens this is up in Stowe Vermont and I've used this picture many times horse was very nice ears propped up and again the silhouette this is it's not a big file since this is film this is obviously the st. Louis Arch and you've seen it thousands of pictures of it but I wanted to do something a little different and the light was great reflection it was a family sitting up and this is in Vermont and and you can see the frame around it and I've done this with many photographs to make cards that and you can put type in there and it's something that all of you can do and if you have Scenic's like this you can think about doing that because you can make in do them online or print them and and I've done that with many here here's here's an example where these are cross-country skiers but I didn't want to show the cross-country skiers because there's not no picture so I did this focused on them on the the ranch and you know what there's this was a poster that was done for an oil company this is sunrise and obviously the lights difficult this was shot on film in West Texas and they ended up making a poster out of it this is this is on the Texas coast and this is just a picture I liked with the backlight setting Sun is one of my favorite pictures of Serina this was this was a year ago she's matured since then anybody's easy top fans that that's the Texas governor with ZZ Top I've known Billy Gibbons for probably 45 years or 50 years you know and you know they're from Houston originally this is Olympic and this is the 18th hole this was just just in June I got a call from a friend of mine and said said you're in the New York Times and I said no I'm not I didn't send any pictures to the UN it's in the New York Times this isn't the US Open a few years ago so I didn't send anything in no China he said no no you're in the New York Times and this was on the front of the sports page and there I am in the red shirt in the back this has my I didn't realize this when I downloaded it has my copyright on there but there's Tiger with this new magic club and by the way I going back to the internet I've got on my website I have a lot of pictures probably more than I should have on there and I've really got to go back now and watermark all of them because I've found so far maybe 25 that people have pulled off my website and I do a name search every once in a while and I and right after the start of the Olympics I did a name search in a website for one of the Olympic athletes came up and they had two of my pictures from my website from the Olympic Trials on their website and I when they got back from London they had a pretty sizable invoice waiting for them that's Tigers last major win and that's out in San Diego and there's Tiger when he was a skinny kid and just just a example this is actually at the u.s. clay courts and this is a just an example of again this is shot with a long lens obviously and but the framing and you know the lots of graphic things you make good pictures and you don't have a bed a busy background I shot this picture through the windshield in my car at 60 miles an hour I was driving and and I and I shot I saw this picture and I shot it and I've sold it I don't know how many times TRUCKING people do all kinds of things and I wouldn't I didn't shoot a lot of pictures I shot one I think maybe two but I fixed the exposure this is Ben Hogan and everybody knows who Ben Hogan was this was at the Women's US Open in Fort Worth in 1991 and Hogan was out there that's his home club and he knew this golfer this Kris Jenner and he came out to see her nobody knew who he was there's there's a there's a camera a television camera there it was no other still photographer around none they had no idea who he was and I made 10 or 12 images of this and of course Chris has him and he went into seclusion not long after this and died about two or three years later and he almost was never seen in public after this and Chris published a book a year ago and this is that picture is on the cover her book that's an Istanbul in 1968 67 shot with very grainy film it's always been a favorite picture it was set with old agfa 800 film which was horrible film but it had grain was like this yeah but the kid jumping up there and I can tell you when I took this picture I didn't know a lot about photography I had one body and I had I had three lenses and I was and I was living in North Africa and traveling in North Africa and in Europe this is in Venice and you can't get here anymore first of all the horses are gone but you can't climb up here anymore these pictures I'm going to get you're going to see all that this is a sequence and this is going back to thinking and one of the things and I'm guilty of it and all of you are guilty of it is you you'll make a picture of something where there may be some action and then you stop and you don't see it anymore and I've done it and in this case this is the World Equestrian Games the only time I've ever been in the United States it's huge and I was actually working for the Saudis and and and this is a sequence at one of the water jumps I'm shot that was a 300 millimeter lens and this is why you you need to follow up yep and water jumps are very difficult for horses and the reason is that we know they're only this deep the horse doesn't know that so when the horse goes over that the horse the animal has no idea so this is a whole sequence but the writer okay well you have to wait is a Japanese writer a horse and rider or fine yeah but if I had stopped looking or something else and I wasn't thinking you know I didn't have any foresight that anything was going to happen but but luckily I kept you it was digital well they went on burst it was just I mean oh yeah I kept the drive going and this is why this is this from an Olympic trial since you wanted snow pictures I know everybody's been yelling for snow panting I don't use a monopod about a handheld everything I well I used to be able to handhold 600 down to about 15 of a second I don't know if I can do it now I haven't tried it in a while but this was World Cup downhill once again this is a card that I made this is a card that I made and and this I bet the frame on it I mean this is a door and I shot this like this and this this is in in the Yucatan and I was doing a shoot with this model down there and I have no idea these kids like them had no idea who she was of course couldn't speak English and this little girl never could figure out what was going on and all of a sudden they all started laughing I have no idea what happened but it's a it's a wonderful picture when Elvis when I took this picture no pictures were allowed and I this is in Houston