Archive for the Photography Category

Cover Model

Cover Model

 

I never set out to be in front of the lens, and that’s ok, I’m a pho­tog­ra­pher, researcher, writer and not a pro­fes­sional model. But as with many in my pro­fes­sion, I have enough stand-in expe­ri­ence as a model to know how it is in the stu­dio when on the lens side of the cam­era. I’ve ben pho­tographed numer­ous times in the process of help­ing to make photo illus­tra­tion, and one time it landed me on the cover of US News & World Report as a terrorist. 

 

Let me be per­fectly clear — I was not a ter­ror­ist. I only played one for a cover story on inter­na­tional ter­ror­ism. The story ran just days after Aldo Moro, the kid­napped Ital­ian politi­cian was dis­cov­ered dead as his ter­ror­ist kid­nap­pers, the Red Brigade dumped his body as a mes­sage of some kind (dis­dain, hate, who can tell what’s in the minds of ter­ror­ists? It’s not like they are nor­mal peo­ple, they are thugs.)

 

For the cover shoot, I brought in my favorite ex-army parka, one that I picked up at a real army sur­plus sale back in high school. It had been on count­less camp­ing trips and excur­sions all through my late teen and col­lege years, and since I was a bearded, long-haired kind of guy, I thought the army-ness of the coat would lend a cer­tain look to the ter­ror cover image. I also picked up a cou­ple of balaclava-style stock­ing caps, because the Red Army Faction/Baader-Meinhoff gang were wear­ing them.

 

Photo edi­tor Berni Schoen­field brought his gun to the ses­sion: a .44 mag­num, it was a real Dirty Harry type of revolver. The gun was a beast, so Berni fig­ured it would lend the right kind of threat­en­ing image to the photo illus­tra­tion we were mak­ing for the cover.  

 

But I have a big head. No, I don’t mean ego-wise, although I prob­a­bly have my moments. Phys­i­cally, I carry the Scot­tish blood of some­one with a large head, so when I held the pis­tol up next to my face in a mock­ery of James Bond, the .44 mag­num did not look all that large. In fact, after the mag­a­zine came out with my pic­ture on the cover, one over-eager reader wrote to the edi­tors that our photo illus­tra­tion was a fail­ure because no self-respecting ter­ror­ist would use a .22 cal­iber revolver. Berni was allowed to answer that one, to the effect that cover model Wood­dell has such a large head that it dwarfs even the Dirty Harry .44 mag­num he is hold­ing. Or some­thing along those line.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

When the image appeared on the cover of US News and World Report dated May 22, 1978, it was cred­ited: photo by USN&WR. As I recall, the staff pho­tog­ra­phers Thomas J O’Halloran and War­ren K Lef­fler worked on the cover shoot together, with spe­cial projects photo edi­tor Berni Schoen­field stand­ing over their shoul­ders, direct­ing the stu­dio session.

 

 

 

 

No, they didn’t pay me extra at USN&WR for play­ing cover model for the day. It was all in the day’s work for some­one in the pic­ture depart­ment, but I did get a free ham from the com­pany at the hol­i­days, an employee perk of that media com­pany that was patron­iz­ing and yet appre­ci­ated at the same time. Each year they gave the employ­ees a choice between a ham and turkey. As Berni would say, only a putz would take the turkey. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Some of the mod­el­ing jobs I worked on at Nation’s Busi­ness include a hand-model cover shoot with David Valdez and Gary Kief­fer col­lab­o­rat­ing on the pho­tog­ra­phy for a story by staff edi­tor Henry Eason.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A life-style/health arti­cle was about eat­ing healthy snacks: Pho­tog­ra­phy was by Judith Sloan, one of my favorite free­lancers when I was pic­ture edi­tor at Nation’s Busi­ness.  (Polaroid light­ing test on left — B&W in the mag­a­zine from color transparency)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Direct­ing the man­ag­ing edi­tor Henry Alt­man on how to sneeze dra­mat­i­cally for the cam­era in this polaroid, but the vet­eran copy edi­tor him­self stood in with a great sense of humor for the real deal. Photo by Nation’s Busi­ness staff pho­tog­ra­pher (and for­mer New York Times con­tract pho­tog­ra­pher) T. Michael Keza, 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

One last hand-model job, this one is a mys­tery to me today, but I think it was for a story on credit card fraud — or maybe the dan­gers of smok­ing, who knows, some of us still smoked back then. Here the polaroid is some­what pos­ter­ized by my scanner. 

