I’ve been friends with Mike Corrado, the originator, orchestrator, and pied piper of the merry band of disparate, dysfunctional (hey, we’re photographers) talented oddballs who make up the Nikon Ambassador crew, for more than 25 years. He is a blood brother, a good shooter, and a fierce advocate for photogs and their worth. He is also blessedly inappropriate.
Together, we have lost a prototype Nikon camera in Miami Bay, smashed another one perched on the end of a hang glider into a telephone pole, and had a 70-200mm lens run over by a truck. We at one point tried to run a photo set on a beach spitting distance from another crew who were running a full blown porno shoot complete with scuba tanks, fins, masks, but no swim suits. Needless to say, Mike’s attention on that occasion was, uh, divided.
He also tends to show up on these occasions with the coolest, newest toys. Such as last week when he loaned me his newly minted D810, and, in the briefest of interludes, I shot 27 frames with it. Luckily for me, during that two minute stint, I had a wonderful subject, Joe McFadden, a Schuylkill River rowing legend, in front of my lens, standing in equally wonderful window light. I shot quickly, hand held, at ISO 1600.
My current iteration of this camera, the D800E, to me has been a camera all about control. I use it in the studio, and work with it when I need the res, have the time to manage the buffer, and shoot in the realm of lower ISO. (Like a flash portrait, go figure.) But, when confronted with the great unknown, a coverage that could go any which way, something that might head into the fire swamp of high ISO, I’ve dragged out a D4 or a D4S.
The D810 keeps the allure of high res, but removes the fear of high ISO. It was nothing short of remarkable.
In the days of ASA, 1600 was the magic number. It was a frontier. It was a factor of speed that enabled you to shoot most night time sports and still come back with a reasonable facsimile of what your eyes actually saw. To go beyond that number was like going north of the wall. Few came back to tell about it, or get another assignment. Below is an example of Tri-x hot souped in a closet of a darkroom at Yankee Stadium in 1978. Good shot, but grain you can drive a truck through.
Same with Giorgio Chinaglia, here heading the ball for the NY Cosmos, also circa 1978.
Film was a tricky beast to manage, occasionally, and I speak from the rueful experience of having mismanaged it on all too many a job. Below is a one of my favorite portraits of Carly Simon. I had to overexpose, given the nature of the bright sky behind her, which blows the neg apart a good deal. I could have done better with my focus, too. (I think I should have used a flash maybe? Sigh.) Still her ebullient expression carries the day for me, and I love the frame. Just wish I had done better. Or had a D810.
I’ve been living in the digital world of photography for quite some time now, and the technology can still take me by surprise. I shake my head in wonder. As Captain Jack Aubrey said in Master and Commander, “What a fascinating modern age we live in.”