The Diner | The Pointe Shoe Mysteries with Joe McNally

Watch the behind the scenes with Joe as he starts piecing the shot for this dance noir storyline.
Joe McNally is an internationally acclaimed photographer whose career has spanned 30 years and included assignments in over 50 countries. He has shot cover stories for TIME, Newsweek, Fortune, New York, Entertainment Weekly, The New York Times Sunday Magazine, and Men's Journal. He has been at various times in his career a contract photographer for Sports Illustrated, a staff photographer at LIFE, and currently, an ongoing 23-year contributor to the National Geographic, shooting numerous cover stories for those publications.
Joe was listed by American Photo as one of the 100 Most Important People in Photography and described by the magazine as "perhaps the most versatile photojournalist working today". He has been honored as a member of Kodak-PDN Legends Online, as well as being a Nikon Legend Behind the Lens. In 2010, he was voted as one of the 30 most influential photographers of the decade in an industry-wide Photo District News survey. He is also an educator and keynote speaker
Click the link below to watch part 1 "The Laundromat | The Pointe Shoe Mysteries! with Joe McNally"
• The Laundromat | The P...
This time was outside a Diner, the last was a Laundromat, where will part 3 be? Leave some guesses below.
DISCLAIMER:
Proper precautions were taken during the shooting of this documentary in consideration of COVID-19 conditions, including but not limited to using masks, sanitizer, temperature checks and purposely shooting outdoors.
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✘ PRODUCTS USED:
Tether Tools AD7 Air Direct Wireless Tethering System with Tether Tools Air Direct Arca Clamp & Phase One Capture One Pro 20
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NIKKOR Z 14-30mm f/4 S
www.adorama.com/nkz1430.html
Nikon Z 7 Mirrorless Camera
www.adorama.com/nkz7.html
Profoto Air Remote
www.adorama.com/pp701301.html
Profoto B10 Plus
www.adorama.com/pp901164.html
Profoto A1X
www.adorama.com/pp901205.html
Profoto Pro-B4 1000 Air Pack
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Profoto 1x3' RFi Softbox, Strip
www.adorama.com/pp254708.html
Profoto 50deg Softgrid for Softbox RFi 1x3'
www.adorama.com/pp254627.html
Manfrotto Super Clamp
www.adorama.com/bg2900.html
Manfrotto Variable Friction Magic Arm
www.adorama.com/bg2929.html
Manfrotto 1005BAC Air-Cushioned Ranker Light Stand
www.adorama.com/bg1005bac.html
Avenger Sand Bags
www.adorama.com/aegs202.html
Avenger 9.8' C-Stand 30 Kit with extension arm
www.adorama.com/aea2030dcbk.html
Avenger Chrome Mini Boom
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Joe McNally
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THANKS SO MUCH FOR WATCHING!

[@teleking58]

It is so informative to witness how Joe works, how he thinks about light, how he thinks about story telling. To be able to take what would be several scenes in a film and distill it down to a single frame and not lose a single nuance of the story. Amazing. Thank you Joe for you vision and talent. Thank you to all the actors and assistants for bringing it to life and thank you Adorama for bringing it to us. Very well done one and all!

[@JoeMcNally]

many thanks for watching, Robbie!!

[@arangodan]

Love seeing the way Joe assembles a scene.

[@freddensing1224]

cant wait till the next chapter

[@darrenturnerphotography]

i could watch joe every single day ...... what a legend.....!!!

[@JoeMcNally]

Very kind of you...appreciate it. All Best

[@MrRick1100]

Its great to see a master at work. Thank you

[@neelsredphoto]

Loved the first one and this chapter didn't disappoint! Thanks, Joe & co.

[@patrickbaleydier3129]

Thank you and thanks Joe to provide a such interesting video !!!

[@gentlegnt]

Amazing Hollywood performance shoot!!!

[@RobertHarvey101]

I could watch his stuff all day long. Fantastic!!!

[@jeremylandey4509]

Awesome. Joe is a master craftsman with lighting. No-one does it better and it is a privilege to see him work!

[@brianaikens7282]

Fabulous work.

[@jeremyclinard186]

I have to say that your photos are so inspirational. I love seeing the behind the scenes to these elaborate setups that most people wouldn't have any idea that there was this much going on in order to create. Thank you so much for having the vision to create and the willingness to share the BTS of these creations, so that others of us may be inspired by what you do and that we may try to create photographic stories like you do Joe. Thanks to everyone else involved too, cause without those people, Joe's vision may never have come to fruition.

[@MikeJamesMedia]

It's so interesting to see and hear your thought process, the subtle changes in lighting and posing, etc., etc.. Thank you, Joe and team, for sharing this shoot. Excellent results!

[@JoeMcNally]

Cool, thanks back to you....it's a bit scattered out there on location, and it's always fun to sort it out.

[@strongandco]

Joe's just the best. More Joe please.