 

Maybe one of the pho­tog­ra­phers can com­ment — who shot the credit card image? Valdez, Kief­fer, or Keza? 

 

- David W Wood­dell, Novem­ber 13, 2011

 

 

Tornadoes and Hanging Trusses

 

Grow­ing up in north-central Ohio, we had plenty of hot days, humid from so much corn grow­ing next to our house on the edge of town. That corn­field some­times was allowed to lie fal­low, or was planted with a crop of soy­beans to re-fix the nitro­gen in the soil. The farmer had loaned our neigh­bor­hood a piece of his field, on the agree­ment that we wouldn’t run through his corn any more, and we kept the grass mowed and used it to play base­ball and foot­ball and fly kites. Out there one could get away from the houses and see a long ways toward the horizon.

 

We had fresh pro­duce in seem­ingly unlim­ited quan­ti­ties, toma­toes as big as a baby’s head, and green beans to die for, espe­cially cooked the West Vir­ginia way with bacon or ham until they were nearly soft. Cucum­bers, green-onions and melon arrived at our front door, car­ried by door-to-door sales­man from a place called Cel­eryville, a huge pro­duce farm that employed young­sters to sell their stuff in the sum­mer, going from house to house. Sum­mer was good in north-central Ohio, not least for the fre­quent tornadoes.

 

My mother’s favorite movie was Wiz­ard of Oz, and she was ter­ri­fied by the word tor­nado. The very idea of one would send her into a panic and she’d yell, “Every­one, run to the base­ment, there’s a tor­nado!” Didn’t mat­ter if the local AM radio sta­tion said the tor­nado was in the next county, or the next town over, she’d always announce that every­one should head for the base­ment until the “all clear.” Dad would groan, because he didn’t have a choice, he had to go down there with her. Not my brother and me – one word of a tor­nado and we went out the back door like the two young ter­rors we were, because we wanted to see the tor­nado. We were pretty sure we were faster than any tor­nado on Earth, and we didn’t know any­one who’d actu­ally been injured by one, much less taken up and floated about.

 

My older brother and I often spot­ted fun­nel clouds off in the dis­tance while we stood in t-shirts, sum­mer shorts and ten­nis shoes in the July or August heat, out there on the ball field. That part of Ohio was kind of flat, with some rolling hills, and from the van­tage point on the edge of town we could see the fun­nels form as the cloud dropped down and turned tri­an­gu­lar, and then at the last minute a bit of cloud would seem to come up from the ground to join it and the tor­nado was in busi­ness. One day we saw a cow come fly­ing up with the dirt and stuff, and get jet­ti­soned out of the fun­nel, and we knew some farm fam­ily would be hav­ing steak that night. Mom would be ‘fit-to-be-tied,” as she called it, that we’d have the nerve to go out­side when such a ter­ri­ble dan­ger was in the off­ing, but we were never pun­ished for it. And who wouldn’t want to see a cow fly?

 

A num­ber of years later I was work­ing car­pen­try in Colum­bus, Ohio, one of the many jobs I worded to pay for my col­lege edu­ca­tion. I had learned to swing a ham­mer, could mea­sure accu­rately, was well-balanced, and much to my hor­ror, able to calm my fears enough for “walk­ing walls.” Walk­ing walls is a rare expe­ri­ence in a young man’s life. When a wooden framed house is built of 2x4’s and 2x10’s, there is usu­ally a stage when the fram­ing walls have been built and raised, with some light insu­lated sheath­ing attached to the out­side frames, and the floors decked in with ply­wood. The tri­an­gu­lar roof trusses have not been added, so it looks like an open framed box. For a two-story house with a base­ment, that means from the top of the house, before the trusses and joists have been added, it is a drop of 30 or more feet to the ground. If you hap­pen to be stand­ing on the 10-inch wide top of the wall above the open­ing to the poured con­crete base­ment when you fall, it’s a bit far­ther and a lot harder when you land.

