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YCQM - Gina Bullard, Joe Carroll - May 13, 2012 - WCAX.COM Local Vermont News, Weather and Sports-

YCQM - Gina Bullard, Joe Carroll - May 13, 2012

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BURLINGTON, Vt. -

May 13, 2012 -- Reporter Gina Bullard and Photographer Joe Carroll join Kristin Carlson to discuss their series "Capturing a Moment."

TRANSCRIPT:

>> GOOD MORNING. I'M KRISTIN CARLSON. VERMONT HAS A RICH HISTORY IN THE ARTS, ANDTHERE ARE MANY PEOPLE WHO TAKE A LOOK AT TAKING PHOTOGRAPHS. WE LOOK AT "CAPTURING A MOMENT". GINA BULLARD WORKED WITH JOE CARROLL, AND THEY'RE HERE TO SHOW US SOME OF THEIR WORK. THANKS FOR BEING HERE.

>> GLAD TO BE HERE. WE START OFF WITH NATALIE, A FOOD PHOTOGRAPHER WHO TRACES HOW THE FOOD GETS FROM THE FARM TO YOUR TABLE. GATHERING EGGS IS PART OF THE DAILY CHORES.

>> AWESOME.

>> Reporter: WITH THOUSANDS OF FREE-RANGE CHICKENS, ANY HELP IS WELCOME. TODAY THERE'S AN EXTRA HAND, ONLY SHE'S BEING PUT TO WORK FOR A DIFFERENT REASON. NATALIE STOLTZ IS TAKING PICTURES FOR THE FARM'S WEBSITE.

>> I LOVE PHOTOGRAPHING PEOPLE IN THEIR ENVIRONMENT, DOING WHAT THEY DO.

>> Reporter: STOLTZ DOES WHAT IT TAKES TO GET THE PERFECT SHOT, BUT CHANGING CONDITIONS, TOUGH FOOTING, AND LIVE ANIMALS, THERE ARE MANY CHALLENGES TO SHOOTING ON A FARM. BUT THIS IS WHERE STOLTZ SAYS SHE'S MOST COMFORTABLE. SHE GREW UP LOVING NATURE, SPENDING TIME OUTSIDE. HER PASSION FOR PHOTOGRAPHY STARTED WHEN SHE WAS 10 YEARS OLD WHEN HER FAMILY MOVED ACROSS THE COUNTRY, AND SHE CAPTURED THE JOURNEY. SHE STUDIED ART AT THE UNIVERSITY OF VERMONT AND AFTER GRADUATION TOOK PHOTOGRAPHY IN MAINE. DETHEN BEGAN TEACHING, THEN RETURNED TO HER MAIN FOCUS -- FREE-LANCE PHOTOGRAPHY. FOR THIS GIG, THE HARD WORK DOESN'T END IN THE FIELD. SHE MAKES THAT FARM-FRESH EGG TURN INTO BREAKFAST FOR THE NEXT SHOOT.

>> KEENAN IS MY CHEF.

>> Reporter: IT'S ALL PART OF A STYLE OF PHOTOGRAPHY SHE CALLS "FARM TO TABLE", TAPPING INTO THE BIG LOCAL-FOOD MOVEMENT.

>> I PHOTOGRAPHED FARMS FOR A LONG TIME, FOR VERMONT WEST MAGAZINE AND OTHER MAGAZINES, AND IT'S KIND OF BEEN -- KIND OF A SIDE SPECIALTY ANYWAY, SO IT JUST SEEMED COMPLETELY NATURAL TO GO IN THIS DIRECTION. OKAY, I NEED SOME MORE LIFE.

>> Reporter: FROM RADISH SALAD, STOLTZ TRACKS THE EVOLUTION THROUGH THE LENS, THEN SELLS THE PHOTOS TO RESTAURANTS AND FARMS. HER IMAGES END UP IN MAGAZINES AND WEBSITES ACROSS THE COUNTRY.

>> THE LOCAL-FOOD MOVEMENT IS HUGE RIGHT NOW, SO IT IS REALLY GREAT FOR -- AND I'VE DESIGHED TO FOCUS ON THIS IN THE PAST YEAR AND A HALF.

>> Reporter: THESE ARE FARMERS, NOT MODELS, SO SOME COACHING IS NEEDED, AND SHE ADDS A PROP OR TWO, LIKE AN APRON.

>> THE PERSON HERE IS AS OR MORE IMPORTANT THAN THE FOOD. AND WHEN I GO TO SHOOTING THE FOOD, THAT TAKES CENTER STAGE. I DON'T LIKE TO EAT A LOT OF THE FOOD AFTER I SHOOT IT. IT'S LIKE I'M TOO CLOSE TO IT OR SOMETHING.