[@JoeMcNally]

Got more episodes in my head!

[@williamborges3914]

Simply amazing work! I'm disappointed in myself for not watching this episode when it first dropped. It won't happen next time. 😀

[@250GTOAJ]

Great to see the process again, Thanks Joe, Seth, Erica and Company.

[@DaKloot]

Joe McNally videos, always +1 kudos, period

[@webmaster4ZLCB]

It's always a treat to see Joe working.

[@JohnLuna]

🙌🙌 Thanks for having me to document this!! 🙂

[@therealsteelie]

These are so awesome to watch. What an amazing shoot. Bravo! Joe rocks it every time.

[@dtravisphd]

Joe is totally rocking that Daniel Norton hairstyle.

[@paulhills1967]

Huge thanks to everyone involved. Really enjoyed watching this.

[@paulrobinson6548]

This is great. I love seeing Joe at work, especially on a big set like this.

[@tylerHphoto]

Joe is amazing, Watching his mind work is great.

[@creativechr1s]

Wow this is absolutely fantastic

[@chopperjamie]

What a great video! Joe is second to none. His energy is amazing. I love his humility and positive attitude toward all the talent and help. Then throw Seth in there with the twisted sense of humor and you have an all star cast! Thank you for these videos!

[@JoeMcNally]

Many thanks, Jamie!!

[@darinharker21]

Enjoyed this whole video

[@Sportserjeff]

Love seeing how Joe builds the scene. Now I get an idea how he uses such a vast number of lights!

[@JoeMcNally]

Every light has a job...that's the key

[@darrenvandyke3872]

Awesome video!! Very inspiring energetic, Thank you!

[@Manuelordorica880]

Thank you Adorama, and thank you Mr. McNally. That was a lot of fun, and informative, about the gear used to produce the video.

[@matlynwood6225]

Joe again a great video and as always I'm tuned into watching all the photographers teaching and shooting amazing content for all of us photographers all over the world to learn from. Thank you to you for showing us what it is like to work on a large photoshoot and what you and your team go through to give us amazing art.

[@marisaroper5104]

BRAVO!!! 👏🏻👏🏻👏🏻

[@Oliver-gammarART]

This making of is such cool! Thanks for the behind the scenes of this great set.

[@darcybrown7369]

loved seeing this come together ...kudos to all involved

[@pattymattes7124]

I love this! I was waiting for episode 2. Thank you for explaining your lighting setup and how you built it piece by piece. Joe, you're like a conductor of an orchestra. There is so much to learn from this. I like how you explained the process especially with getting your ambient light before you started building in your flash. What type of handheld grip/light poles did your lighting assistants use? This is great!!! I can't wait until episode 3. Will Nik finally get the evidence on Larena? I love the story line. The images are amazing! Bravo!!! Thank you Adorama!!!

[@joc1287]

Nicely presented.

[@damianarrechea1009]

This is really a Master Class! Really the artist creating with tecnique and technology! This is amazing! Thanks!!

[@SLCGoth]

Aww yeah! Capture One!

[@JimRoberts]

Major hair from Joe along width major photography magic

[@JoeMcNally]

No haircut in 2020!

[@fponceg]

Thanks!!!!

[@cinderella3414]

You are incredibly creative & detail conscious! Great job!

[@shawnvine4918]

This was a lot of fun. So many details to keep track of, but it was great to see how you worked the scene and the lighting options. Kudos to the cast and crew. Looking forward to the full premier of the movie. :)

[@markuskernbach6760]

im just love it

[@eastvanphotography7394]

Photographs should be made to be looked at, not glanced at. This photo keeps you looking around the scene and engrossed. Awesome work.

[@KenToney]

Joe, love the hair!! Hope to catch up with you again one day soon!!!

[@dmt99vn]

wow thats alot of works

[@jpdj2715]