 

So there I was that sum­mer, walk­ing the tops of walls of a partially-built new house. Bobby, the lead car­pen­ter had decided I would be good as the sec­ond man in the truss-hanging oper­a­tion. A rented crane arrived, along with the truck­load of pre-made trusses – they are those tri­an­gu­lar things you see on top of houses, with a beam at the bot­tom called the joist, and they are heavy and big. The crane lifts the truss and places it approx­i­mately where the boss tells him to place it, sus­pended a few inches off the top of the wall, and the two lucky car­pen­ters who are walk­ing the walls try not to get bumped off by any sway of the truss, and using their ham­mers to kind of prod it into stop­ping, they wait until the right moment, the truss is low­ered to the top of the wall, and — bam, bam, bam, wham! You drive in a spike with a 20-ounce fram­ing ham­mer, and then pound in a cou­ple of more nails, and attach that truss to the top of the wall. You have to kneel down at the last minute, or bend over from the waist, all the while just stand­ing on a 10-inch wide beam with no safety net and noth­ing to hold onto. What­ever you do, you can’t hold onto the truss to catch your bal­ance because it’ll move if you do, or fall over and bring the rest of the trusses down like triangular-framed domi­noes, and prob­a­bly take you with them.

 

One morn­ing, hot and humid with threats of rain for later in the day, we were hang­ing trusses on a two-story mon­stros­ity of a house in a new sub­di­vi­sion. We were halfway through with the trusses when I noticed the sky was dark­en­ing into that famil­iar deep blue and pur­ple mass in the dis­tance that meant a major storm com­ing. Zip, some light­ning started appear­ing in the dis­tant hori­zon. We were non-union and didn’t get paid if we got sent home, and that sum­mer we’d already been sent home a lot because of thun­der­storms. I looked over at Bobby, the lead car­pen­ter, stand­ing on the oppo­site wall from me, and he shrugged and motioned for the crane to bring up the next truss.

 

Pretty soon the wind was kick­ing up, and I was wor­ried about being blown off the top of the wall, and the sky became more defined as the storm drew closer. I could see the angry, boil­ing clouds grow heavy and start to droop, not all that far away it seemed. When you are on the top of a wall in a partially-built sub-division on the out­skirts of a city you have a scope of vision to the hori­zon that is rather sweep­ing. So I wasn’t sur­prised that I could see the for­ma­tion of a tor­nado off in the dis­tance. Mean­while, we kept hang­ing trusses with the wind swirling and mak­ing the trusses sway on the end of the crane’s cable as they came up and were low­ered into posi­tion, prompt­ing no end of four-letter words and oaths and impre­ca­tions at the unwieldy mass of wood we were try­ing to man­han­dle into position.

 

We’d already been up on the walls a cou­ple of hours by then, and the ten­sion of mus­cles keep­ing bal­ance, of bend­ing down on one knee and nail­ing the truss to the wall cap, of then stand­ing up unas­sisted, like an acro­bat in work-boots, was start­ing to get to me. The one tor­nado had become two in the dis­tance, and then look­ing around, I spot­ted one com­ing down in some other part of the city, and all the while light­ning strik­ing where it wanted down from the sky, and the booms of thun­der rip­ping the air. Shortly before noon, we fin­ished hang­ing the last truss and I slid down the lad­der to the ground with legs like rub­ber a-tremble. The rest of the crew were wait­ing to go home, every piece of equip­ment loaded in the pickup trucks. “You two are crazy,” they said, and Bobby and I shook hands, aware of the slight under­state­ment of that fact, and I headed for my old Blue Buick with 100,000 miles on the odome­ter and the blue and white seats faded and stained from all kinds of unmen­tion­ables, includ­ing too many trips to the drive-in movies with my girl­friend of sum­mers long-past.

 

I don’t walk walls any­more, or hang trusses: my body is not nim­ble enough for that, and tri­fo­cals play hell with one’s aim with a ham­mer. But to this day, I don’t fear tor­na­does. I don’t per­son­ally know any­one who has died from one, or been swept up in the air like that cow I saw as a young­ster, so long ago on a hot, sum­mer, Ohio day. I don’t really enjoy Wiz­ard of Oz, all that much, though. I think it’s the fly­ing mon­keys that scare me the most.

DWW

Protecting the Land

The Allegheny Moun­tains were named by Native Amer­i­cans for the most impor­tant resource that comes out of the ground – clean water. I can say first­hand that the name is well deserved. Those moun­tains pro­duce water that comes up through the rocks and then spills back down, clean and use­ful for all ani­mals and plants liv­ing and grow­ing on its flanks and in its valleys. 

