Induro Blog

It was a real pleasure to be able to catch up with celebrated photographer John Woodward this past week; he graciously answered some questions for me, even while on the road for the US Open. Woodward is not just a photographer, but also a teacher- check out some of his instructional CDs, here.

And now, on to the questions.

How would you describe your photography practice- what do you most love to shoot?

I’ve been a professional photographer for over 40 years now. My work is very diverse. I did mostly event photography in the beginning of my career. I was the official photographer for the New York Yankees, and the Sponsors Tour photographer for the tennis tour. Much of this work was of the typical “grab and grin” variety.

Many things I do involve setting up for receiving lines. That’s when a VIP meets a guest, and shakes their hand. The Induro tripods that I use are especially helpful at these events. Depending on the level of the VIP, I may set up as many as four cameras. These all fire with the press of a button from my Pocket Wizard.

My personal work has embraced the things that Photoshop can do. I make many panoramas, and may have as many as nine images that need to be put together for the finished product. It’s important that the horizon lines are accurate. Again, a tripod is essential if you want to be accurate. When I’m in the field, the Induro C213 is my favorite. The carbon fiber is incredibly lightweight and I have no fear of going into the ocean or rivers with it.

How do you choose your gear- how have your choices changed since the rise of digital?

Digital has changed the game completely. I am looking for the largest sensor I can get my hands on. Commercial photographers believe that we can never have enough sharpness. We can always soften an image but we cannot truly sharpen an image. Tripods are once again essential for critical sharpness.

What features are most important to you in a tripod?

Tripods are most important to me in making my panel panoramas. I also love the way the Induro tripods allow me to get low to the ground when I’m shooting children. That ability is critical when shooting the little ones. You have to get down to their level. You also don’t want to hide your face behind your camera. I can set up the camera on a tripod and work slightly away from it and trying to capture the attention of the children.

What are you up to lately?

I’m just finishing up working at the US Open, where I’m using one of the Induro monopods. Then I go out on tour with Hanson, in our “Beauty And the Beast” presentation.

The beauty of what I do is the diversification. You’re speaking one day, judging the next, shooting a commercial portrait, model portfolio or covering an event. Every day is different and for that reason my job is a pleasure because each day presents new challenges.

Thanks, John!

I have a little chat with Vincent Versace to share today. He tells us about his recent exploits, why his tripods need to be “Vinnie proof”, and about his many years of experience shooting digital.

Without further ado:

You have images from all over the world, but I’m not sure I would consider you a travel photographer- your practice is very varied. How would you define your approach to photography, and what do you like to shoot best?

I am a photographer. I like to travel. I try as often as possible to be taken by pictures and not “take pictures.” I work this way to shoot my portraits like landscapes and my landscapes like portraits. As to what I like to shoot best? Stuff, things, people, places. I just want to be taken by the image and go for that ride.

How do you balance personal and commercial work?

I don’t see a separation between the two. They are the same thing. My work is always personal. I try to create images that make the viewer feel as if they were standing in the same place I was when I clicked the shutter. How can that not be a personal experience? To separate them would make photography impersonal, sorta like a job, a 9 to 5 thing. Which I guess would be ok. Making it more impersonal would certainly be less hours than I put in now, which is 24/7 365 and Sundays too.

How do you choose your gear- how have your choices changed since the rise of digital?

I have been shooting digital so long that my first camera was wood burning. I was Nikon’s very first outside digital photographic beta tester. That happened right after Al Gore and I invented the internet….. Seriously the same way I always have. What’s the best tool for the job? Not the cheapest tool that I can get by with. You are only as good as your weakest link.

What features are most important to you in a tripod? (do you have particular needs for something great for long exposures, or that can flip upside down for macro shots)- which Induro tripod do you like most?

Strength. Light weight. Indestructibility. They need to be more than unbreakable. They need to be “Vinnie Proof” . I was in South East Asia and I actually snapped a leg on my carbon fiber tripod. I was at the Photo East Photography Convention, flew in from the gig to NYC. I walked by the Induro booth. I told the sales guy what happened he then said “watch this”– he extended the c-314 set of sticks, grabbed onto it and while hanging onto the tripod, proceeded to swing back and forth. I now have three Induro tripods.

What projects are you currently working on? Can you show us any sneak peeks?

I am writing two books which should be out Summer of 2010: “Welcome to Oz 2.0″ and “Return to Oz”. I have several tutorial DVDs coming out. I’m planning on going back to India, Burma and Papa New Guinea in the next several months to shoot. In addition, my images have been selected as the art for the Restaurant Dovetail in New York City. Chef/owner is John Fraser, formally the Sous Chef of the French Laundry.

Do you have a trick for processes digital imagery to keep the tonality rich and film-like? I notice many of your digital images could easily pass for film. Tips are always appreciated!

Well, digital actually has better dynamic range, sharpness, color and less noise at higher ISOs than film. The best advice is simple. Photoshop is not a verb. It’s a noun. Get it right at the point of capture. You can’t fix something in Photoshop; you can at best save it. The less you do to a file the better it looks.

Check out Vincent’s many images, books and educational materials, here.