>> Reporter: AFTER THE OMELET IS OUT OF THE OVEN, IT'S ALL ABOUT THE EGGS. CATCHING THE JOURNEY FROM THE FARM TO THE KITCHEN, FINALLY TO THE TABLE.

>> PRETTY, ISN'T IT?

>> A TYPICAL DAY AT THE OFFICE FOR ROG IS ONE MOST OF US MIGHT DREAD. A WARNING: YOU MIGHT FIND SOME OF THESE SURGICAL IMAGES GRAPHIC. IT'S A TYPICAL DAY AT THE OFFICE FOR ROG INCHALA.

>> HOW DO YOU FEEL, ABOUT TO GO INTO HEART SURGERY?

>> EXCITED. IT'S FUN.

>> Reporter: ONLY HE'S NOT A SURGEON. HE ACTUALLY HAS NO MEDICAL TRAINING. HIS ONLY INSTRUMENT IS A CAMERA. HE'S THE MEDICAL PHOTOGRAPHER FOR UVM'S COLLEGE OF MEDICINE.

>> WOW!

>> Reporter: THIS DAY HE'S CAPTURING MEDICAL STUDENTS LEARNING FROM SURGEON BRUCE LEVIT. THE OPEN-HEART SURGERY WILL LAST ABOUT FIVE HOURS.

>> I'LL HAVE HIS HEART STOPPED FROM 90 TO 100 MINUTES.

>> Reporter: HIS PHOTOS ARE USED FOR MARKETING AND PUBLICATIONS FOR THE SCHOOL AND FLETCHER ALLEN. THE IMAGES ALSO SERVE AS A SNAPSHOT OF MEDICINE NOW, A HISTORICAL RECORD THE SCHOOL WILL KEEP. IT'S NOT ALWAYS SURGERY. HE FOLLOWS RESIDENTS AROUND AS THEY VISIT PATIENTS, CAPTURING THE EVERYDAY.

>> IF I'M IN THERE JUST TRYING TO DOCUMENT OUR MEDICAL STUDENTS, LEARNING, I DON'T GET THAT NERVOUS. IF A SURGEON ASKS FOR SOMETHING SPECIFIC TO BE PHOTOGRAPHED, THAT RAISES THE BAR A LITTLE BIT.

>> Reporter: THERE ARE MANY CHALLENGES TO SHOOTING IN THE O.R.. IT'S SMALL, FILLED WITH DOCTORS ALL DRESSED ALIKE, AND NO ONE CAN MOVE TO HELP HIM.

>> I'M JUST WAITING FOR EXPRESSION, EVEN THOUGH YOU CAN BARELY SEE ANYBODY, YOU CAN STILL SEE THEIR EYES.

>> Reporter: HE FOCUSES ON GETTING THE PICTURE BUT HAS TO REMEMBER HE MIGHT BE IN A LIFE-OR-DEATH SITUATION.

>> HEART IS STOPPED.

>> Reporter: HE HAS TO STEER CLEAR OF ANY BLUE AREAS, WHICH ARE STERILE.

>> I'M JUST TRYING TO GET A NICELY COMPOSED PHOTOGRAPH OF WHAT HE'S DOING IN HERE, STAYING OUT OF THE WAY, AND PAYING ATTENTION TO WHAT STEP THEY'RE ON.

>> Reporter: ALTHOUGH THE ENVIRONMENT IS CONTROLLED AND COVERED UP, IT CAN STILL BE STOMACH-TURNING FOR SOME. NOT CHALA.

>> THAT'S A GREAT SHOT.

>> YOU DON'T SEE MUCH. THERE'S A LOT OF ACTIVITY.

>> IF YOU DON'T SEE THE PATIENT GO IN, AND DON'T SEE THE PATIENT PREPPED, YOU WOULD HARDLY KNOW ANYBODY WAS IN THERE.

>> Reporter: HE WORKED AS A NEWS PHOTOGRAPHER FOR OVER 20 YEARS. HE NEEDS TO BE PREPARED FOR ANYTHING IN THE OPERATING ROOM.

>> WHO GETS TO SEE THIS?

>> Reporter: HE MADE THE SWITCH TO MEDICAL PHOTOGRAPHY SEVEN YEARS AGO.

>> IS IT HARD TO MAKE A PICTURE CREATIVE WHEN YOU'RE IN THIS KIND OF SETTING?

>> IF YOU LOOK AT IT AS AN OVERALL, IT BECOMES OVERWHELMING, BUT IF YOU REALLY TRY TO FOCUS IN.