 
 
Water is the sub­stance from which all life flows. Very few bio­log­i­cal processes exist with­out water. A new­born baby is as much as 75% water. Our food has water in it, or requires clean water to grow and be healthy. Restau­rants and bak­eries need it to cook and serve foods, as do the can­ners and pack­agers of veg­eta­bles and fruits.  Schools need it for thirsty stu­dents. Physi­cians and sur­geons need it, den­tists need it, and sports teams need it. Our fac­to­ries need clean water to man­u­fac­ture goods, and the short­age of clean water is already hurt­ing indus­tries around the world. The US mil­i­tary has defined the lack of clean water as one of the most impor­tant resources that could cause wars in far away lands, it is that important. 
 
Why should we in Amer­ica not think it is impor­tant to safe­guard our clean water? 
 
I have been doc­u­ment­ing our old fam­ily farm on top of Allegheny Moun­tain for a good part of my life. My great-grandfather started the farm, along with his Civil War-widowed mother in the 1870s, mov­ing up there from the Green­brier Valley. Over the years our family’s land has been “hus­banded”, to use an old fash­ioned con­cept, or pro­tected and conserved.
 
The past few years I’ve been fol­low­ing sto­ries about hyrdro-fracturing for nat­ural gas. It always sounds so ideal for landown­ers: the gas com­pany assures all kinds of stuff, includ­ing fat pay­checks to the landowner, and these days the pitch is even wrapped in patri­o­tism, remind­ing us that our coun­try must have energy sources to break our depen­dency on for­eign oil. Kind of makes you think you should salute when you see that drilling truck come crunch­ing down the two-lane road, break­ing off pieces of pave­ment under it’s over­weight tires. 
 
What is unsaid is the dam­age done at sites across the US as energy com­pa­nies drill and frac­ture rocks at depths unimag­ined by the nor­mal human. Using high-pressure water mixed with toxic chem­i­cals to frac­ture the rock strata and force nat­ural gas to escape from the earth’s depth, “frack­ing” as a min­ing prac­tice has proven to be the very stuff of night­mares. Inject­ing toxic chem­i­cals into the strata of the earth in order to force the trapped nat­ural gas up to the sur­face has poi­soned water wells and streams, and has brought radioac­tive and toxic chem­i­cals into the back­yards of some parts of America. 
 
There is a lot of money involved, and wher­ever there is money there is also greed and flex­ing of mus­cles. In some states, protests against nat­ural gas drilling are met with out­right hos­til­ity from the local police, who main­tain the first pri­or­ity is to pro­tect the rights of the gas com­pany and landowner who owns the min­eral rights being exploited by the min­ers. States like West Vir­ginia claim jobs are cre­ated by the drilling com­pa­nies, and money is injected into the local com­mu­nity. Some is, that is true. 
 
What is not said is that prop­erty own­ers who are neigh­bors to the frack­ing oper­a­tions need and deserve clean water for their fam­i­lies, agri­cul­ture, and busi­nesses. They have the right to use their land in an unpol­luted, and uncon­t­a­m­i­nated way, unsul­lied by the chem­i­cal spills or water-table destruc­tions that had hap­pened repeat­edly next to frack­ing operations. 
 
I recently wrote a let­ter to the edi­tor of the Poc­a­hon­tas Times, the small-town weekly news­pa­per that is pub­lished out of the county seat where my great-grandfather’s farm is sit­u­ated. It’s a good let­ter, but there are a cou­ple of infor­ma­tive arti­cles in the same news­pa­per that relates first­hand to what has been seen in another county where frack­ers run hog-wild. One landowner was required to put on a flame-proof suit in order to visit his own land. It was a place he had thought to even­tu­ally build a house and live. Sounds to me like it would be liv­ing in hell if he tried that today.
 
I don’t want “Allegheny” to be changed in mean­ing to “mother of poi­son.” I don’t want toxic chem­i­cals to some­day bub­ble up on our farm.  That will not be con­ser­va­tion or good stew­ard­ship of our land. Some things can’t be bought – and some things can’t be changed once they are destroyed. No one today knows how to clean the con­t­a­m­i­nated water that is despoiled by nat­ural gas frackers. 
 
