Books : The Moment It Clicks: Photography secrets from one of the world's top shooters (Voices That Matter)

Books : The Moment It Clicks: Photography secrets from one of the world's top shooters (Voices That Matter)

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The Moment It Clicks: Photography secrets from one of the world's top shooters (Voices That Matter)

by: Joe McNally



The Moment It Clicks: Photography secrets from one of the world's top shooters (Voices That Matter)
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Street Price: $54.99
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Average Buyer Rating:  out of 5 stars
Sales Rank: 742





Binding: Paperback
Dewey Decimal Number: 775
EAN: 9780321544087
ISBN: 0321544080
Label: New Riders Press
Product Manufacturer: New Riders Press
Number Of Items: 1
Number Of Pages: 272
Publication Date: February 02, 2008
Publisher: New Riders Press
Ranking: 742
Studio: New Riders Press






Matter) That (Voices shooters top world's the of one from secrets Photography Clicks: It Moment The






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Joe McNally, one of the world’s top pro digital photographers, whose celebrated work has graced the pages of Sports lllustrated, Time, and National Geographic (to name a few), breaks new ground by doing something no photography book has ever done—blending the rich, stunning images and elegant layout of a coffee-table book with the invaluable training, no-nonsense insights, and photography secrets usually found only in those rare, best-of-breed educational books.

When Joe’s not on assignment for the biggest-name magazines and Fortune 500 clients, he’s in the classroom teaching location lighting, environmental portraiture, and how to “get the shot” at workshops around the world. These on-location workshops are usually reserved for a handful of photographers each year, but now you can learn the same techniques that Joe shares in his seminars and lectures in a book that brings Joe’s sessions to life.

What makes the book so unique is the “triangle of learning” where (1) Joe distills the concept down to one brief sentence. lt usually starts with something like, “An editor at National Geographic once told me…” and then he shares one of those hard-earned tricks of the trade that you only get from spending a lifetime behind the lens. Then, (2) on the facing page is one of Joe’s brilliant images that perfectly illustrates the technique (you’ll recognize many of his photos from magazine covers). And (3) you get the inside story of how that shot was taken, including which equipment he used (lens, f/stop, lighting, accessories, etc.), along with the challenges that type of project brings, and how to set up a shot like that of your own.

This book also gives you something more. lt inspires. lt challenges. lt informs. But perhaps most importantly, it will help you understand photography and the art of making great photos at a level you never thought possible. This book is packed with those “Ah ha!” moments—those clever insights that make it all come together for you. lt brings you that wonderful moment when it suddenly all makes sense—that “moment it clicks.”




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Testimonials
Average Buyer Rating:  out of 5 stars

Buyer's feedback: 3 out of 5 stars - * Word of caution ...
I consider myself an advanced amateur. Over many years I've progressed to the Nikon D300 with a nice assortment of gear. I bought this book after reading Scott Kelby's "Digital Photography Book-Volume 2," great book and very useful to amateur photographers. At the end of the book, Kelby strongly recommends "your next book" should be "The Moment It Clicks." So I ordered it. It is a fine book of pictures, with descriptions of how the majority of the photos were taken. However, you need to know this guy has more gear than imaginable (it's all pictured at the end of the book), and an assistant. Probably 98% of all the photos are taken with the aid of light boxes, movie lights, what have you. I guess my point is, unless you are an advanced professional, this is a nice book of pictures.



Buyer's feedback: 5 out of 5 stars - High level book

Keep it close to you and read it over and over. Your photos can be better after this.




Buyer's feedback: 5 out of 5 stars - * great book ...
this book was awesome to read. Author was funny, photos were great. Great tips on how to get the images.



Buyer's feedback: 3 out of 5 stars - Not what I expected
As photography books, especially instructional ones, go this is definitely an interesting one. The layout is really good and the images nothing short of stunning. Mr. McNally's thoughts and advice are written in an easily understandable and very approachable manner. All very well, then.

Well, not entirely. Many reviewers before me have mentioned that there are few real pieces of advice as how to go out and produce shots similiar to those presented. There are plenty of hints and 'I got hold of helicopter and had my fleet of assistants doing this and that to get the proper lighting on the King of Siberia while the catering firm truck was just in the right spot for creating the right shadows', which creates the feeling, at least to me, that the author (who is a great photographer) just tells stories about why he is as good as he is (this is not boring or bad as such, mind you, just not what one is expecting). If you know all there is to know about lighting and creative photography, I guess you could look at the advice in this book and say 'oh yeah, I forgot about that. Let's do it this way', but unless you're quite good with lamps and lights, there's not enough to be had here. I have definitely learned, from most of the advice in this book, that one needs an assistant, 5 flashes, tons of reflectors, and all kinds of other stuff to get any sort of portrait in the field as well as in the studio. There are, in other words, not enough tips on shooting for amateurs in the field (in my opinion).

With danger of sounding hippocritical, I'll say that some of the advice (sold as 'nuggets of wisdom' in the foreword by S. Kelby) is a bit on the simple side ("Bring your camera"?). It's not a big problem, though (you can't have a book tailored to just your own needs, can you now? And this one does actually cover quite a bit of ground).

