JOE McNALLY "THE REAL DEAL"

Via Joe McNally's Blog

November 8, 2010
Joe McNally

Taught again this year at the Santa Fe Photo Workshops, as I usually do. I really enjoy my occasional visits to the Southwest. Over the last few years, I’ve regularly brought my classes to the Monroe Gallery, run by Sid and Michelle Monroe. Great people, and close friends. They are the real deal.


I am very determined about this (especially when I teach young shooters who’ve never had a whiff of dektol) as a way of acquainting folks with work that is really the shoulders upon which we all stand. Digital photo fever is at an all time high, which is a great thing. It’s just important to know where we came from.

And, I have to admit, there’s the curmudgeon in me who’s determined to avoid much of the rest of the chic, super heated bubble that constitutes the Santa Fe spa/art scene, which, at least occasionally, makes me chuckle. I mean, there are so many galleries on Canyon Road, and such a cacophony of art that it veers damn close to outright tragic. I’m sure this is my own demented imagination at work, but I can conjure a day for the cognoscenti down there beginning by putting down the lemon scented loofah, removing the cucumber slices from the eyelids, rinsing off the sea salt scrub laced with all natural oatmeal and tinged with the scent of free range apricots, and chugging through gallery after gallery. In those shops are mult-hued Kokopelli statues, intricately fashioned wind chimes, and fantastically bent pieces of metalwork, many of which, to me, look like the product of a welder having a seizure. It’s all okay. Art is many things to many people.

I prefer the simple white walls and the largely monochrome environment at Monroe. Their gallery is like an oasis of unflinching, heartfelt reality in the midst of the ephemeral, land of enchantment swirl. What hangs on those walls makes a connection. Some of it entertains the eye in a delightfully kinetic way. Other pictures stir memory, nostalgia, and an echo in your head and your heart. (Where was I when this happened?) Other images up there are like a punch in the gut.

What I truly believe about a powerful picture is that after viewing it, you are never the same. You have been changed, forever. You might not realize it at that moment, but you are. There’s been an interior, seismic shift in your emotional substrata. The plates tilted, just a little bit. These pictures linger, like a persistent thought. Or, like someone shouting to you in a rainstorm, it gets your attention, even if you can’t completely make out what it’s saying. Sometimes, they’re like a wound. Photographic scar tissue.


The Monroe’s concentrate their eye and their gallery on historically important photojournalism. Even a quick pass through one of their shows is like looking at your memory of the last 50 years, right there, in one place. Currently, they have a show of Carl Mydan’s work. Carl, a diminutive, gentlemanly sort, was a giant, and a tiger with a camera in his hands. Under that affable exterior was steel. How else could he have withstood the firestorm of ego and bluster that was General Douglas MacArthur to get the pictures that he did?

Also up this fall was the work of Bill Eppridge. (Very appropriate to look at Bill’s work during campaign season, and remember that once upon a time, images of politicians had some grit, and were the product not of “photo opps,” but of real access and relationships.)

Saw Bill at Photo East, still carrying a camera. Still crusty as ever. He’s earned the right to be crusty, I can tell you. He’s done it all, and his work remains a benchmark for all of us who have ever picked up a camera with serious intent.

I won’t make a history lesson out of this, but the story of the picture above, which was on the walls of Monroe, might not be so well known. What is well known is that Epp covered RFK’s run at the presidency, and grew close with the Senator. He was there in the hotel kitchen when he was gunned down, and made that awful, famous frame of the busboy cradling the Senator’s head as he lay dying. Given the dicey light, it was a thin negative.

The Time Life photo lab, now no more, was the stuff of legend. They pulled from this neg a master, elegant print and copied it. It was from this copy neg, derived from that one print, that many, many reproductions of that moment came.

When Bill’s tenure with LIFE ended, and the weekly mag folded, he was asked if he wanted the master. In the interests of storage space, they were taking 16×20 prints and cutting them down to 11×14’s, as hard as that may seem to believe. So of course, he said yes. They said, okay, where do we ship it? Bill said nowhere, and got on a plane. He took physical possession of this legendary print, but with a profound sense of ambivalence. The night of the assassination, he did his job, magnificently. But at that terrible moment, his job entailed photographing a man he had grown close to, dying in front of him. So the print did not go on his wall. He put it out of sight, behind his couch in Laurel Canyon, California home.

Wildfires came to the canyon, and destroyed almost everything in their path. Bill’s home burned to the ground, along with just about everything in it. Except the master print, charred, as you see it above.

Some pictures just stick with you. More tk….

©Joe McNally

Related: The Albuquerque Journal: Bill Eppridge: An Eye On The Times

The Historic Master Print of Robert F. Kennedy Shot

Joe McNally: Faces of Ground Zero

JOE McNALLY: FACES OF GROUND ZERO

Louie Cacchioli

Firefighter, Engine 47, FDNY

Rescued many from Tower No. 1

"I stepped outside after bringing about 40 or 50 people down a stairway. I looked around. It was crazy. Somebody yelled, 'Look out! The tower's coming down!' I started running. I tossed my air mask away to make myself lighter. Next thing I know, there's a big black ball of smoke. I threw myself on my knees, and I'm crying. I said to myself, 'Oh, my God, I'm going to die.' I was crawling. Then—the biggest miracle thing in the world. My hands came onto an air mask. It still had air. Another 15 seconds, I wouldn't have made it."

Joe McNally created “Faces of Ground Zero, Portraits of the Heroes of September 11, 2001” during the first devastating weeks after September 11, 2001.  Joe McNally set up his portrait studio at MOBY C in lower Manhattan. This unique large-format camera is a room sized camera, with a U2 spy plane lens that produces a 9 foot print. The collection of over 200 photographs was exhibited at 7 venues throughout 2002; followed by a special appearence in the exhibition "Icons" at Monroe Gallery of Photography.