>> Reporter: HE HAS TO GAUGE THE MOOD, BACKING OFF AT TENSE MOMENTS, SOMETIMES LEAVING THE OPERATING ROOM. HE HAS EARNED THE SURGEON'S TRUST. SOMETIMES THEY TELL HIM WHEN SOMETHING GOOD IS COMING UP, LIKE WHEN MED STUDENTS GET TO PUT STITCHES IN A HEART FOR THE FIRST TIME, INVITING HIM AND US UP FOR A CLOSER LOOK. CLEARLY I'M NOT AS USED TO THIS AS HE IS.

>> SO... IT SEEMS LIKE YOU'RE STILL IN AWE IN THERE.

>> YES, AND IT'S NOT ALL THAT NORMAL TO GET THAT KIND OF EXPLANATION AND VIEW.

>> Reporter: A PHOTOGRAPHER CAPTURING INCREDIBLE MEDICAL MOMENTS. VERMONT MIGHT NOT BE THE FIRST PLACE YOU WOULD THINK OF WHEN YOU THINK OF FASHION PHOTOGRAPHY, BUT IT IS FOR ONE COMPANY. IN CAPTURING A MOMENT WITH THIS GROUP TAKES A LITTLE TIME AND PATIENCE. PERFORMING ON CUE IS DEFINITELY NOT THEIR SPECIALTY. CABOT, A PICTURESQUE TOWN WITH PLENTY OF BEAUTIFUL IMAGES. BUT THERE'S MORE THAN THIS HERE. WELCOME TO GITANO, WHERE IT'S ALL ABOUT KIDS, PHOTOGRAPHY, AND FASHION.

>> SHE'S SUCH A CALM BABY.

>> Reporter: THE HUSBAND/WIFE DUO STARTED GITANO ALMOST 25 YEARS AGO, A WHIMSICAL CLOTHING LINE STARTED AFTER THEIR FIRST DAUGHTER WAS BORN. THE COUPLE LIVED IN NEW YORK CITY BUT MOVED HERE TO BE CLOSER TO FAMILY, GROW THE FAMILY, AND SETTLE DOWN. THEIR DAUGHTER WAS ONE OF THE FIRST MODELS, AND THEY SOON NEEDED MORE. THEIR KIDS ARE THE FACE OF THE BUSINESS AND WHAT INSPIRES THE COUPLE.

>> HE IS SO GOOD, YEAH.

>> Reporter: NOW EVERY OTHER WEEK ZUTANO BRINGS IN FRESH TALENT.

>> IT'S MUCH MORE ABOUT THE BABIES THAN THE CLOTHES.

>> Reporter: THE PHOTOS ARE USED ON ZUTANO'S WEBSITE, SOCIAL MEDIA SITES, AND IN CATALOGS.

>> GOOD NAPS AND FULL BELLIES IS A GOOD WAY TO START.

>> Reporter: MICHAEL WENT TO THE INTERNATIONAL CENTER OF PHOTOGRAPHY AND FOCUSED ON PORTRAIT AND EDITORIAL PHOTOGRAPHY.

>> WE'RE LOOKING KIND OF FOR A NATURAL SPARK.

>> Reporter: HE SHOT FOR MANY YEARS FOR THE NEW YORK CITY NEWSPAPER "THE VILLAGE VOICE" AND MAGAZINES LIKE "FORBES"

>>.

>> I REALLY LOVE PHOTOGRAPHING BABIES. IT'S REALLY SO INTERESTING TO SEE THE DIVERSITY OF CHILDREN.

>> Reporter: A PHOTO SHOOT CAN BE INTENSE FOR ANYONE, LET ALONE A BABY. WITH NEW SURROUNDINGS, FLASHES IN THEIR FACE, NOT TO MENTION CONSTANT OUTFIT CHANGES --

>> THIS IS ESPECIALLY STYLISH FOR THE LITTLE GIRL.

>> Reporter: SOME KIDS GET OVERWHELMED, FROM HAPPY ONE MINUTE TO UPSET THE NEXT, MICHAEL HAS TO CONNECT WITH THEM THROUGH ALL OF THIS.

>> IT'S GREAT WHEN WE CAN GET A REALLY DIRECT CONNECTION WHERE THE EYES ARE REALLY CONNECTED TO THE CAMERA, TO THE LENS, SO WE OFTEN TRY TO KEEP THE PARENT, MOTHERS, FROM JUMPING UP AND DOWN.

>> Reporter: WITH FACES, SOUNDS, SONGS --

>> TWINKLE, TWINKLE, LITTLE STAR

>> Reporter: AND THE OCCASIONAL GAME OF PEEK-A-BOO, MICHAEL CONNECTS WITH KIDS BY BECOMING ONE, WHILE TRYING TO GET THE PERFECT SHOT THAT TELLS A STORY.

>> WE'RE LOOKING FOR REALLY A SPARK, YOU KNOW, KIDS THAT HAVE A LITTLE TWINKLE AND CURIOSITY.

