May 24th, 2013

How it works *sometimes*0

The idea for the above picture popped into my head almost unbidden. This is how realising that idea came to pass.
Last winter I was mucking about in Leigh Woods shooting ultra-long exposure images of myself, inspired by Alejandro Chaskielberg’s images made by moonlight and published in Burn magazine. I never really made any good images, but became acquianted with the effect and technique. The bright lights of Bristol painted everything an unusual orange, unlike the uncontaminated skies in Alejandro’s work, and I didn’t really have a subject.
The idea went in my mental toolbox.  It was only when the pumptrack was built under the Brunel way flyover that I found a use for it. The image in my head looked quite different. I didn’t anticipate how bright the floodlights would be, relative to the bright mountainbike lights. We used two powerful exposure mountainbike lights to produce the shape hovering above the trail. While setting up I knew I would be a long way from the pumptrack, stuck up on a ramp up to the flyover, so I had a friend assisting and keeping an eye on my gear. She actually found the angle from which this photo was taken, speeding things up immensely. I set up my tripod, dialled in the exposure at around 90 seconds or three laps of the pumptrack. Unfortunately the rear light of the bike did nothing to illuminate the “away from camera” legs of the track so our tame mountainbiker had to ride the track twice forwards and once backwards to get complete coverage. He still persistently laps me when we ride the track, I guess he got in a lot of practice while I sorted the balance of natural, flash and bike light out.
After sorting out these details we made the above image, I wanted my flashes to freeze the rider in the dark under the flyover (top left) and then his headtorch light join with the light of the pump track to make a continuous loop. This was possibly a little unreasonable as it meant riding onto the pumptrack at an awkward angle while looking in the completely wrong direction. Because he hadn’t managed that minor miracle, you can see a gap in the above image. So I asked for another go, however three bmx’ers had shown up and riding the track backwards is considered impolite to other users. They turned out to be polite and we managed to make the picture when they were having a break. In the end I actually quite like having them sat semi-motionless amongst the ethereal tracery over the track itself. The flashes fired badly on the last go and the picture worked better when I cropped out the ‘frozen’ rider. Sometimes you get that better picture by going with the flow, just a little bit.

Sheer bloody persistence0

I had this photograph in my head for months. Every time we rode to this staircase on the way out to the Pentlands, I would poke myself about it. I was certain there was a good picture to be made. I tried a few times to get myself and another party out there for a shoot, but it was only last night I succeeded. This is a pretty frequent occurance, finding a location or visualising a photograph long before it can be taken. They don’t always work out, angles don’t always fall the way you remember them and locations can lose their magic in the wrong light. This was’nt quite the photo I originally imagined, the light was far better than I had remembered and fell perfectly for the lighting technique I used.

I used my big Elinchrom Ranger pack, tucked into my bag with the head on a tripod on a steep and greasy slope. The final photograph used a gridded reflector to allow the Exposure Enduro on the bike’s handlebars to fill the bottom of the scene. I got focus by getting Simon to shine the light in his face until I managed to dial in the manual focus (using live view). The staircase was otherwise pitch black, preventing the orange sodium lights contaminating the bike’s light or the flash light.

The thing that really made the photo possible, however, was the titular persistence. Simon rode the staircase about twenty times, tirelessly wheeling his bike back up the staircase, stopping halfway so I could check focus and then cheerfully repeating. Only once did he stumble on the descent, but that landed him nearly over the wall. Each time I needed to change the power of the flash I had to run a steep marathon of brambles, thorns and a slick slope which could only be climbed by lunging for tree stumps near its summit and clawing up through the snow and mud. This process took around five minutes, the flash power was changed three times and its pocketwizard ran out of battery once. The exposure was made by bending backwards over the wall and tucking the camera hard onto my left shoulder. It was only marginally possible to see through the viewfinder. We tried triggering the flash while Simon was partway down the descent, but it seems easier to find him in the top image. One hundred and fourty eight exposures were made over two hours for the images you see here. I’m glad we made them, it is good to get them out of my head.

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