The Faces of Ground Zero/Giant Polaroid Collection is perhaps the most significant artistic response to and documentation of the tragedy at the World Trade Center. The traveling exhibition tour, which commenced at Vanderbilt Hall, Grand Central Terminal, New York City and traveled on to the Boston Public Library, the Royal Exchange in London, Union Station in Chicago, One Market in San Francisco, the Skirball Center in Los Angeles, and concluded at Rockefeller Center in New York City, was seen by almost a million viewers. The exhibits and the book, printed by LIFE, helped raise approximately $2 million for the 9/11-relief effort.


Widespread exhibition coverage was featured in the United States through the Associated Press, print, major broadcast television, radio and cable stations (and their local affiliates), and on-line media as well as internationally through wire, print, television, radio and on-line media outlets. A comprehensive "behind-the-scene" feature is here.

Joe McNally says he is still flabbergasted by his subjects' trust in him. "They took a leap of faith when they agreed to be photographed. I promised each of them to treat the images with respect."

Jason Cascone
Firefighter, Ladder 9, FDNY

Jason finished his training on September 10, 2001. The next morning his mother woke him up and said there was a fire at the World Trade Center. He remembers being transported to his first assignment with 50 other firefighters. "There was this chaplain on the bus and he was giving absolution to everyone."

Richard, Patrick, and Peter Gleason

Firefighters, FDNY, Engine 47; Battalion 14; and retired

Patrick was working when the alarm came in. His brothers Richard, who was off-duty, and Peter, who was retired, geared up to join the effort. "After retiring I went to law school. A professor there, Kit Chan, had an office on the 79th floor of  Tower 1," said Peter. "After the first plane hit, I called and told him to get out of the building. He called the next day to thank me for saving his life. He did, however, say he was a little confused, since six months earlier over lunch we spoke about what to do in the event of a high-rise fire, which is to stay put while the fire is extinguished".

Melissa van Wijk

Choreographer and Red Cross Volunteer, Disaster Services

Van Wijk worked at aid areas that distributed food and offered showers and beds to workers. "The first day I was there 20 hours, then I took a nap and went back. That's what everybody did. It was chaotic. Everything that didn't fit into someone else's job fell to us."

"The people represented on the pages of this book are, by and large, ordinary people. they go to work, to school, to church. On an average day in New York City (if there is such a thing) you would pass hundreds of people just like there. They live their lives. They do their jobs.

That is what they would tell you of their involvement in the tragedy called 9/11: They did their jobs. They did what they were supposed to do - as human beings, as citizens, as New Yorkers." -- Joe McNally

Related: Joe McNally's Blog - "The Foley Family"

Related: Happy Birthday Joe McNally

HAPPY BIRTHDAY JOE McNALLY!

Joe McNally: Empire State Building, New York

Joe McNally just finished his "Traveling Light: Location Lighting with Small Flash" workshop at the Santa Fe Workshops, which offers "state-of-the-art photographic education that supports participants of all levels". The roster of instructors at the Workshops reads like a "who's who" of photography, including Sam Abell, Rick Allred, Keith Carter, Jay Maisel, Jock Sturges, Joyce Tenneson, and  Stephen Wilkes.

Joe McNally is an internationally acclaimed American photographer and long-time photojournalist. From 1994 until 1998, he was LIFE magazine's staff photographer, the first one in 23 years. He has completed assignments in over 50 counties for prestigious publications, including Sports Illustrated, ESPN Magazine, Life, Time, Fortune, National Geographic, New York Magazine, The New York Times Sunday Magazine, GEO, Golf Digest, Discover, and Men’s Journal.

His most well known series is the "Faces of Ground Zero" Giant Polaroid Collection, a collection of 246 giant Polaroid portraits shot in the Moby c Studio near Ground Zero in a three-week period shortly after 9/11. A large group of these historic, compelling life-size (9x4) photos were exhibited in seven cities in 2002, seen by almost a million people. The sale of 55,000 copies of the exhibit book, printed by LIFE, raised over $2 million for the 9/11 relief effort. This collection is considered by many museum and art professionals to be the most significant artistic endeavor to evolve to date from the 9/11 tragedy.


McNally is known worldwide for his ability to produce technically and logistically complex assignments with expert use of color and light. He conducts numerous workshops around the world as part of his teaching activities, and is the recipient of numerous awards, including the prestigious Alfred Eisenstadt Award for outstanding magazine photography, as well as Pictures of the Year International, and World Press Photo Foundation Award (awarded first place in Portraits in 1997). Recently, Joe has completed major stories for National geographic, including "The Future of Flying" and "The Electrical Grid".

It is always a special treat for us to spend time with Joe. During his time with LIFE magazine, he became very close with the giants of "The Golden Age" of photojournalism, such as Alfred Eisenstaedt, Carl Mydans, and John Loengard - some of our heroes. He is certainly one of the hardest-working photographers in the business (follow his blog or Twitter, at any given moment he might be in New York, Santa Fe, Asia, The Pacific Northwest, at the Albuquerque airport at 4 AM, or just about anywhere.) Last we knew, Joe was on his way to dangle from a helicopter while hoovering over giant electric transmission towers.

Joe is the author of the best-selling boks, "Flying West to Go East: New York City Opera on Tour in Japan", "The Moment It Clicks"; and  "The Hotshoe Diaries". In October, Time books will pubish Joe's newest book, "Life Guide to Digital Photography: Everything You Need to Shoot Like the Pros". Joe will be in Santa Fe in early December for a special book signing and exhibit, watch this blog for details!

Meantime, Happy Birthday to Joe!

Joe McNally and Michelle Monroe discuss Bill Eppridge's exhibition

Photo by Carol Mackay