Category Archives: Photography

by Al Golub

Bracebridge Dinner

Singers entertain the Squire and the Bracebridge diners.

Forty-eight years as a photojournalist with forty-seven of those covering Yosemite National Park, and I had never photographed the Bracebridge Dinner.  Not because the event hasn’t been around – it’s over 80 years old.  More because when I think about Yosemite the images in my mind’s eye are Half Dome and El Capitan erupting from the earth, icy streams cutting across sharp-grassed meadows, sugar pines, white fir, and giant sequoias soaring into pristine skies.  I don’t think about the already magnificent Ahwahnee decked out as a 17th century English manor, a seven-course feast of crab, duck, angus beef with-all-the-trimmings-and-then-some, lute players and ladies-in-waiting, jugglers and jesters, and enough yuletide spirit to fill the place to its 34-foot-high beamed ceiling.

At least I didn’t before December 18, 2009.  But I do now.  On that memorable evening, I covered The Bracebridge Dinner for the first time.  While the diners partook of music, merrymaking, and mountains of food, I photographed everything I could get my lens on.  I immersed myself and my camera in the images of the celebration just as the diners immersed themselves in the spirit of a Renaissance Yule.  The scents of the meats, pastries, and sauces, the sounds of the trumpets, trombones, and tubas, the textures of the velvets, satins, and furs-all had to be captured in my images.  I worked intensely, not wanting to miss anything, not knowing what might happen next.  I had to move around constantly, with hardly a place to pause because the dining tables consumed most of the room and the wait staff and performers filled the rest.   I held my breath and did a bunch of slower shutter speeds at wide open.

Over 900 images later, the event was over.  As the last wine was quaffed and the last mignardise were nibbled, I loaded my equipment into my four-wheel drive and headed for home through the deep snow.  A long evening followed by a long night – the life of the freelance photographer.

Editing was challenging.  The event is one richly colored, highly textured vignette after another, but the technical difficulty is at least a 9 (scale of 0-10).  I set my Nikon D3 at 6400 ISO for the entire evening because the giant room was so dark.  The shadow-to-highlight ratios were extreme because the high ceilings were lighted by candles and the performers by theatrical spots.  I used my 300 mm f2.8 Nikkor, 70-200 mm f2.8 Nikkor zoom, and 17-35 mm f2.8 Nikkor zoom.

Initially, I edited down to 200 images even though all turned out to be technically acceptable, most even excellent.  The best of these, 51 images, can be seen on Photoshelter.  Twelve of the final group are posted here.  They are only a tiny representation of the images I photographed.  But I think you’ll notice that the problem presented by the darkness of the room has been entirely eliminated.  It was a terrific night!  I had such a great time that I intend to do it again.

View of guests in Great Lounge enjoying cocktails and singing carols accompanied by grand piano.

Men in formal attire swap war stories.

Dining room with large beam ceiling is full of guests as entertainment begins.

Squire Bracebridge makes Jester King for the day.

Jester makes merry.

The Fish, the third course of the feast, is brought in by four servants.

The fifth course, Baron of Beef and Boar's Head, is carried past a magnificent stone fireplace into the dining hall.

The Housekeeper, played by Andrea Fulton a central figure in every aspect of The Dinner, and the French Chef sing a duet.

The Widow entertains diners with stories between songs, dances, and other performances.

The more-than-100 actors, singers, and musicians fill the central aisle as they leave the stage between courses.

The French Chef sings a plea to the Housekeeper about the menu and invites praise for his magnificent cooking.

by Al Golub

Cowboy Photography Workshop July 2011

Two weeks ago, the Erickson Cattle Company held a Cowboy Photography Workshop in Ackerson Meadow near Yosemite National Park.  Here is my record of what I saw during the workshop.  Photographers were treated to lots of real cattle ranch activity.  A late rainy season kept the wildflowers and grass alive and colorful until this mid-July date.  Normally the grass is brown and the flowers are gone.

