Tag Archives: Bob Venezia

A Fine Bouquet

by Bob Venezia

AFineBouquet_L as Smart Object-1One of my favorite fireworks shots, especially for the fineness of the light trails, and the color. I shared this image with someone who told me it made her feel like she was on top of the magic castle at Disneyland — one of my all-time favorite responses to a 3D slide.

Shot with twin Hasselblad 500Cs sporting 150mm lenses. Approximately 40 foot separation (based on the half mile distance between me and the fireworks, and the fact that we don’t discern any details behind the firworks — otherwise the 40 foot separation would be a problem).

Carousel Follow Pan

by Bob Venezia

WSF_Carousel_2_225x190This 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.

Aspen Abstract

by Bob Venezia

AspenAbstract_5_225x221This was a ‘proof of concept’ experiment in creating an abstract 3D image. It isn’t all I had hoped it would be, but it isn’t discouraging me either! Taken with the TL-120. Don’t recall the settings (I’m writing this after the slide was sent in, so answers could be on the mount!). Probably something like a quarter or eighth of a second exposure. Camera is swept down, hopefully level, and the shutter pressed when already in motion. I also don’t know if this image is the same one as the slide in the folio, but it’s in the same spirit.

What’re YOU Lookin’ At?

by Bob Venezia

Goat in the Enchantments

Mountian goat in the Alpine Lakes Wilderness, Washington State

My wife Mandy and I did a backpacking trip into the area of the Alpine Lakes Wilderess known as The Enchantments. High winds prevented my photography until this day. Mountain goats were around our tent when I returned from exploring. Shot with a Sputnik modified by Don Lopp.
This shot has been in another folio so you may have seen it before.

String of Pearls

by Bob Venezia

String of Pearls

Brooklyn Bridge with the lights on

In all but one of my shots of the Brooklyn Bridge from the Manhattan side the lights are off. This is the outlier. I think they were turned off this day at 1 am, shortly after I shot this. Twin Hasselblad 500Cs with 50mm lenses mounted on a wooden bar as close as I can get them (about 4.25″ between lens centers). Provia 100f, f22, 4 minute exposure.

Golden

by Bob Venezia

Golden

Fireworks above Lake Union in Seattle.

This was shot on July 4, 2014 from the rooftop of a friend’s condo. I get the entire 40′ long, flat space to myself! And I take advantage of the full length. The cameras are Hasselblad 500Cs, outfitted with 150mm lenses. They are triggered by a wired remote devised by my genius friend, James Baker, who owns the condo. There is an article in the 1.2014 issue of STEREOSCOPY detailing what goes into the planning. See:

http://www.stereoscopy.com/isu/stereoscopy-journal-97-2014-1.html

Horseshoe Bend

by Bob Venezia

Horseshoe Bend

I cannot look at Horseshoe Bend without thinking about Popeye the Sailor

Horseshoe Bend is a popular spot for photographers in the Page, Arizona area. It’s less than a mile off the road and boasts a sweeping view of a turn in the Colorado River. The classic shot requires a wider angle lens than I currently own. There was a German photographer who had a wide enough lens but he also possessed a strong fear of heights. I volunteered to take his tripod to the edge and capture the shot, for which he was most grateful.