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Wednesday, August 28, 2013


There are times when you your life comes full circle. My high school principal, Richard Gehman, had a direct bearing on my academic performance in high school by encouraging me to take AP classes and work with diligence. He left my high school a few years after I graduated to become the headmaster of Oak Hall Preparatory School in Gainesville, Florida and we lost touch.

Headmaster Gehman and I at the conclusion of the shoot

It was an unexpected pleasure to reconnect with him recently on a visit driving to Savannah from Tampa for a high school reunion last year. It was an opportunity to thank him for his guidance many years ago and to learn of the great work he has done growing Oak Hall into a top private school. 

A few months ago, Oak Hall's director of marketing Michelle Runyon brought Jeremy Allen and I out to campus for a day of photography to update their brand. It was a great day on campus and we managed to outlast a looming thunderstorm and capture some dynamic outdoor images. Sometimes life pulls us full circle and I'm looking forward to my next visit with Headmaster Gehman. Above is a candid that Jeremy took of us along with some of the stronger images now at work branding Oak Hall. 

Wednesday, August 21, 2013


The call came around 10am on a Monday morning and it was the type of photo assignment that you are always amped to receive. Golf World needed a custom portrait of legendary British golfer Sir Nick Faldo for a feature on his return to the British Open after retiring from professional play. The art direction was specific — they wanted an image of Faldo in front of his trophy cabinet wearing the classic yellow Pringles sweater that he wore for his 1987 Open victory. Much like Clark Kent, he would be pulling off a blazer to reveal the powerful lucky sweater. The catch was that the shoot needed to take place that afternoon at Faldo's home in Orlando. 

Jeremy Allen and I loaded gear, drew out a concrete plan of attack, grabbed lunch and raced to Orlando to be on site early. We were expecting to have between 15 and 30 minutes on location and hoped to capture two to three setups so the editors had a variety of options when heading to layout. They were under a tight deadline and we weren't expecting the feature on Faldo to be cover material but the shot had to be vertical so we planned to shoot it a bit loose just in case.

Preparation was the key for success with this photo shoot as it always is with celebrities or VIPs. We were in Orlando an hour before the shoot and pulled over in a parking lot ten minutes from the location to prep the gear. Strobe heads were locked into soft boxes and beauty dishes and we configured a minimal lighting kit prepared for the second set up.

"So you want to do a studio thing in the house?" Faldo asked upon seeing our gear loaded up in the driveway. His daughter Emma kept us entertained as we set scouted for locations and set up lights. You can see the behind-the-scenes images of the setups thanks to Jeremy who was able to capture them.

Second set up after primary shot with trophy case was completed.

Second set up with assistance by Emma Faldo.

Second set up by the golf bag collection. 

Third set up in the office with trophies.


Forty minutes later we were out the door with mission accomplished. The image ran on the cover just a few weeks later. Special thanks to Chris Odom for referring me for the shoot and to Drew Wright at Bauer Media for the opportunity to work on behalf of Golf World.

Wednesday, August 14, 2013


Nikon F100 / TMax400 © Joseph Gamble

When I hired Rob Baynard to collaborate with me on a self-promotion video in late Spring, he gave me a smile and said, "That's funny as I'm going to need your services as well." I'm a retired wedding photographer but that being said, I couldn't refuse Rob's request that I capture images of his July wedding to his longtime girlfriend Rachel Alderson. They are preparing to relocate to Chelsea so Rachel can begin fashion studies at Parsons School of Design so they were doing a courthouse wedding in St. Petersburg. Rob's instructions were specific — he wanted me to capture the ceremony and their time together prior to the evening reception using very little of my digital cameras. "I don't want you to shoot digital... I want you to shoot film, black and white, and Polaroid, anything you like," he requested.

It was a great concept and I was excited to break out the Mamiya 6, Polaroid SE, Polaroid 600 and Nikon F100. Below are the highlights along with the camera/film combinations. When I delivered the finished product to Rob last week, I presented him with 16 silver gelatin fiber prints along with the negatives and contact sheets. All were hand processed and hand printed. It's a fading art but I like to think that this work had more value to Rob and Rachel than anything I could've ever done with a digital camera.

Polaroid 600 / Color Protection Film © Joseph Gamble

Nikon F100 / TMax400 © Joseph Gamble

Nikon F100 / TMax400 © Joseph Gamble
Polaroid SE / Polaroid Type 669 © Joseph Gamble
Polaroid SE / Polaroid Type 669 © Joseph Gamble

Polaroid SE / Polapan Type 100 © Joseph Gamble

Nikon F100 / TMax400 © Joseph Gamble

Nikon F100 / TMax400 © Joseph Gamble

Nikon F100 / TMax400 © Joseph Gamble

Mamiya 6 / TMax400 © Joseph Gamble

Mamiya 6 / TMax400 © Joseph Gamble

Mamiya 6 / TMax400 © Joseph Gamble

Wednesday, August 7, 2013


Shooting for Flashes of Hope is always one of the more fun assignments that I take on as a photographer. The entire experience — installing a portrait set in a hospital and then photographing children with their families — always provides perspective. Compared to the challenges that these families are facing with a child fighting cancer or other life-limiting illness, my concerns and difficulties are rendered inconsequential.

Last Monday's session at St. Joseph's Hospital was no exception and the kids were tremendous as usual. It's often easy to get them to smile but I'm always interested in trying to coax out a portrait that captures their personality and spirit. I think I was fortunate to come away with a few images that managed that objective and show their bravery in the face of circumstances that can be difficult at best.

Jeremy Allen and Gabe Windschauer were tremendous assistants, each donating their day to help me with the task of loading and unloading the gear to create the set. The lighting scheme that Jeremy and I have favored for these shoots lately has been a two light set up with an octobox as the key light and a gridded soft box as the edge light. The mobile phone image that Jeremy captured below and the lighting diagram illustrate the set and how we made the most of shooting by the elevator bay in a wing of St. Joseph's that is being renovated. 

© Jeremy Allen / jeremyallen.500px.com

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