How Jay Shoots – Telephoto Eyes that See in Color

How Jay shoots:

  • One camera, one lens
  • Nikon D3s (full-frame)
  • 28-300mm (often in the 150-300 range)
  • 1600 ISO
  • Bracket -1, 0, +1 (ALWAYS)
  • RAW + jpeg
  • Sets his in-camera jpeg settings to Vivid and highest sharpness
  • Picks  his best images and preferred exposure as the reference image for his assistant to match in print
  • Reviews images as 12×18 inches printed in house on a big Epson printer on Epson Luster paper
  • No retouching, no after capture cropping

The capabilities of today’s digital SLRs are completely incorporated into Jay’s technical approach to shooting. He shoots exclusively at ISO 1600 to keep the shutter speed high avoiding either camera motion blur or subject motion blur. On the Nikon D3s the noise is pretty imperceptible. I’m not sure that my Canon 5dMkII can quite match the D3s performance, but it is surely acceptable as I too shot at 1600 ISO for the week. He also shoots exclusively with the Nikon 28-300mm ƒ/3.5-5.6G ED VR AF-S lens and he uses the long range of the lens (150mm to 300mm) more often than the short range. He explains “he has telephoto eyes”. When you study his images, you see the pristine compositions that the narrow field of view allows him. When asked if he would shoot in B&W, he smiles and says “I see in color, even when I shot black and white film, I saw in color”.

Jay Maisel Day 3 & 4 – It’s a blur

Reference internal to the frame

Reference external to the frame

Day 3 & 4 jumble together in my mind as I have almost no notes in my notebook. We are in a rhythm: shoot, edit, talk, eat, shoot, talk, eat… sleep.

I remember the Nikon reps showing up on Wednesday morning with the new D4 and D800 and several lenses. The gear will be on loan for the class through the end of the week. Being a Canon shooter, I busy myself preparing my images but keep an ear out for something interesting. Jay, like the others, is clearly looking for the keys to deciding between the two. I hadn’t realized that the D800, with its 36 mega-pixels, was actually the cheaper of the two cameras. By the end of the week, however, for all those who tried these two cameras the D4 was clearly the winner for the type of photography we were doing. Learning more about these cameras gave me more perspective on the Canon line. I currently shoot with the Canon 5dmkII – 21 mega-pixels, 3 frames-per-second. Given Jay’s style of bracketing, 3 fps is a bit too slow, so I can appreciate the shot-gun shutter of the D3s (Jay’s current camera) and the D4. I think about the new Canon 5DmkIII with its 6-fps and think again that it is probably in my future.

On Wednesday we had an extended period to shoot –  from lunch through to 6pm – and on Thursday our usual couple of hours. Each day we turn in 5 images for critique. They must have been taken the previous afternoon or in the morning. I’m still a bit disoriented about on which day we critiqued which images. It wasn’t until Tuesday morning that we had our first critique of the images we brought from home. I don’t remember having two critiques in one day, but somewhere we must have doubled up to get through the whole week.

The rules of critique – Jay does not speak unless others do. If no one talks about your image, and you want some feedback, you better start. He used the critiques to reinforce all the things he had been telling us. I can no longer remember the specific images, it was more about a general progression. Are there things in the frame that are not contributing? No, frame them out? Is there something interesting going on? No, wait for the trigger? Lessons on gesture over graphic and the “Catch-22”. Catch-22 is when there is an interesting scene so captivating the interest of the people involved that they never notice the photographer. We also pay close attention to images that receive a “verbal”. That is an image that extracts a immediate verbal reaction from the class as soon as it is shown. We talk about images that make reference to things within the frame and to things outside the frame.

The black matboard cropping tools  get a lot of attention. We are continually asked – what is this part of the image doing for your image? Often Jay will reverse the crop and remind us to look at the part of the image we would be framing out to determining if it was interesting. Usually it was some blob of gray or streak of white. We sometimes made it a little too easy for him to make his point.

Around Wednesday, philosophy begins to give way to brevity – “There’s not a f-ing thing sharp in this picture?”, “Doesn’t this piece bother you?”, and “Why did you include this text?” (Jay doesn’t like text in his image unless it is absolutely part of the story).