>> Reporter: THE ZUTANO CREW IS INCREDIBLY PATIENT, GOING WITH THE FLOW, NEVER FORCING ANYTHING, AND KNOWING WHEN TO STOP.

>> YOU KNOW, NOT ALL KIDS ARE READY FOR IT, AND YOU HAVE TO WORK THROUGH IT, AND YOU ALSO HAVE TO KNOW WHEN TO SAY, OKAY, LET'S DO IT ANOTHER DAY.

>> Reporter: MICHAEL SAYS SIX TO NINE MONTHS OLD ARE HIS FAVORITE -- OLD ENOUGH TO SIT UP BUT NOT BIG ENOUGH TO RUN AWAY JUST YET.

>> YOU'RE STANDING UP ALL BY YOURSELF.

>> Reporter: THEY'RE CURIOUS BUT USUALLY NOT SHY. OLDER KIDS CAN GET STAGE FRIGHT AND STICK STO PARENTS.

>> OH, SO GOOD!

>> Reporter: THE COMPANY DOESN'T LOOK FOR MODEL LOOKS, EMBRACING EVERYBODY BABY AS BEAUTIFUL, WHETHER IT'S BRIGHT RED HAIR OR BIG EARS, INTERESTING BABIES ARE WHAT THEY LOOK FOR THAT CAN REPRESENT A REAL IMAGE OF KIDS.

>> I'M LIGHT-SENSITIVE, UNIQUE CLOTHING.

>> Reporter: CAPTURING GROWING PERSONALITIES ON CAMERA.

>> IT'S A WRAP. YAY! GREAT JOB YOU GUYS!

>>> IN OUR FINAL PIECE IN CAPTURING A MOMENT, WE TAKE A CLOSER LOOK AT A VERMONT COMPANY THAT MAKES ALL OF THESE PHOTO SHOOTS THAT YOU'VE SEEN HAPPEN. PHOTOGRAPHY IS A COMPETITIVE INDUSTRY. MAKING YOUR PHOTOS STAND OUT IS A CHALLENGE. ONE VERMONT COMPANY, LPA DESIGN IN SOUTH BURLINGTON IS GIVING PHOTOGRAPHERS AN EDGE.

>> YOU HAVE TO BE INTO PHOTOGRAPHY AND WANT TO TAKE YOUR IMAGES TO THE NEXT LEVEL, REALLY, TO GET INTO OUR SYSTEM. IT'S A TRANCEIVER, YOU CAN PUT IT ON YOUR CAMERA.

>> Reporter: THEY MAKE POCKET WIZARD RADIOS.

>> YOU HAVE A RADIO ON YOUR CAMERA, A RADIO ON YOUR FLASH OR ANOTHER CAMERA, AND WHEN YOU PUSH A BUTTON ON ANOTHER CAMERA, THE REMOTES GO OFF.

>> Reporter: POCKET WIZARDS ALLOW SHOOTS LIKE THIS TO HAPPEN.

>> WE HAVE BIG LIGHTS, LITTLE LIGHTS.

>> Reporter: THERE ARE HALF A DOZEN FLASHES ON THIS, WITH OUTLIERS LYING AROUND. EVERYTHING IS WIRELESS. YOU DON'T HAVE TO BE NEXT TO YOUR CAMERA OR FLASHES TO TAKE THE PICTURE.

>> WHEN YOU SEE THOSE LITTLE BLIPS OF LIGHT AT THE BASKETBALL GAME, THOSE ARE LIGHTS GOING OFF IN THE CEILING, AND THE GUYS AROUND THE ARENA ARE USING OUR CAMERAS TO DO THAT.

>> Reporter: YOU MIGHT NOT REALIZE THE POWER OF A FLASH AND THINK THE IMAGES IN MAGAZINES JUST NATURALLY POP. BUT LOOK QULOSER. IT TAKES A -- CLOSER. IT TAKES A LOT OF LIGHT.

>> YOU CAN SEE AT MOST, THERE IS ALSO A LIGHT FROM ABOVE, AND ONE MORE LIGHT THAT LIGHTS UP THIS PERSON JUST A LITTLE BIT DOWN HERE.

>> Reporter: WITH THE DIGITAL PHOTOGRAPHY WORLD NOT SLOWING DOWN, NEITHER IS THIS COMPANY. LPA DESIGN OFFICIALS WOULD NOT RELEASE EXACT NUMBERS BUT SAY THE COMPANY MAKES BETWEEN TEN AND 20 MILLION DOLLARS A YEAR AND CONTINUES TO GROW. WOULD IT BE FAIR TO SAY YOU OPEN UP A MAGAZINE, YOU SEE A PICTURE WITH A FLASH, IT'S PROBABLY A POCKET WIZARD THAT DID IT?

