Mustang Air to Air: The Sequel
/forum/topic/600984/4268

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USM IS
Registered: Apr 12, 2010
Total Posts: 1294
Country: United States

JWilsonphoto wrote:
Outstanding Michael! The Corsair rolling on take off in your previous post is wonderful as well! You have honed your panning technique to a fine edge!


Means a lot coming from you sir, still think it's all in that old 1dMKIV of yours!

Mike


Whoa! Top of the page, I think that is a first for me.



Go4Long
Registered: Sep 04, 2005
Total Posts: 1597
Country: Canada

Looking for thoughts from the brain trust on the best way to accomplish what I'm hoping to do...I want to be able to work on my Lightroom library from either my iMac or MBP while at home, not so important when I'm away...

If I were to use my creative cloud storage to house my lightroom library file, then put the image files on a NAS system, would that be the most effective way to accomplish that?



nrferguson
Registered: Apr 20, 2004
Total Posts: 1780
Country: United Kingdom

Is itBerwick?
Niall



ELinder
Registered: Feb 14, 2010
Total Posts: 564
Country: United States

Maybe I'm missing something, but if both machines can see the NAS, why would you not keep the catalog files on there too?

Erich



nrferguson
Registered: Apr 20, 2004
Total Posts: 1780
Country: United Kingdom

Anyone else going to Red Bull Air Race at Ascot tomorrow?
Niall



Go4Long
Registered: Sep 04, 2005
Total Posts: 1597
Country: Canada

ELinder wrote:
Maybe I'm missing something, but if both machines can see the NAS, why would you not keep the catalog files on there too?

Erich


I thought about doing it that way, but this way I'm still working off the same catalogue when I'm at events too, so rather than having to export the catalogue and reimport it when I get home I would just be transferring the files to the NAS when I got home.



JWilsonphoto
Registered: Jan 16, 2002
Total Posts: 16409
Country: United States

Great images Nick! I think that I've been this busy for most of my career, 2008-2012 was a bit of a rocky road, but then is was for most everyone. The scale of my projects increases as time goes by, but I think that's partly a function of increased capability, technological advances in equipment, and a very loyal expanding client base that regularly refers their valued clients and associates to me.

Years ago I was given the opportunity to kind of specialize in the almost impossible, it scared me to death, but I couldn't walk away from the gauntlet. One day I was called in for a meeting with Trammell Crow and a couple of his closest top people. Mr. Crow and I had become close over a period of a couple of years and I was well on the way to becoming the companies go to guy for everything photographic. He was forming a "ventures" group that would identify performing and non-performing properties around the world, negotiate bulk purchases of these properties, whip them into shape and either continue to manage them, or sell the packages at a substantial profit. These were the precursors to REITS as we know them today.

Mr. Crow pulled me in early, before the other players were scheduled, and proceeded to give me a crash course on what I was going to be asked to do. Trammell was larger than life, but not in a verbose, bellicose way, and I loved every minute I spent around him. Anyway, we were sipping fresh squeezed orange juice at this huge marble boardroom table, just the two of us, and he leaned over and began to tell me that this new style of packaging commercial real estate depended upon financial analysis and photography, and timing was everything. The partners would formulate a list of the properties with contact names (some of whom had no idea the properties were about to change hands), they would courier the list to me and the games would begin. There was always a deadline date that was very critical, and hundreds of millions, to billions of dollars depended upon my meeting that deadline. Once the list was in my hands, I would sit down with a map of the US & Canada, look at the weather in every location for the next one to three weeks, pick a logical point to begin and head to DFW.

I have always been a guy who takes comfort in knowing what is going to happen next, so the uncertainty, and the logistics of something like Mr. Crow was describing to me had me contemplating where the nearest men's room was. The challenge, the honor of my relationship with him, and later all the partners, oh yeah, and the money!!, forced me to look this impossibility square in the face and go for it. I never knew how long I was going to be at any given property/city, so advance airfare was not an option. I'd check weather as I was shooting a property in Virginia, with the next planned location in NY, but the weather was turning and the next best choice was a property in Northern California, so I'd get on the phone and book the next flight from where I was to SFO, then fly back to NY if the weather cleared, or someplace else it it worked. Numerous times I'd land somewhere and get a page (this was pre-celluar), from Mr. Crow or a partner telling me that the property I was headed to had just been pulled from the mix. I'd turn around, drop my rental car off, look at the weather and get on the next flight to somewhere that made sense.