Wednesday night will go to the SoHo Photo Gallery monthly Salon and then head to City Hall for dinner. Jay whispers around the table, “get the tuna, get the tuna”. The restaurant had a run on tuna steaks that night.

Jay Maisel Day 2 – Failure is an option

Double Bass

In May, I took a 5-day workshop with Jay Maisel in New York City. Jay made his career as an eminent commercial photography, but now shoots only for himself. The week is designed to open the doors for you to take yourself on a journey as an artist and photographer. Here are my thoughts on Day 2

Day 2 was hard. It was raining. My mind was processing the ideas from Day 1 and all the people I had met. I was in a strange city. The short-acting adrenaline of Day 1 had worn off and I was tired.

Before leaving LA, I was looking forward to the rain we would get in New York. I wanted to get some “rain shots”. We don’t get much rain in LA and this would be novel and exciting. As was the routine, we were sent out shooting after lunch. Out again onto the unfamiliar streets of New York. The open hearted New York life I experience on a sunny spring day on Day 1 had turned to a rushing mad dash of umbrellas. I tried for my “rain shots, but seemingly all I got was wet.

Perhaps I was in the wrong part of town? Perhaps I wasn’t good enough? Perhaps, I was not open? Perhaps I was not considering failure as part of this experience.

From the beginning, Jay stresses that failure is an option. While we are behind our cameras, we are not business professionals. We are not doctors, lawyers, or accountants. When Jay admonishes, “This is not brain surgery” he does not mean to imply that it is not difficult, he means to imply that, no one will die.

As we grow older, we are expected to become masters in our professional life. We become conditioned that failure is not an option. It is stressed that as a result of our failures people will die, go to jail, get fired, loose money, or be subjected to a myriad of other forms of misery and consequence. As good school children, we are taught to learn from our mistakes in order that we do not make these mistakes again. We become more cautious and take less risk.

Jay’s message about failure is different. Failure is part of the practice and part of the journey. You should continue to fail. If you do not continue to fail you are not continuing to be curious. Failure is the result of taking chances and taking chances results in photography that moves people. Failure can also leads to serendipitous results. “There is nothing f-ing sharp in this image!” could lead to “There are no rules in photography”.

It is difficult to put our egos and professional pride aside and take the chances it takes to come home with a card full of failures. But fail we must. Keep taking chances and keep failing. “It is not brain surgery, no one will die”.

Green

The Faces of Jay Maisel

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The Faces of Jay Maisel

Who is Jay Maisel:

  • Graduate of Cooper Union College and Yale with degrees in painting but never did a painting after graduating
  • Long career as a commercial photographer
  • 80 years old, 6’ tall, and talks like Marlon Brando with a NY accent
  •   Knows everybody in the photography world
  •  Lives in a 100 year old, 35,000 square foot building “Germania” bank building which encompasses his archives (basement), class room and print studio (1st floor), gallery (2nd floor), work rooms and collections (3rd  & 4th floor), living quarters (5th floor) and roof-top
  •  Collects everything and throws out nothing: full piano sound board and strings, antique cooking stove (converted to gas), barber chair, rocks, takes apart everything, paint chips!
  • “Fuck” is his favorite verb, adverb, adjective, imperative, interjection, and noun.
  •   Extraverted, self-assured, funny, generous, sarcastic, curious about everything, a tinker, proud, and a walking encyclopedia of quotes,
  • Has his methods that he has figured out over the years. They are the only way
    • Where to put your camera in your car when you are driving
    •  The system for catching the water from the leaky steam pipes
    •  Air conditioning system for a 100 year old building
  • Photographer, philosopher, husband, father, and teacher

Curious Jay

Jay Maisel Retrospective – Day 2: Go Out Open

Jay has a way of letting you know when he is telling you something of importance – he keeps repeating it. “Tomorrow I want you up with the sun.” “I don’t want to see you bright-eyed tomorrow.” “Hey Jamie (his assistant), what time is sun rise tomorrow?“. This was the repartee at dinner on Monday night, and besides, we needed 5 images to turn in on Tuesday. We also heard “Doors open at 8:30 – not 8:20, not 8:25 – 8:30“. Kind and gracious, but absolutely not to be fooled with, this was his way of making sure that we were not reliant on him, that we stayed out shooting for a good period of time.