>> THAT'S A SAFE BET. IF YOU'RE SHOOTING PROFESSIONALLY AND GETTING PUBLISHED, THAT'S THE CUSTOMER THAT REALLY UNDERSTANDS OUR PRODUCT.

>> Reporter: IN THE SOUTH BURLINGTON LOCATION, THERE IS EVERYTHING FROM TECH SUPPORT --

>> AND I SPEND A LOT OF MY DAY IN THIS UTILITY.

>> Reporter: -- WHERE AN AVERAGE DAY HAS A "SPORTS ILLUSTRATED" PHOTOGRAPHER CALLING IN. THERE IS NO VERMONT COMPANY YET THAT MAKES THE HIGH-TECH PRODUCTS THEY NEED. IT'S AN EVER-CHANGING INDUSTRY. NEW CAMERAS AND FLASHES ARE ALWAYS COMING OUT. AND WITH EACH NEW MODEL, POCKET WIZARD RADIOS HAS TO MAKE ITS GEAR COMPATIBLE.

>> WHEN WE GET A CAMERA OR NEW FLASH, WE'VE GOT TO FIGURE OUT WHAT'S GOING ON INSIDE AND REVERSE-ENGINEER IT SO OUR GEAR IS COMPATIBLE WITH THEIR GEAR.

>> Reporter: SO YOU GUYS HAVE A SECURITY GUARD HERE 24 HOURS A DAY.

>> GUARD DOGS, AND THE POLICE DEPARTMENT IS RIGHT NEXT DOOR, YEAH.

>> Reporter: CURRENTLY, THEY RULE THE INDUSTRY -- WEDDINGS, SPORTS, ACTION, ARCHITECTURE -- ALL KINDS OF PHOTOGRAPHERS AROUND THE GLOBE USE POCKET WIZARDS. ARE YOU WORRIED ABOUT COMPETITION?

>> OH, YEAH. WE'RE A MADE IN THE USA PRODUCT. WE COMPETE WITH CHINA EVERY SINGLE DAY.

>> Reporter: NOT TO MENTION MANY CAMERAS NOW HAVE BUILT-IN INFRARED SENSORS TO WORK WITH FLASH SYSTEMS, SIMILAR TO HOW A POCKET WIZARD WORKS, BUT SCHMIDT SAYS THERE IS NO COMPARISON.

>> YOU CAN USE THE CAMERA WHETHER IT'S BROAD DAYLIGHT OR A THOUSAND FEET AWAY, IT STILL WORKS BETTER THAN THE EMBEDDED SYSTEM IN THE CAMERA.

>> Reporter: SO YOU'RE A STEP AHEAD.

>> A STEP OR TWO.

>>> OUR GENERAL MANAGER PETER MARTIN SITS ON THE BOARD OF LPA DESIGN. ALL OF THE BEAUTIFUL PICTURES WERE CAPTURED BY VIDEOGRAPHER JOE CARROLL.

>>> STAY WITH US. UP NEXT, I'M JOINED BY JOE CA LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL HI I'M CLINT BLACK... HAVE YOU HEARD OF RETT SYNDROME? I HADN'T UNTIL MY NIECE COURTNEY WAS DIAGNOSED. RETT SYNDROME IS A NEUROLOGICAL DISORDER WHICH OCCURS MOSTLY IN GIRLS. IT IS OFTEN MISDIAGNOSED AS AUTISM OR CEREBRAL PALSY. RETT SYNDROME STRIKES WITHOUT WARNING. A GIRL WITH RETT SYNDROME STARTS OUT AS A HAPPY, HEALTHY BABY UNTIL 6 - 18 MONTHS OF AGE. THEN SOMETHING GOES TERRIBLY WRONG. SHE LOSES THE ABILITY TO SPEAK, USE HER HANDS TO PLAY WITH TOYS OR EVEN FEED HERSELF. SHE MAY ALSO LOSE THE ABILITY TO WALK. A GIRL WITH RETT SYNDROME MAKES CONSTANT HAND-WASHING OR HANDWRINGING MOVEMENTS. BY THE TIME SHE IS 3 YEARS OLD, A GIRL WITH RETT SYNDROME IS SEVERELY HANDICAPPED. THE INTERNATIONAL RETT SYNDROME FOUNDATION HOPES TO FIND THE FAMILIES AFFECTED BY THIS DEVASTATING DISORDER AND PROVIDE CARE AND RESEARCH THAT WILL MAKE A DIFFERENCE. RESEARCH IS URGENTLY NEEDED TO ACCELERATE TREATMENTS AND FIND A CURE. PLEASE CALL 1-800-818-7388 OR VISIT RETTSYNDROME.ORG TODAY. YOUR HELP IS OUR HOPE. LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL

>> WELCOME BACK ON THIS EDITION OF "YOU CAN QUOTE ME". WE'RE RETURNING TO CAPTURE THE MOMENT. WHY YOU CHOOSE TO FOCUS ON THE DIFFERENT SECTORS -- WE HAVE MEDICAL PHOTOGRAPHY, CHILD PHOTOGRAPHY, AND FOOD PHOTOGRAPHY.