Upon completion of the first package which had two dozen locations around the US, I landed back in Dallas, had prearranged to have my lab stay open all night to process my film, and I booked a room at Mr. Crow's Anatole Hotel a few minutes from the lab in case they needed me for something. I organized the slides in pages according to property and had them on Mr. Crow's desk when he walked in the next morning, 2 days ahead of our deadline.From that point on, there was nothing that they could throw at me that would phase me, I'd just launch off and get after it. There were no budgets, whatever it took to get my part of the project done was never questioned. Mr. Crow pioneered these kinds of packages, but other big real-estate investment groups piled on when they began to get wind of what Trammell Crow Companies/Trammell Crow Ventures was up to. I guess a lot of photographers took a look at the schedules, locations and the pressure and begged off, because it wasn't too long before Mr. Cow had referred me to Jones, Lang LaSalle, JP Morgan, and host of other huge investment entities. I'd get a call from some muckety muck in NY who would say, "Trammell says you can do anything, we need you!", and off I'd go.

Funny how the Good Lord works, He knew that I would have to get over having to know what comes next, if I was going to make a success of this photography thing, or even life in general, so he put me in a position that I couldn't refuse that would literally beat that out of me. Sure there are still times at 4:30 in the shower that I'm thinking what in the world have I gotten into, but it always seems to work out, and the experiences sure help to put you ahead of the pack in on the go problem solving.



nickjohnson
Registered: Sep 15, 2009
Total Posts: 795
Country: United Kingdom

futurshox wrote:
Ooh, nice Jet Provost! Is that a new one on the circuit? Or a new paint job on an old one? Haven't seen it before.

The harbourscape is not too shabby either ;-)


Thanks Jo,

That JP has been around for a bit, and I think, has had a recent refresh on the paint. See:-

http://www.newcastlejetprovost.net/

You know how some aircraft are really hard to get a good picture of and some are close to easy? Well for me this JP is about as easy as it gets. I have no idea who was flying it on this occasion, but they sure did a great job – tight box, close to but never over the line, top side passes – many could learn a thing or two IMHO. BTW, did you ever get a photo of the original piston jobbie?



nickjohnson
Registered: Sep 15, 2009
Total Posts: 795
Country: United Kingdom

nrferguson wrote:
Is itBerwick?
Niall


Yes, Berwick-upon-Tweed.



nickjohnson
Registered: Sep 15, 2009
Total Posts: 795
Country: United Kingdom

JWilsonphoto wrote:
Great images Nick! I think that I've been this busy for most of my career, 2008-2012 was a bit of a rocky road, but then is was for most everyone. The scale of my projects increases as time goes by, but I think that's partly a function of increased capability, technological advances in equipment, and a very loyal expanding client base that regularly refers their valued clients and associates to me.

Years ago I was given the opportunity to kind of specialize in the almost impossible, it scared me to death, but I couldn't walk away from the gauntlet. One day I was called in for a meeting with Trammell Crow and a couple of his closest top people. Mr. Crow and I had become close over a period of a couple of years and I was well on the way to becoming the companies go to guy for everything photographic. He was forming a "ventures" group that would identify performing and non-performing properties around the world, negotiate bulk purchases of these properties, whip them into shape and either continue to manage them, or sell the packages at a substantial profit. These were the precursors to REITS as we know them today.

Mr. Crow pulled me in early, before the other players were scheduled, and proceeded to give me a crash course on what I was going to be asked to do. Trammell was larger than life, but not in a verbose, bellicose way, and I loved every minute I spent around him. Anyway, we were sipping fresh squeezed orange juice at this huge marble boardroom table, just the two of us, and he leaned over and began to tell me that this new style of packaging commercial real estate depended upon financial analysis and photography, and timing was everything. The partners would formulate a list of the properties with contact names (some of whom had no idea the properties were about to change hands), they would courier the list to me and the games would begin. There was always a deadline date that was very critical, and hundreds of millions, to billions of dollars depended upon my meeting that deadline. Once the list was in my hands, I would sit down with a map of the US & Canada, look at the weather in every location for the next one to three weeks, pick a logical point to begin and head to DFW.

I have always been a guy who takes comfort in knowing what is going to happen next, so the uncertainty, and the logistics of something like Mr. Crow was describing to me had me contemplating where the nearest men's room was. The challenge, the honor of my relationship with him, and later all the partners, oh yeah, and the money!!, forced me to look this impossibility square in the face and go for it. I never knew how long I was going to be at any given property/city, so advance airfare was not an option. I'd check weather as I was shooting a property in Virginia, with the next planned location in NY, but the weather was turning and the next best choice was a property in Northern California, so I'd get on the phone and book the next flight from where I was to SFO, then fly back to NY if the weather cleared, or someplace else it it worked. Numerous times I'd land somewhere and get a page (this was pre-celluar), from Mr. Crow or a partner telling me that the property I was headed to had just been pulled from the mix. I'd turn around, drop my rental car off, look at the weather and get on the next flight to somewhere that made sense.

