It's December 6th, 2010, and this is the Cated Frame.

Before I introduce today's guest, I want to share my thanks for the recent spur of donations

that have been made to the show.

They couldn't have come at a better time as I had two hard drives fail,

and your donations have helped towards ensuring a reliable backup for the show.

Now, I get to interview a lot of photographers,

of whom much has been written about and who have been interviewed dozens of times.

But when I was finally able to schedule my own interview with Joe McNally, I was really

excited to have a conversation that would build on what Joe has already shared before,

and he didn't disappoint. As you no doubt, no, he is an amazing photographer and a phenomenal

and generous teacher. It's always nice to discover that great photographers are great people as well.

So sit back and enjoy our conversation with Joe McNally.

Well, Joe, welcome to this show. It's a great opportunity to have a chance to talk to you this morning.

I appreciate it. It's a great show. You do a really terrific job and I'm honored to be asked.

Thank you. Thank you so much. Let's start in terms of your approach to photography.

I think a lot of people who listen to this show are already very familiar with your work either because of the books that you've written or the articles have been written about you.

But your approach to lighting, how much of that was born from just the necessities that were

demanded of you as a photojournalist, particularly in your early days at the newspaper?

Well, it's a, you know, it's an evolution, as a lot of photographic skills or adaptations are, for sure.

I wasn't really expected back in the days of my newspaper and wire service work to mess around overmuch with flash. It just wasn't necessarily a

requirement. I found myself gravitating towards it because I was curious myself about how to produce

better quality. And not that I was a better shooter than anyone else. It's just, you know, I would

...