Seven Mile Bridge ~ Photo of the Week

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So I’ve got a thing for bridges.

A significant part of my job involves traveling the United States, taking pictures along the way.  Besides the typical shots of the food we eat and monuments we see, I was looking to focus my “travel” work into a more cohesive theme.  I thought, “what can be found in almost every city?”  Looking back at my past work, I realized I have a fascination for man-made industrial objects, especially if they are set in a contrasting natural environment.   And thus the Bridge Project was born.

A bridge, as we commonly know, is a connection over an often dramatic obstacle.  The earliest bridges were made by nature, a simple log fallen across a creek.  The success of the Roman Empire relied heavily on their cement bridges and aqueducts that connected all roads to Rome.  The word bridge (besides the card game I’ve never figured out) is also a commonly used metaphor to describe a transitional route or phase between two times in one’s life.

I’m still in the collecting phases of the Bridge Project.  I started shooting it exclusively pinhole, mainly because I wanted to emphasize the solid foundation of the man made object and the continual flow of the natural obstacle, usually water.  Lately, I’ve been expanding the project to digital capture.   I often use a 10 stop neutral density filter over the lens to create exposures of up to 2-4 minutes during  bright sunny days when normal capture would be a fraction of a second.  I’m also utilizing the long exposures during the night to accentuate the flowing currents and clouds in the image.

Looking over last week’s images from Miami, it was this “end of the world” image of the Old Seven Mile Bridge, previously the Knights Key-Pigeon Key-Moser Channel-Pacet Channel Bridge, that won the Photo of the Week.

Constructed under the direction of Henry Flagler between 1909-1912 it was the first attempt to link the Florida mainland with the Key islands to the south and was part of the even bigger Florida East Coast Railway.  The construction employed over 4,000 men and the latest engineering innovations since this area was prime hurricane territory.  In fact, 3 hurricanes threatened the completion of the project.  When completed, it was one of the longest bridges in existence.  The total length was 35,815 feet and consisted of 335 steel girder 80-foot spans, 9,000 feet of concrete arch viaduct, and a 253-foot swing truss drawbridge span.  The Florida Overseas Railroad Bridge vied with the Panama Canal for the title of the 8th Wonder of the World.

The Railroad successfully withstood the storms and traffic until the Labor Day Hurricane of 1935, The Storm of the Century, devastated the Keys. Over 420 lives were lost, more than half were WW1 veterans who were working on the new US Highway 1 for the WPA (Works Progress Administration). Though most of the concrete sections of the Florida Overseas Railroad survived the storm, the many miles of rock-made causeways and rail beds were washed out. Thus the linkage of the keys was destroyed.
Cars were beginning to replace trains as the modern mode of transportation and the Florida East Coast Railway was financially unable to reconstruct the bridge.  At that time, the state stepped in and construction of the Overseas Highway which utilized parts of Henry Flagler’s railroad bridges was completed in 1938.   The new two lane Overseas Highway served the Keys well and successfully survived many hurricanes and brought more traffic and tourism to the Keys then ever before.  But time takes its toll and 40 years later the groundwork for the new 7 mile bridge was laid.  The new bridge is a box-girder structure built from precast, prestressed concrete sections, comprising  440 spans.  See the below images for a detail shot of the concrete sections, with pelicans, as well as the comparison of the new and  old 7 mile bridge.  The bridge arcs to 65 feet near the center to accommodate boat passage but mainly rides closer to the water surface the rest of the way.  It was finished in 1983 and the old bridge was designated for preservation by the National Register.  It no longer carries cars and sections have been removed for safety and boat passage purposes.  Now these 23 old sections are used as fishing piers or by joggers and strollers who want to take a stroll along what looks like the end of the world.

Night Photography Workshop – January 30-31, 2010

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Full Moon in Pittsburgh
Night Photography Workshop

Limited Availability!
Fill out the form below to sign up!

Date: January 30-31st 2010 (Sat & Sun)
Time: 1pm to 1am
Instructor: Gabriel Biderman
Where: f295 Studio, Pittsburgh PA
Cost: $250

Join Night Photographer Gabriel Biderman as we photograph historic and rural Pittsburgh under the full moon. The Steel City has long been heralded as the industrial capital of the US and has continued to reinvent itself over the years.

In this exciting two-night workshop, we’ll adventure into various parts of the city including Mount Washington, the ‘Strip’ District, and the Pittsburgh River Walk which offers unrivaled views of the city’s many bridges. It’s a little known fact that with over 450 bridges, Pittsburgh has the most of any city in the world – including Venice, Italy! To fully explore the extremes of night photography, we’ll utilize longer exposure and search for star trails in the wilderness on Sunday night.

We will reinvent how we capture the “essence of Pittsburgh” at night; looking beyond the fleeting moments of time and explore the images that can be created when you expose for seconds, minutes, and even hours with your camera. The class will give you detailed information on how to meter and process your long exposures using either film or digital capture. Light painting, star trails, and creating ghosts will also be highlighted in this two-night workshop.

Agenda:

Saturday 1/30

  • 1pm-3:30pm: Lecture & discussion on night photography including tips and techniques to make better pictures
  • 3:30-4:30pm: Break for dinner
  • 5pm-1am: Urban night shoot in various parts of the city including the River Walk, the ’strip’ district’, and Mt. Washington

Sunday 1/31

  • 2pm-4pm: Review & discussion of previous night’s work
  • 4-5pm: Break for dinner
  • 5pm-1am: Rural Full Moon Night Shoot.