>> THERE REALLY ARE SO MANY DIFFERENT TYPES OF PHOTOGRAPHY, AND WE WANTED TO SHOW A BROAD RANGE. MEDICAL'S NOT THE FIRST THING THAT COMES TO MIND. WE TRIED TO GET CRIME PHOTOGRAPHY, AND FOR CERTAIN REASONS, WE COULDN'T GET IN, BUT WE DIDN'T WANT TO SHOW TYPICAL THINGS LIKE WEDDING PHOTOGRAPHY, BUT THERE ARE SO MANY PHOTOGRAPHERS AROUND VERMONT, AND WE WANTED TO GET A BROAD RANGE AND FROM DIFFERENT AREAS IN THE STATE.

>> YOU TRIED TO DO CRIME PHOTOGRAPHY, AND THEY SAID "NO" BECAUSE OF COURT CASES.

>> HARD PLANNING FOR THAT ONE.

>> YOU COULD STILL BE WAITING FOR THAT TO HAPPEN. WERE THESE PHOTOGRAPHERS YOU TALKED TO RETICENT TO HAVE YOU COME IN AND FILM THEM?

>> YOU KNOW, I THINK A LOT OF THEM AT FIRST WERE LIKE, WHAT? WHAT IS THIS? IT THEY LIKE TO BE BEHIND THE CAMERA, LIKE JOE, SO PUTTING THEM IN FRONT OF THE CAMERA AND PUTTING THE SPOTLIGHT ON THEM WAS A CHALLENGE FOR SOME OF THEM, I THINK. THEY'RE NOT USED TO TALKING ON THE JOB. AND WE'RE CONSTANTLY ASKING QUESTIONS, "WHAT ARE YOU LOOKING FOR, WHAT ARE YOU DOING?" AND SOME OF THEM WERE ALMOST LIKE --

>> AND A CHALLENGE FOR YOU WAS SETTING UP FOR THE MEDICAL, THE OPERATION, TO BE ABLE TO TRUST THAT WE COULD GO IN WITH THIS CAMERA AND BE OUT OF THE WAY, BECAUSE THEY'RE DEALING WITH LIFE AND DEATH, AND I THINK WE DID A PRETTY GOOD JOB OF STAYING AWAY. IN FACT, IT'S ON THE STORY THAT THE DOCTORS ACTUALLY INVITED US UP TO GET CLOSER TO THE OPERATION. THAT'S A MATTER OF TRUST, YOU KNOW. YOU START OFF FROM A DISTANCE, AND THEN THEY SEE YOU'RE OKAY, AND THEN YOU MOVE UP. SO FOR A SHOOT, PROBABLY THAT WAS THE MOST DIFFICULT ONE TO DO BECAUSE OF THE PARAMETERS.

>> IT WAS A VERY SMALL ROOM, AND HONESTLY, EVERYTHING IS BLUE, AND THEY STAY OUT OF BLUE SPACE, AND I'M LOOKING AROUND, LIKE, WE'RE IN TROUBLE! EVERYTHING IS BLUE HERE! I THINK FOR THE TYPE OF ROOM WE HAD AND HOW MANY PEOPLE WERE IN THAT ROOM, WE REALLY GOT SOME AMAZING SHOT SNO THE ONLY SHOT THAT DIDN'T GO INTO THE PIECE WAS THE GUY'S FEET, AND IT JUST DIDN'T SEEM TO WORK IN THE STORY, BUT OTHERWISE, YOU WOULDN'T KNOW THERE WAS A HUMAN BEING EXCEPT FOR THE HOLE WHERE HIS HEART WAS.

>> IT TOOK ME TO -- ME A FEW MINUTES TO FIGURE OUT WHICH WAY HIS HEAD WAS AND WHICH WAY HIS FEET WERE.

>> YOU'VE WORKED AT CHANNEL 3 FOR DECADES NOW AS A VIDEO GRAPHER, BUT WHAT IT WAS LIKE TO PHOTOGRAPH A PHOTOGRAPHER?

