One of the better captures from the Seattle Lake Union fireworks display this year. The pano mount helps to concentrate on the most pleasing part of the image. Approximately 40 foot stereo base.
Independence Day fireworks over Seattle’s Lake union, July 2023
Ages ago, I shot this view of the (then) new UVA Hospital with a Hasselblad, maybe two of them on a bar – in any case this is a cha-cha to obtain the necessary stereobase, which was probably around a foot, judging from the parallax in the image. I imagine the exposure was around 30 seconds. Extra credit for the astronomers in the group that can identify the stars in the sky:
UVA Hospital, Charlottesville, VA
My “day job” is technical illustration. My clients are engineers at the University of Virginia, mostly. One day I went to visit a lab, and discovered this gigantic machine. Impossibly complex in its construction, for all I knew it could have been a time machine. So I started calling it the “time machine,” whenever I mentioned to my engineer client, and that I’d like to come in some day to photograph it. The title of the image that I finally made says about the same thing. For real, this is a Directed Vapor Deposition machine. A big electron gun hits one material, vaporizes it, and the vapors are deposited onto another material. Believe it or not, it is not a custom made machine. You buy these things retail. Cost? about $1M:
Temporal Continuum Distortion Analyzer (Posterior Aspect)
In or around 2012, I had the opportunity to photograph inside a retired coal-fired power plant not far from where I live. This plant, in Bremo Bluff, VA, was the first “automatic” coal fired power plant built in USA. “Automatic” meant in those days that most of the valves, flaps, conveyor belts, and other machinery was centrally controlled. Which means, there was a central control room, where through the use of electrical switches, one could remotely actuate any of the hundreds of valves in the plant – as these were electrically actuated. I’m sure there was a measure of fear or distrust in the system early on, as plant operators were instead used to shouting control commands at a team of plant workers, on whom one could surely better rely to get the job done than the new-fangled electric motors.
I worked on three separate days in the plant to make photographs, using with great pleasure John Thurston’s custom TL-120-55 for the wide angle views. I am forever indebted to John for his generous loan of the camera to me that year. In this view we have my old friend Chuck Holzner up there on another level (see the white hard-hat?) taking some of his own pictures. Along the left side of the view, rising up through the various levels, is one of the four burners in the plant. These are 100 foot tall furnaces (not counting the smokestack outside the building!), that included Ash removal apparatus at the very bottom, a furnace chamber 1/3 of the way up including hundreds of pipes for heat exchange (i.e. for boiling water, making steam), and at the top a variety of filters to capture particulates in the exhaust. I’ll guess this was a three seconds exposure:
Bremo B 418 Main Room
Elsewhere in the plant, I captured this view of just a tiny fraction of the pipes and plumbing that, along with grated floors and vast spaces, characterized the place. Probably a thirty seconds exposure in this dark spot:
Bremo C 515 “Pipefitter’s Nightmare”
I’ll close with an image obtained in or around 2014 at the United States Botanical Garden in Washington, DC, where I fell in love with the “Jungle” greenhouse that is central to the place. In this three-stories tall greenhouse, one can commune with a variety of lush tropical plants, even in the deep of winter, and witness the slow motion battle between the built environment and the imprisoned flora. This picture was taken with a Sputnik, a good bit after sunset – I like the interplay of just a little natural light in the background, with artificial lights in the foreground. I imagine about a ten or twenty second exposure.
USBG-1302
End of the fireworks show where the pyrotechs pull out all the stops
Takin’ It To ‘Z!’
4 From Bob Venezia
Timing was very unfortunate this year. I blame the Coronavirus. I received 2 folios within days of my state being identified as one of the world’s hotspots. The problem was compounded when several of my coworkers were ordered home because of potential exposures to the virus. For a while I was doing the work of 5 people. Even though by now there are 4 of us doing the work of 5, I’ve still been working long hours and not getting enough rest.
Sorry to have held onto the folio for so long. I’ll try to add some context to the photos in the coming days.
Skydiver is among my all-time favorite carnival ride shots. It’s the only time I captured the intermittent movement of this ride while it was loading. (My other captures of the ride show a more boring seamless disk when the ride was in full motion.
Photographers Playground is a slight hyperstereo shot at Bryce Canyon. At the time I was cursing these people who were messing up my nature shot. But clearly I ‘m an idiot, as you can see that they make the shot. Shot with Hasselblads at about 18 inches separation.
Fireworks (Sorry, I’ve already sent off the folio and don’t remember the exact title) is another of my hyper shots with forty feet separation.
And Edison Advances is shot with twin Hasselblads in a macrobox with a beamsplitter.