It is not a rad­i­cal idea to con­serve the land, to care about the envi­ron­ment and to pro­tect the nat­ural resources that we have on earth. The radical’s are those who want to destroy it by care­less use of tech­nol­ogy in pur­suit of some­thing that has lit­tle worth com­pared to clean water.
 
Take a look through my ongo­ing cov­er­age of the Wood­dell farm and you’ll see what I want to protect.
 
- David W. Wooddell
 
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It’s sweet work when you can get it!

Spring of 2010 I was in Canada vis­it­ing Kat Forder. On the spur of the moment we decided to take a look at sugaring-off the way it has been done for gener­ations in Que­bec in the area known as the sugar bush.

 

Sucerie de la Mon­tagne is a Que­bec Her­itage site located mid­way between Mon­tréal and Ottawa. The 120-acre farm on top of Mount Rigaud is cred­ited with bring­ing back the old fash­ioned meth­ods of sugaring-off. Using taps with spouts to col­lect the maple sap directly into gal­va­nized metal buck­ets that hang from the trees, horse-drawn wag­ons and carts to gather the buck­ets, and wood-fired boil­ers to cook the sap into maple syrup, the work­ers at the sugar camp do it all in a very sweet man­ner. Walk­ing through the well set-up clus­ter of build­ings, one can see demon­strations on how to make maple candy by using snow to rapidly cool the freshly-made, steam­ing hot syrup. In the din­ing build­ing, an awe­some break­fast con­sists of locally-made meats, pan­cakes, and of course as much of the finest syrup any­one could wish for on a cool but sunny spring day.

 

It is days like this that make pho­tog­ra­phy a joy, and loca­tions such as Sucre de la Mon­tagne make being a jour­nal­ist fun. Work­ing with Kat, we asked many ques­tions and paid atten­tion to the answers, and as usual I had my trusty 3×5 spi­ral note­book to make notes of the dis­cus­sion and get the cor­rect spelling of names and con­tact infor­mation. And as it turned out, our trip to the sugar camp was cer­tainly timely. Not long after we were there a study was released by an Amer­i­can researcher that revealed maple syrup is full of antiox­idants, and has 13 ben­e­fi­cial com­pounds, accord­ing to Dr. Navin­drea Seeram at the Uni­ver­sity of Rhode Island. His study, which was released at the annual Amer­i­can Chem­i­cal Soci­ety annual meet­ing, was funded by the Fed­er­a­tion of Que­bec Maple Syrup Pro­duc­ers, Agri­cul­ture and Agri-Food Canada and CDAQ, the federally-funded Que­bec agri­cul­tural devel­opment coun­cil. While some have crit­i­cized the find­ings of Seeram’s study, there is one thing I’m sure of about maple: it’s more than a break­fasting top­ping. It’s sweet work when you can get it!

 

You can also find the pic­ture story in Past Projects.

Getting There With Film, Multiple Strobes, and Modesty

This morn­ing I’m scan­ning 35mm color trans­parencies of peo­ple I pho­tographed back in the 1980s for var­i­ous publi­cations. These images were in my port­fo­lio when I spe­cial­ized in pho­tograph­ing busi­ness­men and politi­cians in Wash­ing­ton, DC and then later in Florida. Back then I shot 35mm Kodachrome, Ektachrome, and Fujichrome with my trusty Nikon FM and FM2 cam­era bod­ies, and lit the sub­jects using mul­ti­ple strobes with umbrel­las on loca­tion. We called it environ­mental por­trait, and it was often an exact­ing process that required a flash meter to mea­sure the light, a polaroid back that went onto one of my cam­era bod­ies so I could check for hot spots and reflec­tions, and brack­et­ing the expo­sures in minute incre­ments on either side of the f-stop indi­cated by the meter. I learned to do all of that while on-the-job, so I guess I’m a grad­u­ate of OTJU.

Who were those col­leagues who shared so much of their knowl­edge to help me become a photog­rapher? My first men­tor was Berni Schoen­field, a Pic­ture Edi­tor at US News & World Report who’d been an edi­tor at Busi­ness Week before that, as well as a tal­ented photog­rapher for Life in the 50s and 60s. One of the free­lancers who worked for Berni was Rick Bloom — he was about as gen­er­ous as any photog­rapher I’ve ever known, guid­ing me through the dark­room, film pro­cess­ing, and a lot of other stuff — often over the tele­phone in the evening when I was work­ing in my home dark­room and Rick was in his dark­room at the National Jour­nal, where he was both pic­ture edi­tor and staff photographer.