>> WELL, THESE GUYS ARE REALLY GOOD, SO IT WAS INTERESTING TO SEE THE DIFFERENCE. I DO SHOOT WITH A DIGITAL CAMERA NOW, BUT WHEN I FIRST STARTED OFF, IT WAS JUST FILM, AND NOW THEY TAKE QUITE A FEW SHOTS, AND THEY HAVE INSTANT VIEW, AND ARE ABLE TO ADJUST IT. ANOTHER THING THEY CAN DO IS PHOTOSHOP STUFF, SO THAT'S A LITTLE DIFFERENT. WHAT I WAS USED TO GROWING UP, I HAD MY DARKROOM AND EVERYTHING LIKE THAT, AND DEVELOPED FILM, AND HOPEFULLY THERE THERE WOULD BE SOMETHING THERE. TO SEE THESE QUALITY IMAGES AND THE LIGHTING AND SO FORTH IS PRETTY FASCINATING, BECAUSE THEY'RE GOOD.

>> SOMETIMES THIS IS THE CAMERA YOU USE DAY TO DAY ON YOUR JOB, WHAT DO YOU THINK IS IMPORTANT ABOUT MOVING PICTURES? BECAUSE IT'S INTERESTING, YOU WERE FILMING STILL PHOTOGRAPHERS, AND YOU DID IN THE SERIES SHOW SOME OF THE STILL PICTURES, BUT, AGAIN, YOU WORK IN MOVING IMAGES.

>> NOT JUST IMAGES BUT SOUND, AND THESE GUYS ARE USED TO VERY GOOD VISUALS, THEY'RE NOT USED TO SOUNDS, AND SOMETIMES THEY DIDN'T REALIZE I WOULD NEED TO GET SOME QUIET SHOTS, OR NATURAL SOUND AS OPPOSED TO THEM TRYING TO EXPLAIN EVERYTHING THEY WERE DOING, AND THEN KIND OF SPLICE IT TOGETHER. SO I THINK THAT'S A BIG DIFFERENCE. THEY UNDERSTAND THE VISUALS THAT THIS TAKES A LOT OF IMAGES BUT THE SOUND, I THINK A LOT OF PEOPLE DON'T REALIZE HOW IMPORTANT THAT IS TO THE STORY.

>> NOT TO MENTION HOW MUCH BIGGER OUR EQUIPMENT IS.

>> SHE CARRIES MOST OF IT.

>> THAT'S RIGHT.

>> THAT'S NOT WHAT I HEAR. BUT WHY DO YOU WANT TO TAKE VIEWERS BEHIND THE SCENES, INSIDE WHAT THESE STILL PHOTOGRAPHERS DO?

>> I JUST THINK IT'S IMPORTANT TO SHOW HOW MUCH WORK GOES INTO SOME OF THESE PICTURES, AND I THINK LPA DESIGN IS A GREAT EXAMPLE OF THAT. YOU SEE THESE AMAZING PHOTOS, AND YOU THINK OH, THAT MUST HAVE BEEN A GREAT SHOT.

>> THE POCKET WIZARD.

>> AND THERE'S 13 FLASHES IN THAT PICTURE THAT YOU WOULD NEVER THAT EVEN THE AVERAGE PERSON, YOU AND I WHO AREN'T OUT THERE TAKING THOSE PICTURESURES, WE DON'T REALIZE WHAT GOES INTO THIS ART FORM, AND HOW MUCH PASSION THEY HAD BEHIND THEIR WORK AND JUST THE LEVEL OF INTENSENESS WHEN THEY'RE WORKING IS INTERESTING, AND I THINK IT'S A NEAT PERSPECTIVE TO BRING TO PEOPLE.

>> AND I DON'T THINK PEOPLE -- I DON'T -- KNOW THAT SUCH A LARGE COMPANY WAS IN VERMONT. THEY'RE AN INDUSTRY LEADER WHEN IT COMES FOR REMOTORS FOR FLASHING -- REMOTES FOR FLASHING, SO THAT WAS KIND OF A NEAT PLACE TO SEE.

>> ONE OF THE THINGS YOU MENTIONED, JOE, IS THAT YOU WERE IMPRESSED BY ALL THE WORK OF THESE PHOTOGRAPHERS, THAT THEY'RE STOP- -- TOP-NOTCH PHOTOGRAPHERS. WERE THERE ANY COMMON THEMES OF HOW THEY APPROACH PHOTOGRAPHY THAT MAYBE SOMEONE AT HOME WOULD LEARN FROM ANYTHING THAT YOU SAW THEM DOING, THAT SOMEONE AT HOME COULD USE TO FINE-TUNE THEIR OWN PHOTOGRAPHY?

>> I THINK PATIENCE, ESPECIALLY WHEN IT CAME TO THE KIDS.