With the help of Tim Hansen and Will Bennett, Dan Erickson moves cattle across Stone Meadow.  Cabin in background is the original ranch house built by Dan’s great-great grandfather in 1892.

Dan saddles up a second horse to give his first horse a rest.

Dan and Andra Erickson move cattle from back corral.

William Henderson and Julie Kitzenberger photograph morning mist on Stone Meadow.

Horses run through muddy bog.

William Henderson photographs dew on wire fence.

At day’s end, Dan moves horses back to corral.

During the day, Andra Erickson photographs her husband with son Logan close by.

At sunrise, Dan takes a moment to give his horse a rest.

Julie Kitzenberger photographs Tim Hansen near sunset.

Andra Erickson leads horse from upper meadow.

Photographer gets a chance to capture early light.

Wyatt Hansen ropes calf.

William Henderson in foreground, Julie Kitzenberger standing at left, Charlie Phillips standing on right, Wes Schultz on far right.

Group of cowboys and cowgirl move cattle from back of corral.

Dan Erickson slips reins around neck of horse to change mounts.

Andra Erickson

Tim Hansen uses rope to move cattle.

Wyatt Hansen takes a break during morning activities.

Dan and Tim walk horse into corral.

Will Bennett and Dan Erickson take calf down after Wyatt Hansen roped it.

Wes Schultz decided to photograph me.

Wes’s photograph of me.

 

 

by Al Golub

Riot Training 1967

Less than two months after the infamous Detroit riot of July 1967 in which the Michigan National Guard was called out, I was assigned to photograph California National Guard riot training for the Modesto Bee.  At the time, I was still learning how to be a professional photojournalist, dealing with law enforcement and government agencies on a daily basis, listening to their view of events, and keeping the interests of the reading public first and foremost.  Now I would be working with an arm of the military during a turbulent, conflict-filled time.

I had strong feelings about the Detroit riot, which lasted five days with 43 people killed.  I also had strong feelings about the 1965 Watts Riots during which 34 people had been killed and over a thousand injured.  I was in the Air Force at the time.  Because I grew up in the Los Angeles area, the Watts Riots were close to home and I wanted to get down there to check things out.  But that was impossible.

While I was in the Air Force, more than three of my four years were dedicated to the Castle Air Force Base Valley Bomber.  As the Valley Bomber’s photographer, I got tons of experience making visual images to tell stories.  It was easy for me to listen as the story subjects explained their job or department, its functions and operations.  As they talked, visual ideas would instantly pop into my mind about how to tell their story.  The process was uncomplicated, uncontroversial, and simple.

Now that I was in the world of photojournalism, I worked very hard to make the truth my mantra.  Most subjects are controversial to one degree or another.  Objectivity is essential.  Achieving objectivity is an internal struggle that requires understanding my personal feelings while truly remaining open to the reality and facts I see.

The Modesto Bee provided me with some great mentors.  Both Chuck Rodgers and Forrest Jackson instilled in me that we owed it to our readers to be truthful.  They would kid me a lot, saying, “Don’t worry.  Only a couple hundred thousand people will see your work.  If you make a mistake there will be phone calls.”

On my way to the assignment, a load of issues were going through my head.  Most of my family has been in the military, so it was common knowledge in the family that using soldiers as riot control is dangerous.  I didn’t want to glamorize the lethal approach to riot control, but I didn’t want to make the guardsmen look bad in any way.  I knew that they were young men just doing their duty.  At the same time, my military training told me that these infantrymen would be battle-trained and not prepared for civilian riot control.  I concluded that my approach would be to show the training as seriously and accurately as I could.  The images would tell the story and readers could draw their own conclusions.

Lucky for me, I had learned from my dad to be straightforward with everyone.  When I got to the Armory I talked to the 1st sergeant.  He gave me full access to the training (after hitting me up about how I could join the National Guard and make some extra cash).  Out on the field, there were troops with fixed bayonets moving forward on a skirmish line.  Purple smoke grenades were being shot from M14 grenade launchers to simulate tear gas.  So I took off running to the center of the skirmish line.  The troops kept coming and I kept shooting, using my Nikon high-speed thumb motor drive system.  Everything came together in a few moments and then it was over.  I photographed some other images including a practice interaction with a crowd of civilian-dressed guardsmen, but I knew that the skirmish line shot would tell the reader how dangerous it is to use lethally-equipped, battle-trained troops against our own citizens.