 

A few years down the road, I was lucky enough to work closely with David Valdez and Gary Kief­fer at Nation’s Busi­ness mag­a­zine. Valdez went on to become Vice Pres­i­dent Bush’s per­sonal photog­rapher at the White House, and then fol­lowed his boss as the Pres­i­den­tial photog­rapher. Kief­fer left to serve as one of US News & World Report’s staff photog­raphers for many years, pho­tograph­ing wars on sev­eral con­ti­nents for an equally excit­ing career.

 

There were oth­ers along the way — I don’t want to short­change any­one by leav­ing them out, but it would be too long a list to name them all. They all had a huge impact on my shoot­ing, my per­cep­tion and use of light, and my abil­ity to sim­ply do the job that had to be done. From them I learned to set aside my ego when I met the sub­ject, for it was not all about me — it was about the per­son in front of the cam­era and the assign­ment of the day. From my men­tors I learned that one is only as good as your last assign­ment — but that every­body has a bad day, so maybe it was the last five assign­ments that one counted. What we didn’t do was to come back with a laun­dry list of excuses for why we didn’t have a pic­ture the mag­a­zine could use. That was a dis­ci­pline well worth learn­ing, and one that I have never forgotten.

Knowing What We Know

Some years ago I had an oppor­tunity to travel to an archae­o­logical site in Chi­a­pas, Mex­ico as part of a team that was doc­u­ment­ing the Bonam­pak Murals. Fly­ing into the rain­for­est in a small single-engine air­craft with the other team mem­bers, I felt nearly as frag­ile as the sur­face of the Mayan murals that were then about 1200 years old. My mis­sion on that expe­di­tion was to pho­to­graph the murals in the B&W Infrared spec­trum, using Kodak infrared film with the sci­en­tific pro­cess­ing method that I had tai­lored specif­ically for this project. It was my sec­ond trip to these murals, the first was the year before while on assign­ment for National Geo­graphic magazine’s art depart­ment, when I was a staff art researcher.

 

The infor­mation revealed in that first set of my infrared images allowed Dr. Stephen Hous­ton to deci­pher more of the glyphs in Room One than any­one had ever achieved, as well as reveal­ing under­drawing and out­lin­ing in mural fig­ures not seen since they were painted more than a mil­len­nia ago by cap­tive artists. In between those two jour­neys I had fine-tuned my expo­sures and my tech­nique for hand-processing infrared film in stain­less steel tanks and I was more con­fi­dant than ever that I would bring back a pen­e­trat­ing record of those unique paint­ings. Justin Kerr was with the expe­di­tion to pho­to­graph in the vis­i­ble color spec­trum, and a set of tech­ni­cians from Brigham Young Uni­ver­sity were along to make multi­spectral and dig­i­tal infrared images with video cam­eras that had been spe­cially engi­neered for that pur­pose. Dr. Mary Miller, Art His­to­rian extra­or­dinaire from Yale Uni­ver­sity was the project leader, and Dr. Karl Taube, expert in Mezoamer­i­can sym­bol­ism would, along with Dr. Hous­ton, inter­pret the images we discovered.

 

 

Shoot­ing my pho­tos from a dis­tance of 40 inches, using a 55mm Macro lens and two strobes in copy mode, I made my expo­sures each morn­ing, and then headed down to the archaeologist’s screened cot­tage to process my film. All infrared film of that type had to be loaded and unloaded in the cam­era in a chang­ing bag, and after the film was exposed, it was then loaded onto stain­less steel reels and placed in the pro­cess­ing tank by feel, using the chang­ing bag to pre­vent any stray radi­a­tion from enter­ing the film and fog­ging it. I’ll never for­get my ner­vous­ness the first time I shot and processed such film at Bonam­pak, and how amus­ingly unim­pressed the archae­ol­ogists were by what seemed a very messy batch of neg­a­tives. It was hum­bling, but I persisted.

