Jolesch Enterprises: Adapting Photography to Evolving Event Technology

Deep Dive

The discussion begins with Chuck Henson, host of the "Joining Us!" podcast, celebrating the 50th anniversary of Bands of America. Henson, who served as the primary public address announcer for Bands of America's championships for 35 of those years, introduces the series' aim to explore the people and stories that have shaped the organization's legacy.

The conversation then shifts to Mark Jolesch, founder of Jolesch Enterprises and official event photographer for Music for All, who is a member of the Music for All Hall of Fame. Jolesch recounts how his interest in photography began in high school when he was asked to print black and white negatives of the football team. This led him to experiment with printing and eventually to shooting sports to earn money for a camera.

Jolesch details his college experience at Drake University, where he began shooting fraternity and sorority parties in 1975-1976. This work expanded to high schools in the area, and he also became involved in shooting Greek life photos, which involved group portraits in front of houses and individual photos. He mentions that the lab he used for Greek crest photos is the same one his company still uses 50 years later.

The discussion moves to the early days of the photography business, including shooting prom pictures, which were a significant source of income before the advent of digital photography. Jolesch explains how, in the fall of 1983, he was introduced to the idea of photographing a contest in Pella, Iowa, by a band director. This led him to contact Everett Johnson of the Iowa High School Bands Association and eventually secure a contract to photograph the Iowa high school marching band championships in the fall of 1983. He notes that they utilized multiple crews from the outset for this event.

Jolesch clarifies his age during these early ventures, stating he was 18 in the fall of 1975 and around 24-25 when he began photographing for Bands of America. He officially incorporated Jolesch Photography in 1981. He also touches upon his brother Elliot's involvement in the business and their work in Iowa, including acquiring and running the Iowa State campus party picture business.

The conversation highlights the sheer volume of photographs Jolesch's company has taken over the decades, estimating it in the millions. He contrasts early event photography, which focused on group shots and limited individual images, with the current digital era, where events like DCI can generate over 125,000 images. He notes the interesting parallel that they are now doing individual portraits, a concept he initially proposed to Scott McCormick.

Jolesch describes the evolution of marching band performances, noting the shift from music and marching in the 1980s to incorporating drama and storytelling in the 1990s. He characterizes modern high school marching band shows as akin to one-act plays with a 10-minute duration, where the best performers are highlighted, similar to a quarterback in football.

He recounts the story of securing the Bands of America contract, explaining how two bands initially refused to have their pictures taken in 1983. This led him to contact Whitewater, who then directed him to Bands of America in Arlington Heights, Illinois. He eventually made contact with a representative who helped him get involved, and by 1984, he had secured the business, coinciding with a company split where Scott McCormick became the primary contact. He estimates they shot five to six regionals and Grand Nationals, involving about 35 bands in those early years.

The discussion addresses the growth of Jolesch Enterprises, from a two-person operation with Jolesch and Travis to its current scale. Jolesch attributes this growth significantly to his association with Bands of America and other pageantry organizations. He contrasts the early days, where film limited the number of shots and competition was minimal, with the digital age, which brought increased competition but also new opportunities.

Jolesch explains the evolution of action photography, initially requested by Scott McCormick for public relations purposes in 1984-1985. He recalls using film and hiring photographers from Bloomington who had experience in action photography, noting one particularly impactful photo of a drum major used for years. He discusses the challenges of capturing action shots today due to the sheer number of performers and the complexity of modern shows, emphasizing the need to service every student and capture as many faces as possible.

He details the logistical challenges and strategic decisions involved in photographing large bands, such as positioning photographers on the field to capture different sections and instruments. Jolesch also touches on the preparation involved, noting that new challenges arise annually and that their team is highly seasoned. He mentions the geographic distribution of their photographers and how event locations influence team deployment, highlighting the benefit of having photographers located near event sites.

The conversation includes a brief anecdote from Cheryl Thompson about a humorous incident involving a dad dressed as Santa Claus during a photoshoot. Andy Messerly, director of bands at Green Valley High School, offers congratulations to Bands of America on 50 years. Mark Whitlock shares two stories from the National Contest of Band Festival, one about an insightful clinic with H. Bob Reynolds and another about a gathering of evaluators, including Colonel Gabriel, discussing music, pedagogy, and artistry.

Jolesch reflects on specific photographs that have been significant to his career, including one from a retreat ceremony that was used for nearly 10 years. He discusses the business's transition, including selling and repurchasing it, and his continued involvement since 2013. He expresses pride in his association with Bands of America, DCI, and Texas UIL events.

He elaborates on the evolution of his business, contrasting the film era's limitations with the digital age's vast image capture capabilities. Jolesch notes that while digital photography increased competition, it also allowed for more comprehensive coverage. He explains that the group picture remains a driving force for their business, even with the rise of individual portraits and action shots.

Jolesch details the significant investment in technology, including 350 iPads and custom-built racks for their setup. He discusses the transition from paper and pencil for data entry to using iPads and the development of marketing strategies that include email and text messages. He highlights the challenge of data entry in the past and the improvement brought by digital systems.

He explains the historical practice of shooting section pictures, which were popular for about 20 years, but notes that the rise of iPhones and the desire for individual portraits have shifted their focus. Jolesch discusses the implementation of on-site printing, allowing customers to take home products like framed pictures and memory mates the same day, which he finds particularly rewarding.

Jolesch also discusses his philanthropic efforts and how Jolesch Enterprises provides photographers for Bands of America events as part of their arrangement, including covering awards and the Honor Band at the Tournament of Roses. He mentions that while sales opportunities exist, much of this is a give-back to the organization. He expresses pride in being associated with the sport, organization, and people involved in Bands of America, noting that many other organizations have emulated their event formats. He observes that smaller high school shows have become less feasible