That's an awesome production on two levels: Joe's and the BTS recording of it. A lot of on-set composition and story design is going on in front of the camera. With Joe thinking aloud. And it makes a very good and entertaining lesson that keeps you involved to the end. There may have been a lot of preparation before the team went there and this remains invisible. Did the team go into Joe's equipment, or Adorama's demo, storage and basically took everything? I think it would add to the lesson to show this part of the process too - it could easily be done in retrospect, btw. On the lighting-technical side, using one or more 2400 W.s AC powered packs with one or more strobe heads each, it would be interesting to review the power settings. And for the other flash heads, strobes or speedlights as well. If the Acute bangs 2,400 J into your flash head at "0" or "10", and each whole numeric step equals an f-stop, then at level "5" you get to 75 J - which is like a Nikon SB-910 at full power (a "comparable" in size God Ox does not go there as the light output is specified at the most "tele" setting for its reflector. It's a pity that Profoto do not specify a guide number for the A1x. I understand angle and modifier all play a role, but they would do it for an Acute.) The storytelling must have been scripted before the shoot and because of that the waste basket was bought. This could be an interesting complementary BTS video or interview-in-retrospect too. So I imagine an assistant or Joe himself drives by the diner the night before, takes a shot from the desired perspective and, at home, with a doodled map, designs the set - lighting, actor positions and instructions. What part of the negotiating/experimenting work shown here as if done improvisingly, could have been taken out that way? Production cost aside, such pre-production >might< reduce street time in a city where hordes of pedestrians flock the street who have zero respect for, or tolerance with, some photographic production. As the streets were very quiet during this production, it seemed to me that a virus was in the air that kept people at home. Hopefully that does not last forever. The creative process, the reconnaissance, set and prop design, actors, styling, lighting tech and corresponding art side, viewpoint and perspective, tech making it all work, synchronized or asynchronous acting, post processing - an awe-inspiring lot of work has been going on here but it might fly over the heads of some viewer. From a production strategy point of view, breaking the 30 min video up into a couple 9min individual ones along these lines might actually increase viewer clicks and "views" numbers.

[@jpdj2715]

That's an awesome production on two levels: Joe's and the BTS recording of it. I was wondering a couple things - now Joe offered the potential of "in post". Joe implied not having everything tack sharp as compromise between depth of field and loss of sharpness. As all the shots are taken from the exact same point, the notion of focus stepping springs to mind. No, not 100 shots at full open, but a shot for the background - it never changes and the individuals can easily be placed in a layer on top of that. Then there is a choice for the foreground, where to begin and end the blur. And the subjects in the midground can be repeatedly shot for expression, etc. Potentially, if their shadows do not bleed into the image section of another subject, each "actor" could have been shot separately.

[@JoeMcNally]

Wow....that's a cool idea, which never actually crossed my mind. I've shot "plates" before for both commercial and editorial jobs, but in a fluid instance like this, I work with the camera tools. That kind of accelerated post production is well beyond my skill level.

[@danbrowning2418]

Fantastic! How long were you on set? What would it cost to do a shoot like that commercially?

[@JoeMcNally]

We were out there for about 5 hours, Dan. 10pm till about 2am. Arrived early of course...

[@Azertyvo]

Can I suggest that you add, somewhere in a corner, some information about the time spent doing this. Could be something like mentioning what time it is all through the video so we know whether this took one, two, four or even more hours. Or, Joe, you could add this kind of information when you explain to us what is going on. May I add that it's always very interesting and inspiring to see how you work. Thanks !

[@buzbragdon9282]

Great shoot! Loved it. Joe, I have a lot of trouble with masks fogging my glasses. I could read "OR" on the side of your mask. Who's the manufacturer and what's your opinion of that mask?

[@JoeMcNally]

Hey Buz...i have the same problem....but this one works pretty well, not 100%...but it's a good one, made by Outdoor Research

[@templefitness86]

I love this picture. Not sure if anyone asked but how many flashes were used?

[@MrSpiff9]

Finally uttering those words; "I'll fix it in post", we knew Joe was actually a mortal... Or is he just trying to fit in with the rest of us? :-)

[@JoeMcNally]

Yep, would have loved to have had more stands and a blackout frame with me. But no go. So, I dropped that highlight out in Capture One!

[@ivantheterrible2796]

Amazing content from Mr McNally as per the normal. Thank You. Roughly, how much does a permit cost? I understand that it would probably be different cost in other areas. As an amateur photographer I have never tried acquiring one so I am curious.

[@buchsg]

Love the cheap lighting setup and only a few crew on set lol 😂 Great result by the way and great video too

[@JoeMcNally]

Yeah, I got a little carried away:-)))

[@KenToney]

Joe!! How you been my friend?

[@JoeMcNally]

Doing well Ken...hoping you are as well!

[@aloncohen87]

24:27 Is the light there for the focus?

[@knowknewpeople8018]

What was the point of adding that little Manfrotto LED @ 15:55?

[@davebenson1504]

Awesome... absolutely brilliant... but when you are the best there is always someone looking for tiny details... is that a letter "K" on Nik Nites belt buckle at about the 22:45 mark... might have to become Nik Knite :-)

[@SatanSupimpa]

Of course Seth would be the blood guy.

[@JoeMcNally]

It goes without saying;-)

[@JosephTMeiroseIV]

Yep! At 6:39 I hate this issue. While tethered, no live view on back of camera. I want both at same time. Can't find a workaround. Grrrrr

[@looseshoulderssumali7311]

Should leave the video with the shots at the end.

[@Kinadnuf]

Excellent, very interesting but...can't your cameraman stop moving the video camera side to side. I'm feeling seasick. Just hold the damn thing still - please.

[@MarkusMischek]

Honestly, a little too much effort for the outcome. I wasn’t so excited about the result. In a movie there would be colored light on the models too to integrate them more into the scene and create drama.