Only one other sports photographer had a special ‘look’ to his photos, Canada’s Tony Lanza. He captured the essence of action and had a special realism to his posed pictures, some of which he took in his studio. He was a true photographer, as he developed and printed his own pictures at his studio. “His pictures were always quite incredibly detailed. Theo’s works were always works of art,” said Westbrook, further explaining what made Ehret great - more than just his Rolleiflex camera.”Theo was best known for his use of medium format equipment, particularly 120 size film,” said Westbrook. “In the 1970s-1980s, Theo’s name was synonymous with Los Angeles boxing and wrestling. They know what they’re doing for the character.”ĭan Westbrook was another ringside photographer in Los Angeles who looked up to Theo (pronounced “TEY-O”). And with someone doing a crazy act like Sheik or (Pampero) Firpo, you really don’t have to tell them what to do. “That kind of posing creates depth and wonder. Mike Lano, one of his students/worshippers shooting at ringside. Never look at the camera directly but tell them to glance diagonally in a straight line away from your lens,” Ehret once told Dr. “I taught Blassie (in the sixties) to look off in the distance and point. It certainly helped that Ehret had earned the trust of the wrestlers and the bookers, and was often let in on finishes and the timing of the bouts.Įhret taught Blassie how to properly pose.
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