 

Prac­tice is what makes us good at what we do — we learn by expe­ri­ence. We become expert by repeat­ing and fine tun­ing our work. On the sec­ond expe­di­tion, the film was just as thin as I loaded it onto the stain­less reels by touch, my arms sweat­ing in the heat and humid­ity, the thin film kink­ing and snag­ging on any lit­tle thing, some­times requir­ing it be unspooled and then reloaded on the reel with­out dam­ag­ing the film — and this all by one’s sense of touch. I used a clothes­line to hang my neg­a­tives after the pro­cess­ing was com­plete, hop­ing they would dry in the humid Chi­a­pas air of early Jan­u­ary. Dr. Miller was very enthused about the infrared images when we returned from the sec­ond expe­di­tion. She and her col­leagues, includ­ing Dr Diana Mag­a­loni in Mex­ico, have been ana­lyz­ing and min­ing those images from Bonam­pak ever since. Some­times it is not enough to see the reflected light from the col­ors around us. Some­times, in order to dis­cover what we know, we have to go much deeper — in this case, I went 1200 years into the past in order to reveal parts of the murals unseen in mod­ern time.

The Illustrators Who Were My Colleagues

We all have peo­ple who influ­ence who we are and what we do. This morn­ing I’m in south­ern Penn­syl­va­nia attend­ing a pho­tog­ra­phy sem­i­nar taught by cou­ture photog­rapher Jes­sica Lark. I was very mind­ful as I drove up from Wash­ing­ton, DC that this part of the coun­try has a rich his­tory in artists and illus­trators. One of my influ­ences has long been N.C. Wyeth, who came to this area to study under the great illus­trator Howard Pyle, whose work was once con­sid­ered the best of Amer­i­can illus­tration, and who started Howard Pyle’s School of Art in Wilm­ing­ton, Delaware and Chadds Ford, Penn­syl­va­nia. It was Pyle’s his­tor­i­cal accu­racy that impressed me as a young man and influ­enced my approach to art and photo-illustration.

 

Of course, work­ing as an art researcher for nearly a decade in the Art Depart­ment at National Geo­graphic mag­a­zine also gave me the chance to meet and work directly with many fine illus­trators. Work­ing under Art Direc­tor Howard E. Paine, and the many other art direc­tors there – Allen Car­roll, Mark Holmes, Nick Kir­iloff, Chris Sloan — I found myself research­ing and pro­vid­ing the his­tor­i­cal and sci­en­tific ref­er­ence mate­r­ial for such artists as William H. Bond, Christo­pher A. Klein, Doug Stern, Richard Schlecht, James Gur­ney, John Gurche, Jack Unruh, Gre­gory Manchess, Greg Har­lan, Davis Meltzer, Karel Havlicek, L. K. Townsend. Some­times I was sent on assign­ment with artists to gather research mate­r­ial first­hand and report back to the mag­a­zine staff on what we found. I went into the rain­for­est of Chi­a­pas with artist Doug Stern to help get first­hand the ref­er­ence mate­r­ial needed to cre­ate new artist restora­tions of the Bonam­pak Murals. I taught myself to shoot B&W infrared film for that project so that we could pen­e­trate the lay­ers of time in those famous Maya murals, some­thing I will write more about another time. On the other hand, spend­ing a week in New York city with Bill Bond to help him research Cen­tral Park was nearly as wild an expe­ri­ence, espe­cially since his wife, Iris, told me to make sure Bill didn’t go roller-blading!

 

What all of this amounted to was the best way to learn illus­tration – by work­ing with some of the best. That influ­ence has lasted a life­time, and now it is com­ing to fruition in my own pho­tog­ra­phy. I love telling sto­ries with my cam­era, whether the images are doc­u­men­tary, por­trai­ture, or photo-illustration. It is the sto­ries the images tell that I am most inter­ested in mak­ing. Find­ing what I can reveal about char­ac­ter, his­tory, myth, and belief of some­one is impor­tant to me. As a pic­ture edi­tor at other publi­cations in my ear­lier years, at Sci­ence 82, and Nation’s Busi­ness, I had the chance to hire and work with sev­eral top-notch photo-illustrators: with those and other photo-journalists, we made images to illus­trate arti­cles and mag­a­zine cov­ers on a wide vari­ety of sub­jects. I’ll write about those in my next blog post, but for now I wanted to acknowl­edge the deep debt of grat­i­tude to all those artists who I’ve long respected, my col­leagues in the illus­tration of the world and all that is in it.