Joe McNally: Photographing the Olympian, Part One

Via Joe McNally

August 2, 2024

 

In 1996, I photographed the US Olympic team–in the nude. It was controversial back then. Now, not so much. But I ended up on the Today Show, Good Morning America and all sorts of news outlets, with commentators and pundits breathlessly exclaiming to me about the audacity of it. Some loved it, others were offended. Which was ok by me, ’cause it meant somebody actually looked at the pictures.

At the time, Gail Devers was the fastest woman in the world. She overcame Graves’ disease to become one of the most decorated female athletes of all time. I went to Los Angeles to photograph her and used a studio located in a hangar at Santa Monica Airport.

She made it plain she would not do a full nude, so you get creative. I was after unadorned body parts as well. Genius that I am, I wanted to photograph her legs. They were the engine, right? So I made this picture. Nice enough.

We were running down on time and starting to pack up. I was happy with the photo. But then I asked, “Is there any other physical attribute you can think of that is responsible for your success as a sprinter?” She replied, “Well, I’m pretty strong.” And did this.

We grabbed a couple of v-flats, put a black one behind her and filled in the cloudy daylight with a bit of bounced light from another large white board, right there on the tarmac outside the hangar. Shot it in about five minutes. It won first place in the Portrait Division at the World Press Awards that year.

You never know. Always ask the question, otherwise, it can be a long plane ride home.

Sports! On and Off the Field with Joe McNally

 Via Adorama

Photographer, Director, Author, Storyteller: Joe McNally

Take a trip around the track or up and down the field with Joe McNally. In the studio or on the playing field, he has photographed sports and athletes in an incredible variety of ways, from stylized action in a controlled environment, where everything is orchestrated to create impact, to the unpredictable hurly-burly of competition. Under discussion will be camera work, Olympic prep and action, studio and location portraiture, concept-driven images of sports stars, and imaginative solutions to create vibrant, compelling images illuminating the obsession to be the best that possesses every high-level competitor. A lively discussion with Seth Miranda, aka Last Witness, precedes a live demo in the Adorama presentation space. 

Joe McNally is an internationally acclaimed, award-winning photographer and filmmaker whose prolific career includes assignments in 70 countries. McNally won the first Alfred Eisenstaedt Award for Journalistic Impact for a LIFE coverage titled, “The Panorama of War.” McNally has been honored numerous times by Communication Arts, PDN, Graphis, American Photo, POY, and The World Press Photo Foundation. McNally is masterful at lighting and is known for his large-scale production work, in addition to his vast storytelling experience which stems from assignment work for legendary publications such as LIFE and National Geographic. His work is regularly cited in social media surveys as a source of inspiration and industry leadership.

The Timeless Appeal of Tommie Smith, Who Knew a Podium Could Be a Site of Protest

 

1968 Olympics Black Power salute: Tommie Smith (center) and John Carlos (right) raising gloved fists during the medal ceremony for the 200-meters at the 1968 Olympic Games in Mexico City, on October 16, 1968. Silver medalist Peter Norman of Australia (left) John Dominis/©The LIFE Picture Collection

Via The New York Times

August 6, 2021

"What happens when a person becomes a symbol? Smith and Carlos would both see their careers as athletes overshadowed by the moment. The years, decades really, after their defiant act brought struggle and sometimes suffering: hate mail and death threats, broken marriages and psychic pain. Two days after the medal ceremony, longtime Los Angeles Times sports columnist John Hall wrote that “Tommie Smith and John Carlos do a disservice to their race — the human race.” Even many of those that celebrated Smith and Carlos’s act did so under the mistaken belief that they had given the Black Panther salute — something that, for his part, Smith never intended.

What happens when a symbol becomes a person again? The last decade, a time of expanding awareness of racist violence and trauma in the United States, has prompted a dramatic reassessment of Smith. Once pilloried, he’s now lionized. People build statues of him. In 2019, the United States Olympic Committee, the same body that had suspended him from the Olympic team in 1968, inducted him into its Hall of Fame. The Smithsonian collected the clothes he wore on the medal stand: his singlet and his shorts, his track suit and his suede Puma cleats. And, in this new era of protest, a generation of athletes, many of whom claim Smith as a direct inspiration, are channeling the outsized attention that the public directs to sports toward urgent social and political concerns — police brutality, mental health, voting rights and more."

45 Years Ago Today: Black Power Salute at the 1968 Olympics

John Dominis—Life Picture Collection

Gold medalist Tommie Smith (center) and bronze medalist John Carlos (right) raise black-gloved fists during the American national anthem at the 1968 Olympics in Mexico City. Australian sprinter Peter Norman, who won silver in the 200 meters and supported Carlos and Smith's protest, stands at left

Via LIFE.com

On the 45th anniversary of their Oct. 16, 1968, salute, and in tribute to Smith, Carlos and every other athlete — Muhammad Ali, Eric Liddell, Curt Flood, Sandy Koufax and on and on — who has acted on principle in a highly public way, LIFE.com presents John Dominis’s indelible portrait of that moment.