Independence Day fireworks over Seattle’s Lake Union
Taken with twin Hasselblad 500Cs spaced 40 feet apart and triggered with an ingenious device created by my good friend James Baker. The photo is taken from James’ roof. There will be no public fireworks show in Seattle in the year of 2020. But next time I shoot them I expect to be able to trigger the cameras wirelessly, using motorized film winders. Looking forward to that!
Seattle Skyline from the Jose Rizal Bridge
I’m including this photo because I think it demonstrates a point about composition and fusion. The rail on the bridge is too close in the image, but It works because the line of trees behind it have turned to featureless black and have separated the railing from most of the rest of the shot. I didn’t do that intentionally. I’m not that smart! (There is a small stretch of road that meets the railing that you can see in one image and not the other). The point is that the darkness of the trees act as a separator making it like 2 photographs — the close railing and the far city, so it’s not so difficult to fuse. If there had been a close vertical element (like a tall signpost) that passed through both the near and far parts of the image it couldn’t have worked.
Some notes about this image: The Jose Rizal Bridge is a favorite spot for photographers, and you can imagine why. You need a long exposure to get traffic trails, but the bridge bounces horribly when the frequent buses pass by, so you need to time your shots to avoid them. The image suffers from lens flare that could have been avoided had I been more attentive. And the railing is painted with the ugliest of insitutional green paint, but under the vapor streetlights it looks like solid gold!
They say that ‘Guilin is the best scenery in Guangxi, and the best of Guilin is Yangshuo.’ There is no doubt that Yangshuo is a beautiful location in the world with it’s limestone Karst mountains and gorgeous waterways. I would highly recommend a visit. An added bonus is it’s little walkways and side streets such as this one at night. Mostly catered to tourists ( as most of this area is, for good reason), it’s an interesting area to visit. I enjoyed being able to safely take night shots throughout the town, and this shot being one of my favorites. Shot with my Sputnik MF3D camera on Fujifilm Provia 100f film.
Here’s another shot of Lijiang at night, of the famous waterwheels located in the south entrance of town. The water wheels were supposedly built roughly 800 years ago, around the time of the town’s origin. I wanted to capture the wheels in motion, so a nightshot it was to be! I enjoyed Lijiang immensely, despite the amount of tourists at any given time. The town has so much to see that it’s no wonder that it was so popular. Not to mention that I was there in the perfect time frame for weather. Shot on my Sputnik MF3D camera and shot on Fujifilm Provia 100f fim.
Lijiang is a beautiful city located in the Yunnan province of southwest China. A town full of cobblestones, old houses converted into hotels and storefronts, waterways and bridges galore. It’s no wonder that this town was overrun by tourists, mostly from China, and filled the streets day and night. I wanted to capture it’s beauty and it’s craziness at the same time. I figured a long exposure night shot would do the trick. This was shot with my Sputnik MF3D camera with Fujifilm Provia 100f film.
Shangri La is located near the province of Tibet in southwest China, in the Sichuan province. Not many tourists seemed to be there, despite the amount of local tourists in other parts of China. Maybe it was because there wasn’t much to see in the town except one of the largest prayer wheels in the world and a spectacular night time lighting of the local monastery. The town had been devastated by a large fire, destroying most of the original buildings only years prior to my visit. Needless to say, we did not stay in Shangri La very long, only 2 nights, before heading south to the more interesting provinces of Yunnan and Guangxi. Shot on my Sputnik MF3D camera with Fujifilm Provia 100f film.
Mt Rainier Creek
Long nighttime exposure, with star trails, of Mt. Rainier from Reflection Lakes
I’m impressed with the color and how blue the sky looks. Well, it is sunlight after all, it’s just getting to the scene via a large reflector in the sky. The moon would have been pretty full here. The challenge with these shots is to get enough light on the trees on the other side of the lake without blowing out the top of the mountain. I do like the reflected star trails in the water.
The center island of the Miracle Mile in Coral Gables is lined with these trees. I used a TL-120 on a tripod with a Vivitar 285H fill flash, this was taken after sunset. The fill flash brings out a little touch of detail in the passing cars. I used an incident meter to determine the exposure, hoping to bring out the detail in the trees at the expense of blowing out the store in the background. I think this was a 30 seconds at f22.
Independence Day fireworks above Seattle’s Lake Union, July 2017
This year (2018) I aimed my cameras high based on the height of the fireworks from last year. That turned out to be sub-optimal, as they put on a “low show,” and I didn’t get nearly as many shots as I might have. I’m thinking next year I may try to go wide and capture the whole scene, with the barge and city background.