and I had the only 600 in Houston so I was way way back shooting shooting Elvis so that's that's it but to go back to to you know the I really want to emphasize fundamentals and and if you can see pictures before you make them when you when you're traveling think you know why you're arriving in a destination think about what the subjects are going to be and what you want to take home with you and then no matter how you're shooting with your shooting digital and some people still shoot film there were a couple of people shooting film at the open don't ask me why but they were and and if you think about what you wanted to look like and you frame it in the camera you can do it with any camera and and if you don't have a zoom lens what you do is you do this you walk up a little closer and and because it gives you the limitations of what your limbs can do and and if you maximize that then you're going to be a lot happier and you will make those pictures you have to remember how you made them but it'll make those pictures the next time you do it you'll remember that and you'll start learning everything I see is a photograph to me when I'm walking down the street and I happen to if I focus on something I see it as a photograph and I immediately in crop it in my mind and I and I know if I had the camera and I might I might have this with me but I don't have my big camera and I focus on that and I know exactly how I would make it look now there may be some small changes if some something really distracting is sticking out of one of the corners but I do that constantly in it and I've done that for almost my entire career and it has served me well and I look at look at the scene I'm going to go back real quick before we finish to storytelling and storytelling is what all of us do and I teach in a film school that's part of Boston University and one of the things by the way since I don't know anything about photography I carry this with me which is a Kodak brochure from maybe 35 years ago and it tells me everything I want to know if I if I need to look I don't understand any of it but but the old adage of who what where when why is works for storytelling and I always add the word hell because when you do what we do and what Chris does when you do an event the how is very important because if you can't be where you need to be and you can't have the light which you that you want and you and you can't frame it you can't make the picture and you know now a lot of events that we do your credentials in New York State they do full background checks on everybody after 9/11 so far past them so the how is almost as important as anything else in the storytelling because you you need to know how to get where you're going to go and where you're going to be so if you if you arrive at something and you're traveling and you and you want to shoot a market a vegetable market take a look at what it looks like and walk around a little bit and see how you get to where you want to be and if you're going to interrupt anybody or step over anybody if what you have to do to make the picture that you want because you don't want to have to rely if you have a zoom lens if you don't have to rely on having to be back at the edge of the market and zooming on something in the middle and you really want to do a wide angle then you have to figure out how to get there and what it takes to do it and what the lights going to look like when you get there so it's important to do that and just then one other thing and I'm and we talked about the f of photographing people and talking about the Amish and I try not to intrude on people when I you have to do it sometimes but I try not to do it and I'm pretty good at it we have some colleagues that don't necessarily try to do that but I'm going to finish with one thing that has nothing to do with what we're doing here and that's the ethics of being a photographer and some of you are amateur photographers there may be some professionals out here if you remember animal in Lou Grant animal was the worst thing that ever happened to photography because I tell young photographers and I talk to young photographers all over the country and I have for years and years and years and a lot of colleagues of mine knowing the kind of clients that I have and the work that I've done come to me for advice and I tell them that if you do something bad it reflects on every other photographer because it's exactly what the public thinks you're going to be doing I tell them two things when they go out on a job dress properly and always work until the person you're working for that you report to tells you to stop I have been I've worked for a lot of big companies and I've seen photographers that have been at events at a hotel or for instance and they'll go out and shoot for thirty five minutes and then they're outlined by the pool if they think that their client doesn't know that they're out lying by the pool they're nuts and I'll get out there I'll shoot you know ten rolls of film that I don't need until somebody tells me it's okay to stop and and the ethics that are important to me and I've always since I became a photographer it's been it's been important to me to let other photographers know that that somebody's looking at them all the time we're not invisible and people come up to me all the time on the street or whatever they said I know you you were I saw you it so-and-so I have no idea who they are because they're one of 10,000 people behind me but I'm out there you know by myself or with with some other photographers and they see you and they see what you do and see how you dress and see how you act and what you say and it's important in and just keep it in mind when you're out with the the public because the public is who supports you and they're the ones that look at your photographs and give you the accolades that you do or do not deserve and the great satisfaction that you get from this business is that somebody cares enough to like your work and compliment your work and if you're a professional to pay for it you know and that's that's that's why I got into this and I learned that very quickly and that's why I've stayed in it all these years because I was in a position to not do this if I didn't want to do it and it didn't like it and I've always liked enough as I said before I've had a great career in a blessed career and and I wouldn't you know would have changed it for anything anyway I appreciate it and thank you and and if you watch some questions afterwards just ask for more information please visit us online give us a call or stop by our New York City superstore you can also connect with us on the web