This was from the first year I successfully shot hyper firewords bursts from my twin-rig setup. I only got a couple of shots that year, but the results were good enough to keep me trying. I used a formula I got from Don Lopp to calculate the stereo base, and I came up with 22 feet. After Don looked at the shots he said, “You know, since you don’t have anything *behind* the fireworks you could double the base. Ive been shooting with a 40 foot base ever since. Shot with twin Hasselblads fitted with 150mm lenses.
Tag Archives: long exposure
Corkscrew Colors #42
Taken in Corkscrew Canyon on a trip to the Southwest in 2008. TL-120, Provia 100F, f22, shutter speed unrecorded.
Carousel Follow Pan
This was another experiment to do something a little different with a stereo image. I tried following the ride as it was moving to get a crisp subject with a streaked background. Can’t claim success, but I’m encouraged to keep a’tryin’. One of the challenges was the lighting, which was a combination of fluorescent and tungsten. The original film I got back was awful to look at — super saturated ugly yellow-orange where you should see white. With some experimentation I settled on two filters stacked — one fluorescent and one blue. I think it was an FL-B and an 80A. If I remember right, the ideal exposure would have been 1/15th of a second but I couldn’t get there with my filters, even with pushing the film. I think these were shot at 1/8 second. I could probably get there with a flash that’s gelled for tungsten and fluorescent. Maybe next year! I’m not sure if this is the exact same image that’s in the folio (I sent some images in by mail and didn’t note exactly which scans they matched!). TL-120 with Provia 400X pushed to the limit.
Construction
For the past year or so there’s been a hotel going up across the street from my studio. Though I swore some years ago that I was “done” with “clear buildings,” the proximity and thus convenience of this building stimulated me to make one last one. It’s the reason I bought a Sigma (DP-1 Merrill) camera: this last Clear Building will be shot with some decent resolution, so that I can make truly large prints.
That work has been digital and is ongoing. But on a recent early morning, I found the building looking quite attractive, complex and mysterious. I shot it with a Sputnik, shooting cha-cha to obtain a larger baseline – maybe 12 inches – to give it more depth and interest. I did not record exposures but I think I shot thirty seconds at f-11 onto Kodak E-200.
A Night at the Opera
Snap Crackle Pop
Shot from a flat rooftop with 40 feet of separation. Hasselblads were triggered with car door locks.
From the personal collection of John Thurston.
El Nino and Super Orbiter
String of Pearls
Color Wheel & Sweet Treats
Drummer Boy
Golden
US Botanical Garden, evening in the “Jungle”
I shot the USBG earlier this year during the day, and it is a smorgasbord of post-industrial steam-punk vs. wilderness 3d imagery. I returned last month to try and capture the magical evening light, which makes the place look even more mysterious than it already is. I was hampered by equipment problems (in part of my own making), and did not get very many shots. This is one of the better ones, taken about 5 minutes after the “magic” lighting had ended. (Equipment failure prevented pictures during the magic 15 minutes!).
Then, on the drive home (about two hours highway driving), my car broke down near Culpeper, about halfway home. Michele and Jet had to come fetch me in the middle of the night. The car was repaired in Culpeper over the course of three more weeks. I only got it back just recently. All in all, an ill-fated photo mission.
Sputnik, RSX 400 film, f16 probably, 30 seconds exposure.
KINGS OF FREEDOM by Kaun at UVa.
In commemoration of the 25th anniversary of the fall of the Berlin wall, this year we have a supposedly historic piece of Berlin wall grafitti art on our campus, on loan from the Hefner Collection. It is Dennis Kaun’s KINGS OF FREEDOM. I’m still researching the provenance of this artwork, because I’m a little bit suspicious of it, as it is clearly signed “copyright” 1990. Continue reading