Back at the paper, the page one editor decided to use my single shot of PFC David Dean pointing his bayonet at me.  As I shot, PFC Dean stopped and held his bayonet toward me.  I only got a couple of clicks before he lowered his weapon as the Spec4 gave the “at ease” command.  Then, being a good photojournalist, I asked him his name and rank.

In those years the Modesto Bee used “Bee Photo” for most bylines rather than the photographer’s name.  On rare occasions when the editors felt images warranted a personal byline, the photographer’s name was used.  PFC Dean ended up on A-1 and they gave me the personal byline with three more images on A-4.  The next day instead of being happy about the personal byline, I complained about the inaccurate caption, which stated that the soldier was walking through tear gas.  I asked Chuck, “How stupid do they think I am to say I would walk into tear gas to take a picture?”  He calmly told me, as I also learned to do in later years, that he would talk to the caption writer.  Without a pause, he handed me a couple of new assignments.  And like the good photojournalist I was becoming, I immediately took off to do them.

As expected, I caught plenty of flack about being so macho that I would walk through tear gas to get a picture.  The friendly harassment was not unwelcome, but even more important was my satisfaction that I had made an image that told the story.  Reader response was positive.  Some were scared.  And that was just as it should have been.

 

 

by Al Golub

Jess Tharp — Fourth of July, 36 Years Ago

In the middle of June 1975, Laurelei Mullens, Modesto Bee features editor, sent me to south Modesto to photograph Jess Tharp, an 80-year-old cowboy saddle maker.  Mullens was doing an advance story for the big Modesto Independence Day Parade.  She wanted to do the story about Tharp because he would be the oldest rider in the parade and had been making and repairing saddles for over half a century.

When Tharp returned home in 1919 after serving our country in World War I, he changed careers.  Before the war, he had been a full time cowboy.  After the war he was offered $35 and beans for breaking horses, a job that had paid twice as much before the war.  He said, “Forgit it.”  From 1922 on, he would be a saddle maker.  He got his start in a saddletree shop in Utah.

Jess’s saddle shop in Modesto was full of smells that were familiar to me.  I grew up in my father’s shoe repair business.  Golub’s Shoe Repair smelled of freshly tanned leather just like this saddle shop.  There was a heavy coat of dust that came from shaving leather and the tools were similar to those I played with as a kid.  To see Jess’s images on Photoshelter click here.

Jess took cheerful pride in the saddle he was going to use in the 4th of July parade.  He used a saddletree that was older than he was, made in 1882.  He restored the saddle the year before, but this would be the first time he used it since the restoration.

He told me he would be the oldest rider in the parade and would wear his 60-year-old spurs, saying “I’ve rode many broncs with those spurs since 1915.”

Jess gave me a quick lesson in hand tooling.  He let me practice making an acorn pattern on a scrap of leather.

He hand tooled the Main & Winchester trademark on the fender of the saddle. The Main & Winchester Saddlery was one of the best known among the Old West Saddleries.  They were a San Francisco based business that started up during the Gold Rush of 1849.

When asked why he kept on working into his later years he said, “If I’d just sit down and do nothing. I’d be a mess.”

“Sure, I worked as a cowboy for three years steady, getting $70 a month for breaking horses, but that was before the war.”

Jess works a hand-operated cutting machine for making leather strips to be used as reins and other rigging.

Special sewing machine is used to groove and stitch leather reins together.  Being in Jess’s saddle shop was like going back in time.  Jess told me about his days in Colorado when he carried a .32-20 Colt in his chaps pocket.  “It was one of the long barreled jobs.”