There is also a slight problem with the writing. Approachable and easily understandable as it is, I think that the language at times is a bit too... colloquial. "Then I was like...", "Dat's one fine lookin' photo subject", and the like makes it all a bit too... well, colloquial, for me.

There are some photographs in here, though, and hints and advice are never a waiste of time. It's just not the book it could have, or indeed should have, been.

2,5 stars



Buyer's feedback: 5 out of 5 stars - * Great gift book ...
I bought this for a friend who is a photographer and teacher of photography, and he loved it. This book makes a great gift for anyone who is interested in making pictures or just looking at them.

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It actually underscores the power and distinctiveness of Gary Cooper's movie stardom that this isn't so much a true collection as gleanings from the odds-and-ends table. That's not a knock; three of the four films are solid entertainments and would be well worth recommending on their own. But the only thing unifying them is the beauty and enigma Cooper brought to them, and the professionalism with which he addressed these wide-ranging assignments.

Three of them date from the '20s and '30s and were produced by Samuel Goldwyn. The 1926 silent The Winning of Barbara Worth gave Western stunt man and bit player Cooper his first featured role (by accident--the actor originally cast didn't report for work!). A cowboy whose visionary surveyor father aims to "redeem the desert and make it one fine garden," Cooper's character is the third corner of a romantic triangle, ordained by the Hollywood caste system to lose lifelong sweetheart Vilma Banky to engineer Ronald Colman. Colman has lots more screen time than Cooper and bears the moral-ethical brunt of the eco-conscious drama; he's also surprisingly persuasive wearing a sweat-stained Stetson and trading gunshots with the bad guys (if this were a sound film, Colman could never have gotten away with it). But the camera and the audience are locked onto Cooper whenever he's on screen. In longshot or vulnerable closeup, he's already one of the gods of the cinema. As for the movie, the quality of the print is excellent, its clarity intensified by bronze, yellow, and moonlit-blue tinting that often seems on the verge of resolving into full color. Director Henry King shows a good eye for action and bold vistas, and a visual adventurousness mostly absent from his later work.

Next up chronologically is The Cowboy and the Lady (1938), and the best thing about this misbegotten movie is Garson Kanin's description, in one of his Hollywood memoirs, of how Leo McCarey sold the idea for it to Sam Goldwyn. McCarey was, of course, a comedic master (recently Oscared for directing The Awful Truth), and his exuberant pitch convinced Goldwyn and his staffers that audiences would "piss" themselves laughing at this romantic comedy about a daughter of privilege (Merle Oberon) who falls for a rodeo rider (Cooper) and learns homespun values. Goldwyn paid McCarey off, assigned some writers to the script, then realized there was no real story--"no there there," as Gertrude Stein might have put it. The resultant unfunny and unromantic endeavor oozes bad faith from every pore, with neck-snapping life changes foisted on the hapless Cooper and Oberon from reel to reel, and excruciating scenes (jitterbugging in a drawing room, playing house back on Cooper's ranch) that strain charmlessly for McCarey's patented brand of fey. H.C. Potter directed, understandably without conviction.

We and Cooper are back on track with The Real Glory (1939). The reliable Henry Hathaway helmed this second cousin to his and Cooper's The Lives of a Bengal Lancer, with Cooper as an Army doctor assigned to the Philippine Constabulary on Mindanao in 1906. The movie was well-received when it came out; encountered in the shadow of the Iraq War, its tale of U.S. occupiers trying to help the local populace "stand up" against a fanatical and murderous insurgency takes on new fascination. There are some amazing passages--two horrendous murders by bolo knife--and the final battle sequence puts the CGI-riddled action films of the present day to shame. But the most impressive element is Cooper, and we can't improve on the verdict of that astute film critic Graham Greene: "Mr. Cooper ... has never acted better.... Watch him inoculate [Andrea King] against cholera--the casual jab of the needle, and the dressing slapped on while he talks, as though a thousand arms had taught him where to stab and he doesn't have to think any more."

For the final film in the set we jump into the '50s--the century's and Cooper's. Vera Cruz (1954) casts him as a former Confederate officer who's ridden into Emperor Maximilian's Mexico, hoping to make a fortune in the new civil war south of the border so that he can rebuild his own devastated homeland. Costar Burt Lancaster (whose company Hecht-Lancaster was producing) plays another mercenary, a real sociopath, and it's fascinating to watch these two stellar icons of very different Hollywood eras make common cause--Lancaster at the height of his grinning-predator mode, Cooper an aging knight whose aim is still true. Director Robert Aldrich keeps finding dynamic uses for the SuperScope format and flavorfully fills it with sublime uglies like Ernest Borgnine, Jack Elam, Charles Horvath, Jack Lambert, and Charles Buchinsky-about-to-become-Bronson. Pieces of this movie found their way into the dreams of Sam Peckinpah and Sergio Leone. --Richard T. Jameson


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Matter) That (Voices shooters top world's the of one from secrets Photography Clicks: It Moment The
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