Upon completion of the first package which had two dozen locations around the US, I landed back in Dallas, had prearranged to have my lab stay open all night to process my film, and I booked a room at Mr. Crow's Anatole Hotel a few minutes from the lab in case they needed me for something. I organized the slides in pages according to property and had them on Mr. Crow's desk when he walked in the next morning, 2 days ahead of our deadline.From that point on, there was nothing that they could throw at me that would phase me, I'd just launch off and get after it. There were no budgets, whatever it took to get my part of the project done was never questioned. Mr. Crow pioneered these kinds of packages, but other big real-estate investment groups piled on when they began to get wind of what Trammell Crow Companies/Trammell Crow Ventures was up to. I guess a lot of photographers took a look at the schedules, locations and the pressure and begged off, because it wasn't too long before Mr. Cow had referred me to Jones, Lang LaSalle, JP Morgan, and host of other huge investment entities. I'd get a call from some muckety muck in NY who would say, "Trammell says you can do anything, we need you!", and off I'd go.

Funny how the Good Lord works, He knew that I would have to get over having to know what comes next, if I was going to make a success of this photography thing, or even life in general, so he put me in a position that I couldn't refuse that would literally beat that out of me. Sure there are still times at 4:30 in the shower that I'm thinking what in the world have I gotten into, but it always seems to work out, and the experiences sure help to put you ahead of the pack in on the go problem solving.


Thanks - and fascinating insight Jim,

The word that comes out of that is Trust. I just don't understand folks in the commercial world who stint in ANY way on the imagery for their product. For goodness sake the images are the first thing potential customers see – they get pulled in, or not, long before the gold plated wordsmithing gets a look in. Sooner or later companies have to brake out of their comfort zone, and learn to pick help they can trust. Against that background, not having a budget makes perfect sense. Given the size of the numbers involved, the imagery costs could only be noise. Besides which, given your schedule, how where you going to have time to overspend?

In the corporate IT train wreck that was DEC in the early 90s I unwittingly became a scarce commodity – A PC savvy worker droid with a “completer finisher” personality trait. At one time I was zooming all over Europe doing – for me – apparently simple tasks that no one else could or was trusted to do. One week I did back to back day trips to Milan and Paris – from London Gatwick. Man was I ever whacked. At that time matrix management was all the rage and somehow I found myself “working” for at least four “managers”. Madness.





stevezzzz
Registered: Aug 01, 2010
Total Posts: 3512
Country: United States

JWilsonphoto wrote:
Great images Nick! I think that I've been this busy for most of my career, 2008-2012 was a bit of a rocky road, but then is was for most everyone. The scale of my projects increases as time goes by, but I think that's partly a function of increased capability, technological advances in equipment, and a very loyal expanding client base that regularly refers their valued clients and associates to me.

Years ago I was given the opportunity to kind of specialize in the almost impossible, it scared me to death, but I couldn't walk away from the gauntlet. One day I was called in for a meeting with Trammell Crow and a couple of his closest top people. Mr. Crow and I had become close over a period of a couple of years and I was well on the way to becoming the companies go to guy for everything photographic. He was forming a "ventures" group that would identify performing and non-performing properties around the world, negotiate bulk purchases of these properties, whip them into shape and either continue to manage them, or sell the packages at a substantial profit. These were the precursors to REITS as we know them today.

Mr. Crow pulled me in early, before the other players were scheduled, and proceeded to give me a crash course on what I was going to be asked to do. Trammell was larger than life, but not in a verbose, bellicose way, and I loved every minute I spent around him. Anyway, we were sipping fresh squeezed orange juice at this huge marble boardroom table, just the two of us, and he leaned over and began to tell me that this new style of packaging commercial real estate depended upon financial analysis and photography, and timing was everything. The partners would formulate a list of the properties with contact names (some of whom had no idea the properties were about to change hands), they would courier the list to me and the games would begin. There was always a deadline date that was very critical, and hundreds of millions, to billions of dollars depended upon my meeting that deadline. Once the list was in my hands, I would sit down with a map of the US & Canada, look at the weather in every location for the next one to three weeks, pick a logical point to begin and head to DFW.