Smith and Carlos (both of whom are National Track and Field Hall of Famers) were vilified at home for their stand. They were suspended from the U.S. team. They received death threats. But neither man ever apologized for his raised fist or his bowed head — and neither ever had need to.

“We were just human beings who saw a need to bring attention to the inequality in our country,” Smith said years later, in a documentary on the 1968 Mexico City games produced for HBO. “I don’t like the idea of people looking at it as negative. There was nothing but a raised fist in the air and a bowed head, acknowledging the American flag — not symbolizing a hatred for it.”

Finally, it’s worth noting that the Australian silver medalist in the 200 meters in 1968, Peter Norman, stood solidly with Smith and Carlos, both literally and figuratively — displaying his solidarity with their action by wearing an Olympic Project for Human Rights badge during the medal ceremony. Four decades later, in 2006, both Smith and Carlos were pallbearers at Norman’s funeral.

“We knew that what we were going to do was far greater than any athletic feat,” Carlos was quoted as saying at the time. “[Norman] said, ‘I’ll stand with you.’”

Carlos expected to see fear in Peter Norman’s eyes before the medal ceremony, when there was no turning back from what they were about to do. But he didn’t see fear.

“I saw love,” he said.

[MORE: Read Madison Gray's 2010 interview with John Carlos on TIME.com.]

Related:   "A raised arm, black power and Olympic trauma"

                50 stunning Olympic moments No13: Tommie Smith and John Carlos Salute

                The man who raised a black power salute at the 1968 Olympic Games

"A raised arm, black power and Olympic trauma"

John Dominis: 1968 Olympics Black Power salute ©Time Inc

Via The Independant

By Geoffrey Macnab

Wednesday 11 July 2012

Tommie Smith's salute is recalled in a new film

The veteran sprinter is reminiscing about just what it feels like to go to the blocks in an Olympic final. He makes it sound like a dead man's walk.

It is certainly traumatic, it is certainly traumatic," the sprinter repeats the phrase. "You know, looking around, walking in a stadium is an experience that only those in the field can feel. You work all these years competing against some of the best people in the world and then you get to the final race. It goes beyond human imagination to the point where you forget where you are and you go back to your childhood, thinking 'how did I get here?' You look around at these world-class athletes and if you're not very careful, you can lose your race before you start by thinking everybody else is better than you are and what are you doing here?"

Whatever the state of his nerves, the sprinter in question ran an immaculate race. He whipped past the finishing line of the 200 metres final at the Mexico Olympics in 1968 in an astonishing time of 19.83 seconds.

Tommie Smith was 24 at the time, younger than Jamaican champion sprinter Usain Bolt is now. "Aged 24, my speed and Usain Bolt's speed were about the same," Smith says today. The assumption was that he would get even faster. However, when he and third-placed fellow African-American athlete John Carlos went to the podium, they raised their fists in a Black Power salute. The gesture caused outrage at the International Olympic Committee, which dubbed it a "violent breach" of the Olympic spirit. Smith and Carlos were vilified, as was the white Australian silver medallist Peter Norman (who supported their gesture.) The story of the friendship between the three men is told in the documentary Salute, shortly to be released in the UK.

"He [Norman] was a man of his word and a man of honesty." Smith pays tribute to the Australian sprinter. "He believed in rights for all men. He was a true friend and he went through some of the same things that Carlos and I did," Smith remembers of how all three men suffered because of their gesture in support of human rights. Norman didn't raise an arm but he wore an "Olympic Project For Human Rights Badge" –itself a defiant act – and he suggested that Carlos should wear Smith's left glove. As a result, he was ostracised by the Australian media and the country's Olympic selectors, who never picked him again.

After Mexico 1968, Smith's own Olympic career was over. If he is bitter about the way he was treated by the Olympic movement, he is not showing it. He relishes the friendships that the Olympics can help foster between athletes all over the world. However, he has no illusions about the machinations that go behind the scenes whenever the Games are staged.

"The politics of it is a different story. Those who contend that there are no politics in the Olympic Games are speaking with false tongues."

Ask him today if he has mixed feelings about that moment in 1968 when his salute effectively ended his athletics career and he replies: "I regret the fact that I had to do that to bring out the truth about a country that didn't honour the rights of its constitution."

No, he says today, he didn't know that making the Black Power salute was going to curtail his athletics career. "But had I known, it wouldn't have made any difference," he insists.

Would he have won more Olympic medals? He ponders the question. "I certainly would have run. I don't know if I would have been the fastest – but whoever was ahead of me would have been in trouble!"

'Salute' is released in cinemas on 13 July and DVD on 30 July

John Dominis's iconic photograph is featured in the current exhibition "People Get Raedy: The Struggle for Human Rights" through September 23, 2012