>> [ LAUGHTER ]

>> ZUTANO. AND DON'T EXPECT EVERY SINGLE SHOT YOU TAKE TO BE PERFECT. THEY KNOW IT. THEY'RE TAKING MULTIPLE SHOTS. AND I THINK FOR THE PERSON AT HOME, YOU DON'T HAVE TO SHOW EVERY SINGLE PICTURE THAT YOU'VE TAKEN. EDIT, EDIT DOWN UNTIL YOU GET A NUMBER THAT THE PERSON AT HOME OR YOUR FAMILY WOULD WANT TO SEE, SO ONLY TAKE THE BEST, OR ONLY SHOW THE BEST, AND TAKE A LOT OF PICTURES. SO I GUESS MAYBE THAT WOULD BE THE COMMON DENOMINATOR.

>> PLUS, I THINK ALL OF THE PHOTOGRAPHERS WERE CONFIDENT IN THEIR ABILITY, AND I THINK JUST HAVING TRUST IN YOUR ABILITY AND SAYING, OKAY, LET'S NOT PUSH IT, YOU KNOW, WE TOOK ENOUGH PICTURES OF THIS OMELET, I'M NOT GOING TO TAKE 400 MORE, LIKE THE 10 I TOOK, ONE OF THEM WILL BE GREAT, EVEN THOUGH YOU DO HAVE THE OPTION BECAUSE IT'S DIGITAL, BUT JUST KNOWING WHEN TO STOP, ESPECIALLY WITH THE KIDS.

>> I THINK YOU HAD A NICE LINE IN THERE WHEN THE PHOTOGRAPHER SORT OF SAID THEY KNOW WHEN TO CALL IT QUITS, THEY'RE NOT GOING TO FORCE IT.

>> JOE WAS MAKING FUN OF ME THE WHOLE TIME BECAUSE I WAS LIKE OH! EVERY LITTLE KID.

>> AND HE'S LIKE, SHUT UP!

>> IT WAS A FUN SHOOT, AND I THINK THAT'S INTERRUPTING, TOO, BECAUSE YOU CAN'T REALLY COMMUNICATE WITH THE TALENT, THE LITTLE CHILDREN, "POSE THIS WAY" BECAUSE THEY HAVE NO CLUE WHAT'S GOING ON, AND THAT'S WHY SOMETIMES THEY GET OVERWHELMED. ONE KID WAS TOTALLY FRUSTRATED AND JUST STARTED CRYING, AND THEY'RE, LIKE, THAT'S IT, WE'RE DONE!

>> IT'S NOT JUST A WHOLE NEW SETTING FOR THESE LITTLE BABIES, THERE'S FLASHING, AND THEN THERE'S US WITH THIS HUGE CAMERA, JOE BEHIND THE CAMERA.

>> WELL, I WAS REALLY WORRIED GOING INTO THAT STORY THAT I WOULD BE A DISTRACTION.

>> THEY'RE ALREADY DISTRACTED, AND THEN THERE'S UP ON TOP OF IT.

>> YOU WORK VERY HARD TO BE UNOBTRUSIVE. HOW DID YOU DEAL WITH THESE SHOOTS?

>> HE WAS SWEATING A LOT.

>> NO, I WAS CLOSE TO THESE PEOPLE, AND I DON'T REALIZE SOMETIMES HOW CLOSE I AM TO THE SUBJECT MATTER, AND MOST PEOPLE ARE PRETTY GOOD ABOUT IT. YOU KNOW, I SEE OTHER PHOTOGRAPHERS AT THE STATION GETTING REALLY CLOSE, AND I THINK, IS THAT WHAT I'M DOING, TOO? BUT IT IS -- WE TRY TO GET, WHEN WE'RE DOING VIDEO, LONG SHOTS, CLOSE SHOTS, CLOSE-UPS, EXTREME CLOSE-UPS. THE ZUTANO KIDS DIDN'T SEEM TO MIND US BEING THERE.

>> BUT AT SOME POINT, THEY HAD AN UPPER-DECK SECTION WHERE YOU COULD WALK UPSTAIRS, AND JOE KNEW WHEN TO STEP ASIDE, BUT YOU COULD TELL THE KIDS STARTED FOCUSING ON YOUR LENS SOMETIMES INSTEAD OF THE PHOTOGRAPHER'S LENS, AND THERE'S A BALANCE, AND THEN YOU'VE GOT THE WHISTLES AND THE SONGS AND THE WHATEVER, BUT, YOU KNOW, KIDS DO WHAT THEY WANT TO DO, SO NO MATTER WHAT THEY WERE DOING, THEY'RE JUST SITTING THERE HAVING A GOOD OLD TIME.

>> WELL, THE SERIES IS CAPTURING THE MOMENT, IT WAS VISUALLY INTERESTING, AND I REALLY APPRECIATE YOU GUYS COMING TO TALK ABOUT IT, GINA BULLARD AND JOE CARROLL, IT WAS INTERESTING TO INTERVIEW YOU GUYS. AND THANK YOU AT HOME FOR WATCHING. HAVE A GREAT SUNDAY, EVERYONE.

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