I have always been a guy who takes comfort in knowing what is going to happen next, so the uncertainty, and the logistics of something like Mr. Crow was describing to me had me contemplating where the nearest men's room was. The challenge, the honor of my relationship with him, and later all the partners, oh yeah, and the money!!, forced me to look this impossibility square in the face and go for it. I never knew how long I was going to be at any given property/city, so advance airfare was not an option. I'd check weather as I was shooting a property in Virginia, with the next planned location in NY, but the weather was turning and the next best choice was a property in Northern California, so I'd get on the phone and book the next flight from where I was to SFO, then fly back to NY if the weather cleared, or someplace else it it worked. Numerous times I'd land somewhere and get a page (this was pre-celluar), from Mr. Crow or a partner telling me that the property I was headed to had just been pulled from the mix. I'd turn around, drop my rental car off, look at the weather and get on the next flight to somewhere that made sense.

Upon completion of the first package which had two dozen locations around the US, I landed back in Dallas, had prearranged to have my lab stay open all night to process my film, and I booked a room at Mr. Crow's Anatole Hotel a few minutes from the lab in case they needed me for something. I organized the slides in pages according to property and had them on Mr. Crow's desk when he walked in the next morning, 2 days ahead of our deadline.From that point on, there was nothing that they could throw at me that would phase me, I'd just launch off and get after it. There were no budgets, whatever it took to get my part of the project done was never questioned. Mr. Crow pioneered these kinds of packages, but other big real-estate investment groups piled on when they began to get wind of what Trammell Crow Companies/Trammell Crow Ventures was up to. I guess a lot of photographers took a look at the schedules, locations and the pressure and begged off, because it wasn't too long before Mr. Cow had referred me to Jones, Lang LaSalle, JP Morgan, and host of other huge investment entities. I'd get a call from some muckety muck in NY who would say, "Trammell says you can do anything, we need you!", and off I'd go.

Funny how the Good Lord works, He knew that I would have to get over having to know what comes next, if I was going to make a success of this photography thing, or even life in general, so he put me in a position that I couldn't refuse that would literally beat that out of me. Sure there are still times at 4:30 in the shower that I'm thinking what in the world have I gotten into, but it always seems to work out, and the experiences sure help to put you ahead of the pack in on the go problem solving.


Jim, that's an object lesson in business practices from both ends of the deal. Hats off!



JWilsonphoto
Registered: Jan 16, 2002
Total Posts: 16409
Country: United States

Dear Zim,

Thanks. I have never taken relationships lightly, but at this juncture I find myself marveling at the icons, many now gone west, that I have had the privilege of not only working for, but becoming good friends with. Had God not put me on this very unlikely path, I would have missed so much, all of you included, and I am most grateful. Makes me realize that I should have listened to Him a little more consistently over the past 65 years, seems He had a better plan and I gummed it up on a pretty regular basis.



JWilsonphoto
Registered: Jan 16, 2002
Total Posts: 16409
Country: United States

I hear you Nick! Glad you enjoy a peek into my little corner of the world every once in a while.



JWilsonphoto
Registered: Jan 16, 2002
Total Posts: 16409
Country: United States

This is a client that keeps reinventing themselves. Those of you headed to NBAA, keep your eyes peeled for a 16' version of this shot



JWilsonphoto
Registered: Jan 16, 2002
Total Posts: 16409
Country: United States

Speaking of that, JR and I are thinking that we will really enjoy NBAA 2015.............



nrferguson
Registered: Apr 20, 2004
Total Posts: 1780
Country: United Kingdom

One from this year's Farnborough Air Show
Niall



JWilsonphoto
Registered: Jan 16, 2002
Total Posts: 16409
Country: United States

Oh and Nick, you hit the nail on the head re: imagery. I am constantly amazed at the advertising agency dollars spent to wordsmith and graphical arrange a campaign, then stick hap hazard imagery all over it. I cannot explain it, but it follows along the lines of the billions spent trying to convince potential clients about customer service, and then doing little to actually provide it, AT&T comes to mind, but they are just a name on a long list.



JWilsonphoto
Registered: Jan 16, 2002
Total Posts: 16409
Country: United States

Well DJI is neck and neck with Apple for packaging design. The Ronin case and the organization within is pretty cool. I'm charging the battery, pix tomorrow.



stevezzzz
Registered: Aug 01, 2010
Total Posts: 3512
Country: United States

When we lifted off 46U (Alpine Airpark, Wyoming) on Wednesday morning there were low clouds and fog in the valleys for many miles around: miraculously, there was a nice big hole right over the airport and we were able to get up on top, easily and safely.



VFR On Top (with Tetons)



Jan-Arie
Registered: Dec 24, 2005
Total Posts: 3674
Country: Netherlands

Just Beautiful Steve



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