Technical Requirements:
Film and/or Digital SLR Camera, Tripod & Cable Release. You must be familiar with your camera, especially in Manual Mode. A full list of suggested gear will be sent to you upon payment.

Registration available soon!
Please fill out the form below to pre-reserve!

Oregon Full Moons

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I spent the last full moon weekend in Oregon visiting my oldest friend, Angus.  In the 20 years that we have known each other, we have had plenty of epic adventures in New Hampshire, Seattle, SF, Portland, and NY.  Usually one of us is visiting the others new home town and the fun follows.  However, on this trip out to see Angus in Portland, I suggested we do a road trip around the Oregon Coast.

Recently i was easily guilted into purchasing a 4×5 large format camera by another dear friend, David Brommer.  He had been nudging me this way, calling all my cameras “weenie format” as he lugs around his beautiful 8×10 Deardorff.  The Large Format cameras really haven’t changed that much in the last 75+ years.  They’re usually wooden, need a tripod, a dark cloth to view the image, and produce negatives/positives that are 13x larger than a 35mm neg.  You get optimal image quality and less to enlarge in the dark or lightroom.  Pictured on the left at the bottom is what my Wisner Technical Field camera looks like, red bellows and all.  It only weighs 6 lbs and I love it!

So I have been “getting to know” the Wisner lately and wanted to dedicate this trip to Large Format shooting.  I warned Angus that if he thought I was an annoying photographer friend before, this LF camera would only make things worse.  My man has the patience of a saint and did a good job documenting our escapes!   I probably got it down to about 8 minutes to set up and 2 minutes to break down the camera.  My shortest exposures were 1/4 of a second and my longest 30 minutes.  However, I decided to throw a wrench into the whole process and wanted to get some 4×5 nocturnal images.  Again, you’re looking through a 4×5 inch piece of glass with a loupe under a dark cloth to focus.  This is not the most conducive way to focus at night and required me using lots of high powered flash lights or simply not shooting certain subjects because I couldn’t see or focus on them.

The first shot of the White Satin Sugar Factory is the simple story of passing by a subject several times and saying to yourself, “I’m going to shoot that.”  I knew it would make a great night image, my only concerns were the trains that were frequently running or parked in front of the factory; plus every other time I drove down this street, several cops were pulling over “perps”. Lo and behold, when I arrived at 12:30am to shoot,  3 cop cars were across the street and a train was parked in front.  Not wanting to be mistaken for a perp, I parked about 50 feet from the cops and as I got the gear ready the train started to pull away.  I dashed across the street, crossed two sets of train tracks and went down a small incline to take the first test shot which was a 7 minute exposure.  Right at the end of the exposure, another train pulled up and parked, completely blocking me from the street and cops.  I moved the camera to a better position right between the two sets of tracks and started my 14 minute exposure.  I had to stop the exposure 11 minutes through because the train next to me started to chug and take off.  It was obviously shaking the ground and I did not want it to affect my picture.  Luckily you can easily do multiple exposures with LF cameras so 2 minutes later I finished off the exposure and left the scene.  When I got home from this trip I developed my test shots first and then fine tuned my developing for the final negatives.  The correct exposure was 7 minutes at f16 and this image was 14 minutes, so I underdeveloped this negative by one stop and saved those precious highlights on the right from getting blown out.

The other two images were taken at the ever popular Cannon Beach on the Oregon Coast.  The whole coast is pretty amazing with massive rocks, ancient trees and cliffs all coming together to form something very primordial.  Haystack Rock has probably been captured millions of times and as Angus and I strolled down the beach I wondered when the last time it may have been captured with a LF camera.  As I was setting up a shot under the dark cloth, I peered out to find about 8 people gathered around me wondering what the hell I was doing.  I let everyone take a peak at the image’s reflection on the glass under the cloth and gave a brief history of photography.  One guy thought he was going old school by bringing his 10 year old Sony Mavica digital camera that writes directly on CD.  He quickly conceded to me.

Enjoy, and more stories and images to follow!

The return of the Photo of the Week

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What a long strange trip it has been! Well since my last blog on March 9th I have been traveling like a madman! Austin for SXSW, Vegas, Orlando, back to Orlando, St. Augustine, Salt Lake City, and today I’m off to Indianapolis! In between I have been at home with Nancy for 5 days… though one of those trips to Orlando was a real vacation with Nancy and her family where we truly relaxed and squeezed a lot of OJ. Somewhere in the midst of all this traveling I turned 37 and I believe I was a mile high in the air for that day!
I have definitely had some amazing adventures and good times along the way and I’m sure that you will see the images real soon. The good news is that starting Friday I will be on vacation in Brooklyn for 10 days! I travel so much that I like to spend the B&H holidays at home catching up with family and friends, and that is exactly my plan!
I also wanted to bring back the Photo of the Week aspect to the blog! I had neglected this for most of 2008, but I am now back on track! Pictured here is an amazing surreal sunset in the St Augustine salt marshes. My coworker Mike Murray and I were waiting to eat at Salt Water Cowboy’s when I noticed that their outdoor lamps were a similar color temperature as the sunset. The rule of always having a camera with you played out here as I embraced the juxtaposition of the artificial and natural light. It also ended up being one of the strangest dinners that I have ever had as we ate outside on their deck, which several cats made their home. Looking over the railing and below us the marshes were filled with oyster shells that customer had hucked over as well as many more cats and a very eager racoon. Thank goodness we didn’t have an extra seat or I think the racoon would have joined us!
Enjoy!