On the cantle of the saddle was the original trademark.  Jess’s pride and craftsmanship reminded me of my father and the shoemakers that worked with him.  I know my craftsmanship and sense of pride for my photography comes from what I learned from my father.

 

 

by Al Golub

John V. Tunney California Senatorial Campaign 1970

Last week I blogged my 1968 experience with national politics and campaign trains in my blog “Robert F. Kennedy 1968.”  A little more than two years later, I got the opportunity to put into action what I had learned when I was given the assignment to cover 1970 U.S. Senatorial candidate John V. Tunney.   The press arrangements required reporter Fred Youmans and me to meet the train twelve miles south of Modesto in Turlock.  We identified ourselves to Tunney’s campaign staff and security and got on board the historic observation car known as the “El Dorado” — built in 1924 by Union Pacific and previously used by President Franklin D Roosevelt.  I quickly got to work photographing candidate Tunney and actor Burt Lancaster.  All too soon, we were in Modesto.  Photoshelter The minute I jumped off the “El Dorado,” I hurried to get close under the observation deck.  Tunney was rousing the crowd with a rip-roaring speech and they were responding with enthusiastic cheers. Tunney’s security guards were out in force because there were demonstrators from opponent Senator George Murphy’s campaign.  For me, the guards were easy to deal with because I followed their rules and checked in with Tunney’s staff on the train.

While on the ground, I used my newly acquired Nikkor 20mm f3.5 lens to get good images from the east side of the train.

Burt Lancaster, 1960 Oscar winner for “Elmer Gantry” and politically-ahead-of-his-time Hollywood star, was easy to photograph in the “El Dorado.”  I also spotted Rafer Johnson in the “El Dorado” but didn’t get to photograph him before I had to go. (for more on Rafer Johnson, see last week’s blog “Robert F. Kennedy 1968.”)

Before I left the “El Dorado,” I got a chance to shoot behind the candidate.  This 105mm shot into the audience shows the face of Stanislaus County in 1970.

Took this basic talking head shot of Tunney talking to Fred Youmans.  You should always shoot lots of portraits and talking head images.  These images or mugs always become more important later.

I jumped up on the step below the observation deck and held on with one hand while photographing the crowd with the other.

The protesters and the supporters seem to be having a little pushing match with their campaign signs.

By the time I got over to the west side of the train, Burt Lancaster was speaking.  According to the briefing, this meant the train was going to pull out of the station soon.

While I was behind Tunney on the observation deck, I used the old hands-over-my-head with the 20mm to make this image.

As planned, Ted Benson picked me up at the train station and gave me a ride south to Turlock to pick up my car.  This image was taken a couple years later of the two of us walking together after a similar campaign event.  Can’t remember who gave us this transparency.  The photographer documented our appearance.  Need I say more?

 

 

by Al Golub

Raiders 2010-11 Season

Still hoping the National Football League and the Players Association will come to an agreement so they can play football this year.  I have been photographing the Raiders almost as long as I have been covering the 49ers.  The drive is shorter and it is easier to get in and out of the Oakland-Alameda County Coliseum than Candlestick Park.  The Silver and Black had a little better season than the Niners.  But 8 and 8 wasn’t good enough to save Tom Cable’s job.  Check out my gallery on Photoshelter, if you would like to see more images.  Raider fans have lots of enthusiasm.

November 07, 2010

Kansas City Chiefs running back Jamaal Charles #25 stiff arms Oakland Raiders safety Mike Mitchell #34.  Raiders beat the Chiefs 23-20 in overtime.

September 19, 2010

Oakland Raiders defensive tackle John Henderson #79 and linebacker Rolando McClain #55 tackle St. Louis Rams running back Steven Jackson #39.  Raiders defeat Rams 16 to 14.

October 10, 2010

Oakland Raiders punter Shane Lechler #9 on the sidelines.   Raiders lose to Dolphins 17-33

November 07, 2010

Oakland Raiders defensive end Matt Shaughnessy #77 sacks Kansas City Chiefs quarterback Matt Cassel #7.  Raiders beat the Chiefs 23-20 in overtime.