I wake up at 5:45 am (2:45 am Pacific time) to walk the streets of China Town and Little Italy. I have no idea where I am, where I am going, or what I will find. This too, is part of Jay’s plan: Go out open. Jay knows that not every day, every outing, will you find a jackpot, but his philosophy is that you plan what to photograph, and don’t find it, you will get nothing. You must go out looking for interesting things – he uses Light, Color, and Gesture to define interesting. Look  and keep looking. When you find something – wait for the trigger. Work the scene or situation. Then go out open again.

I went out open and returned with an series of images of this Chinese woman sorting the returnable bottles and cans that she had collected that morning. Look at her hands and gestures. Ultimately I decided to focus just on her hands.

Jay Maisel Retrospective – Day 1 Cont… Finding the rip in the fabric

At Katz Deli

We will do a lot of eating on this workshop and on Tuesday night we threaten to rename the workshop – Eat Your Way through New York with Jay Maisel. On Monday afternoon, we have seen just a small slice of Jay but already you are beginning to realize his playful and childlike enthusiasm toward life as he ambles toward the table with his second course and a shit-eating grin – a plate of steak fries. We will see that grin a lot more as the week goes by.

Monday afternoon we shoot. We are all just sitting at lunch, getting to know each other, and he dismisses us to go out and shoot “be back at 3:30”. At 3:30 we head to the backroom and, I figure we will get our first critique – from the 10 images we brought with us. But instead we are treated to a discussion / lecture on Perception followed by another on Light, Gesture, and Color. We now find out about Jay’s stamina. Perhaps he was napping while we were shooting, but we discuss these topics for 3 1/2 hours (without a break). We learn of figure and ground and the interaction of colors and shape. “Everything has gesture” “Gesture trumps graphic” are just two of the phrases we hear. We see slides which show optical illusions with light. He talks of pattern and interruption. We talk about how pattern is very satisfying, but we should look for the interruption. “Find the rip in the fabric”.

At 7pm we are let out again to shoot and to find our way the Balthazar’s – the French Bistro stop on our food tour.

Finding the rip in the fabric

Jay Maisel retrospective Day 1: Filled with nerves, new ideas, and pastrami

Taken on the first night on my way back to the hotel.

This is the first of several posts I will do reflecting on the Jay Maisel Workshop in New York City which I attended May 14-19, 2012.

The hub of the workshop is the first floor of “the building” – Jay’s 100 year-old, 35,000 square foot, 5 floor, Germania Bank building. Doors open at 8:30am and class begins at 9. Each day is consumed with teaching, discussion, critique, shooting, and eating. From 8:30 to 9 is your only opportunity to edit (choose) your 5 images to turn in for that day. There is no image processing – no cropping, no adjustment layers, and certainly no cloning. Ideally you are shooting RAW + jpeg, bracketed one-under and one-over, and turning in your choice of jpeg. Jay sets his camera to process his jpegs on Vivid with high sharpening. If you are facile with a Lightroom or Aperture, you can choose to import your RAWs and apply a standard preset in order to turn in a processed RAW instead of the camera processed jpeg.

Jay uses the first day to get to know us and provide us with advice. What is your most common error? How do you view failure? How often do you shoot? How many images to you take? Are you open? Is it fun? He reviews our answers each of these questions and uses each as an opportunity to start imprinting us with his philosophies: “Always carry a camera”, “One camera, one lens”, “You are responsible for every square millimeter of the frame”, “You have 2 tools: where and when”, “Trust your intuition”, “Not replication, revelation”, “Failure IS an option, this is not brain surgery”, and finally “You have no obligation to anyone [but yourself]” but “You must be your own severest critic, or you are you own worst enemy”.

Then we go to lunch at Katz deli and he sets us out shooting for a couple of hours. We haven’t looked at a single photograph and neither has he. We are filled with nerves, new ideas, and pastrami. We meet back at “the building” at 3pm for more.