on the other hand

Boston in July? Why not?

We'd never been, but it wasn't on a whim that we travelled this far into foreign territory. Months ago, after acquisition of one of motion picture technology's most favored devices - a Steadicam Pilot - it was recommended by one and all that a workshop should be included along with the Steadicam. The workbook is a great start, but the hands-on approach is a quick way to vault up the learning curve. At the time, the Boston workshop was the closest time wise as well as geographically.

In the few months between signing up for the workshop and actually attending in Boston, I've been able to get in a good bit of practice, find various balance combinations that do or don't work, and employ the device in the production of a short film, the self produced "Walking With Roscoe."

While the location of our hotel was less than ideal for direct access to famous tourist sites in Boston (it was chosen to be within walking distance to the workshop), public transportation in the Boston area is superb. The CharlieCard, which can be purchased in all the subway stations, permits access to the subway trains as well as the buses. It keeps an electronic record of the fare paid initially, rides deducted, and can be replenished electronically as many times as desired. Something this intelligent is bound to help immesureably with getting people to use public transportation. Which the Boston area residents surely do. Buses and trains are nearly always full, and they run on a frequent schedule.

It would seem that all the classes and workshops I take I already have a fairly good grasp of the material prior to arrival. This seemed to be the case with this workshop as well. At least I know the theory. The practice requires A LOT more practice. What our instructor, Director of Technical Services at Steadicam, Peter Abraham was particularly emphatic about is learning to use the Steadicam to carry a camera in a manner that truly emulates how a human witnesses the present. Or at least be aware of the manner of human presence, to create movement that contradicts the smoothed, rounded corners, short cutted way we travel through life.

Day 1 was theory and basic movement.

Day 2 was practice operating three different shots designed by Peter that permitted us to branch out and work in various spaces around the Rule/Boston Camera facility. Shot 1 was with the Panasonic AG-AF100 Micro 4/3 camera on a Pilot rig, and utilized a Don Juan move in the middle of the shot. Shot 2 used some large Panasonic video camera & lens on the Zephyr rig in low mode, camera flipped upside down and the monitor up top. A lot of gear to move around, it never felt very comfortable. Shot 3 was with a Sony PMW F3, a Zeiss 18mm CP2 prime, on a Scout rig. This was our Grand Prix shot, the only one recorded during the weekend. In fact, everyone looked pretty good.

And it was pretty nice to return home and be able to offer some Steadicam work to someone else the following day.

time to move on?

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After five attempts to compose something from this landscape during the full moon rise (minus one night for this particular exposure), it's getting to be similar enough that I need to search for something different. On the other hand, now that the weather has turned warm again, it's incredibly pleasant being out in a nearby location at the intersection of moonrise and sunset, whether one or the other is obscured by clouds or not.

The bugs make their presence well known at that time of day, particularly in tall grass. But it's nothing to compare with the midges of Scotland that we encountered almost exactly four years ago, or the black flies last summer when we were in Grand Isle, MI. Photographers' preferred times of dawn and dusk also happen to be when midges and black flies swarm the most. Travelers to the beauties of the Highlands need to know about this nasty fact of Scottish life. In Michigan's Upper Peninsula the black flies swarmed badly enough to make large format photography (aka slow photography) exceedingly unpleasant along the shore of Lake Superior. In both locations, keep moving and the swarms are not usually unbearable. Set up a camera on a tripod for several minutes, and the hoards descend, bringing temporary insanity. Fortunately here in Central Virginia, the instances are far smaller, hardly approaching swarm status. But without some protection one is bound to return with mosquito bites.

Despite the blood sucking element to the environment, I'm likely to return repeatedly to this location.

a dusty road

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This is about to get fenced in, meaning I'll be fenced out. So hopefully there will still be a chance to poke around a bit more, aftrer spending some time there again this past weekend. It has occurred to me that I might ask permission for access. But that's more preproduction planning than I'm usually willing to devote to a picture, and surely kills the momentary glee of finding an interesting location. The film's in the lab and John's having troubles with parts for the E6 machine, so no telling when we may see the exposures. This snap from an old pea shooter will have to suffice for the time being.

a measure of success

last month's attempt - click 'er for bigger

After only three monthly attempts to catch a particular planetary occurance, it appears as if last night's foray into the clouds and rain was successful. This was a good example of being doubtful about what the weather is going to do half an hour before the time you want to take a photograph, but going out anyway. It was starting to rain when I left the house, although the sun was shining over the mountains to the west. It rained a bit more aggressively as I set up a new composition pointed in the general direction of where I thought the moon would rise, and the rain continued hard enough that I needed to break out the umbrella, for which I dearly needed a third hand, while also trying to change lenses and take a light reading.

Ah yes, the digital device would have been soooo much simpler. But who said easy was better? In most other forms of work that I've performed, rarely has the easy solution to a problem been the best one. Why should photography be any different?

The first exposure was captured, in the rain, with the landing lights flashing.

The horizon to the west clouded over as the sun went down, but to the east it seemed to clear somewhat. The rained ceased and I waited. After half an hour or so, sure enough the moon rose more or less in the location I had expected. I gave it another fifteen minutes and decided to move the camera across the field for a different composition.

Indeed, the lesson reinforced last night was not to let the weather discourage you from heading out for photographic purposes. Sometimes at the last minute things change for the "better," whatever the desired conditions might be.

The photo is coming...soon.

Update on Friday, April 23, 2010 at 03:31PM by KMW

Yes, the photo was posted last week, and trashed a few days later. Not a very good image, with a vast discrepancy between how it looks on different screens. The desktop PC where most photo work is performed is fairly "accurate" for gamma and output. (Although I notice that several recent images seem awfully dark.) When viewed on the MacBook Pro, with it's adjustable screen brightness, the moon was barely visible against a rather bright sky. Oh well, perhaps I'll keep trying, but I guess you really need a telescope to get a good image of the moon.

it only goes so far

"Camping World" - click 'er for bigger
Some time back, it seemed as if Mike Chisholm was chiding me for "stalking" my photographs. Maybe I'm taking it personally, or maybe I'm not so very unusual in seeing compositions and planning in some detail how to capture a view imagined for some time in the minds eye. This view is a good case in point: I noticed this spot  probably a year ago, but it wasn't until my recent return from mid continent that I had the time and inclination to stop and set up the camera. The location is at least two hours driving time from home and not really on the way to many places we head towards very frequently. This may not be the ideal time of day to have been here, but that's when I was passing by. Looks like we may be headed that direction again next week, so perhaps I can impose upon the fam to let me take some time to try again.

a twist - no shouting

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What would our local luminary TJ, guide, hypocrite, and gauge in all things political, architectural, and human have to say about the current state of access to the building which he built and which this chunk of marble now stands?

Calling the requisite authorities to get clearance to photograph in the Rotunda at the University of Virginia, I was told I could carry a camera into the building, as any other member of the general public was permitted to do. But that I could not bring a tripod on which to place the camera, or an easel on which to place a book in order to continue my Landscapes in the Landscape project. The use of tripods denotes some kind of professional use of equipment, and there is no circumstance in which professional usage of the premises is permitted unless it has something to do with university programming.

This seems rather arbitrary, but of course it's one more instance of officials needing to control images created on premises within their spheres of influence, be they public or private. There seem to be three options at this point: 1) carry the Linhof in the backpack into the building, conceal a tripod and go outlaw anyway; 2) get to the point where I can use the Linhof hand held; 3) use something other than the 4 x 5 which can be more readily hand held.

Is this what laws are intended to do to us, make us into outlaws in order to control us against our own natures?