October 17, 2010

Oakland Raiders quarterback Jason Campbell #8 attempts to pass the ball while San Francisco 49ers linebacker Ahmad Brooks #55 and linebacker Parys Haralson #98 tackle him.  49ers beat Raiders 17-9.

October 31, 2010

Raider fans love to dress up.  Every game is like Halloween.  Raiders win over Seahawks 33 to 3.

September 19, 2010

Oakland Raiders quarterback Bruce Gradkowski #5 scrambles to avoid defenders. Raiders defeat Rams 16 to 14.

December 19, 2010

With Oakland Raiders defensive end Matt Shaughnessy #77 bearing down on Denver Broncos quarterback, Tim Tebow #15 makes pass during game.  Raiders beat Broncos 39-23.

December 26, 2010

Indianapolis Colts defensive tackle Fili Moala #95 finally pulls down Oakland Raiders running back Darren McFadden #20.  Raiders lose to Colts 26 to 31.

September 19, 2010

Oakland Raiders running back Darren McFadden #20 breaks tackle from St. Louis Rams linebacker Larry Grant.  Raiders defeat Rams 16 to 14.

 

October 10, 2010

Miami Dolphins wide receiver Davone Bess #15.  Raiders lose to Dolphins 33-17.

 

 

by Al Golub

Spring Branding

I figured that before I blogged the Erickson Cattle Company’s cattle drive this year, I should show some of the work cowboys do before the drive.  First, they round up the cattle from the ranch, and then separate the calves to brand.

Catching the calves is just like team roping at the Rodeo.  If you would like to see more of my branding images check out Photoshelter and click here.

 

After the header leads the calf out of the corral, the heeler ropes the back legs to pull the calf down for branding.

Branding is done to show ownership.  These cattle graze in the mountains where proof of ownership is needed.

Branding is done quickly.  Cowboys say it is done to mark the cattle not to hurt them.

When you are born into a cattle family, you learn to be a cowboy by firsthand experience.

Some doctoring is done at this time of year.  Here the foreman puts a parasite spray on a calf that was skipped in the usual process.

Cowboys often have to lay the calf down.

Young cowboys have lots of time to practice their roping skills.

Moving calves around is a constant job.

Cattle ranchers always start early to make use of the sunlight.

Traffic control is an important safety factor.

 

 

by Al Golub

Cowboy Photographic Workshop 2010

August 14, 2010, I participated as a teacher for the Erickson Cattle Company Photography Workshop in Ackerson Meadow near Yosemite National Park.  I love to share my knowledge with others plus get an opportunity to make a couple images at the same time.  A good part of my career was motivating, coaching, helping, and problem solving with photographers, so a workshop is a good match for me.  I have known the Erickson family cowboys since the late sixties, which is just a drop in the bucket when you consider their family has been moving cattle every summer to graze in the Yosemite National Park area for over 120 years.

Cowboys start at sunrise; Dan Erickson is moving cows along a fence line so photographers can get a good image.  We are going to have two dates this year for the Erickson Cattle Company Photography workshops July 16th – 17th and August 13th – 14th.  This workshop is a great opportunity for photographers of all levels to photograph real working cowboys in their natural environment so that you’ll be sure to make images that will enhance your portfolio.  I’ll be there for hands-on photo coaching to help with all technical questions as well as any creative guidance, and I’ll provide one-on-one editing after our shoot.  If you are interested, email me at al@golubphoto.com for more information.

Safety is always a consideration.  We organize shooting positions so we don’t interfere with other photographers.  After the early morning shooting, a chuck wagon style lunch is served.  We work with photographers to edit their work and plan the upcoming sessions.

During the day, cowboys do their normal duties.  These activities are close enough for photographers to photograph.  The cowboys do everything from roping and herding cattle to running horses and saddling them.  The scenery is beautiful and the cowboys are the real thing.  If you would like to see more of my cowboy images click here to view them on PhotoShelter.