Journalism Archives

March 5, 2012

On a Roll of Film

I got a lot of mileage out of a roll of film. The photos of the Notre Dame vs Central High School basketball game took up about half of it.

This photo, shot on the same roll, ran on the front page of The Missourian February 1, 1967, over the caption, “Pattern in the Sky: Workmen and structural features form an interesting and eye-catching picture in silhouette as the men go about their tasks in the construction of the addition to Kent Library on the State College campus. Open weather during winter months has enabled construction to move along at a rapid pace. McCarthy Construction Co. of St. Louis is prime contractor for the job. Contracts total $2,659,079, with additional funds available for equipping and furnishing the addition. The original Kent Library, named for Miss Sadie T. Kent, longtime librarian at the college, was constructed in 1939.”

This is what we used to call “wild art” or CLO for Cutlines Only. It was a news-oriented feature photo that ran without a story. I probably shot it on the way to or on the way back from a class. Click on any photo to make it larger.

Kent Library construction workers

Truth be told, the silhouette was a little too cluttered to be a good photo. I think I shot it as a silhouette because I wasn’t sure the photos I took of workmen on the building could hold enough detail against the bright sky. As it turns out, I like a couple of these better than the silhouette.

I like the way he’s gripping his hammer, the couple of small rips in his shirt and the wrinkles in his face that show years of working out in the sun.

From an editor’s perspective, though, it doesn’t tell the story in one shot. It would only work if you ran multiple photos as a mini picture story. That, of course, was the method behind my madness. I was paid by the picture, so it was in my best interest to try to sell a combo package of pictures and hold back the all-in-one shot as a fall-back.

These guys built this country

None of these guys ever got rich, but the monuments they built will live long after they are gone.

Pre-OSHA days

OSHA folks would get cranky these days over rebar without safety caps, scaffolding without guardrails and workers without hard hats and other safety equipment. That’s not to say those aren’t good things. Those pesky regulations were enacted to make a dangerous job just a little bit safer. Construction work exacts enough of a toll on its human engines without adding in accidents.

Other Kent Library pictures

What in the world is happening?

OK, not every photo works. I have no idea who these folks are, what they were doing or why I pushed the button. I didn’t have time to focus and I only got one frame off. They’re not paying any attention to me, so whatever they’re reacting to is down the street.

It has the feel of Water Street about it, maybe down around the Sportsmans Club.

Another single shot mystery

Here’s another single frame. A young woman reaches past her compact to dig for money to buy something. I don’t know she is, where she was or why she caught my eye enough for one frame, but not to follow up with more pictures.

So, that’s a lot of mileage out of one roll: a basketball game, a construction site, some wild and crazy guys on the street and a woman shopping. Toss in a car wreck, a service club meeting and a school feature and it would have been a regular old day as a newspaper photographer in a small town.

February 29, 2012April 15, 2021

Covering Simon and Garfunkel

When I shot this photo of Paul Simon and Art Garfunkel in concert at Ohio University on Oct. 29, 1968 (if you can believe the negative sleeve), I didn’t know then that the body language might be a hint of the breakup of the duo coming just two years later.

The two singers met in elementary school in 1953 (where they appeared in the school play Alice in Wonderland) and recorded their first record as Tom and Jerry in 1957. The went off to separate colleges, but got together after Paul Simon wrote some folk songs, including one dedicated to murdered civil rights worker Andrew Goodman. Goodman had been a friend of both men and a classmate of Simon’s at Queen’s College. They cut Wednesday Morning, 3 A.M., which initially flopped when it was released in 1964.

Is THIS Paul Simon?

I recognized Garfunkel right away, and the sleeve was tagged Simon and Garfunkel, but this guy didn’t look like the Paul Simon I was used to seeing. I wondered if he was a backup singer. It wasn’t until I covered up the scraggly beard and mustache that I saw Paul emerge. His eyes and nose definitely give him away.

Simon and Garfunkel were at their peak

After a few stumbles, they caught fire. The single Sound of Silence became a #1 hit in 1966 and the album by that title made it to #21. Wednesday Morning came back and climbed to #30. The songs kept coming in 1966: Homeward Bound; I Am A Rock; The Dangling Conversation; Parsley, Sage Rosemary & Thyme; A Hazy Shade of Winter. They definitely provided the soundtrack of our lives that year and for the next few.

Mrs. Robinson was the biggie

In January, 1968, Mike Nichols’ film The Graduate was released. Peter Bart wrote in a May 15, 2005, issue of Variety that Nichols had been obsessed with S & G’s music while he was shooting the film and had producer Larry Turman cut a deal with Simon to write three new songs for the movie.

By the time they were nearly finished editing the film, Simon had written only one new song. Nichols begged him for more but Simon, who was touring constantly, told him he didn’t have the time. He did play him a few notes of a new song he had been working on; “It’s not for the movie… it’s a song about times past—about Mrs. Roosevelt and Joe DiMaggio and stuff.” Nichols advised Simon, “It’s now about Mrs. Robinson, not Mrs. Roosevelt.”

Personal tensions and creative differences caused a strain that reached its breaking point during the production of their last album, Bridge Over Troubled Water in 1970. The album was originally supposed to contain twelve songs, but Simon refused to record a Garfunkel pick and vice versa. It was finally released with only eleven songs on it.

What do I remember about the concert?

Not a lot. When you’re shooting something like this, you have all your visual senses working. You’re concerned about angles, light, shutter speeds – technical stuff – not the music. I’m sure they played all the favorites, but I don’t know that I actually heard any of them.

I learned early on that I couldn’t count on being the best shooter at an event: I had to be the one who showed up earliest, stayed the latest and was willing to scout out the odd positions. I’d cover myself by shooting the standard, “safe” shot, then go looking for the unusual.

I took these high-angle photos from the lighting catwalks high above the concert floor. You don’t ask permission to do something like that because people will find a dozen ways to turn you down. If you just do it, though, everybody assumes that it must be OK.

Not every shot works. This one doesn’t, but you don’t know until you try. It’s always a mistake not to push the button when your instinct tells you to. Something drew your eye there, and if you don’t shoot it at that moment, the magic will leak out if you stop to think about it. You can always discard; you can’t recreate.

Look at the audience

I was surprised to see how well-dressed the audience was. This is a folk-rock concert, so you’d expect to see a lot of casual hippie-type clothing, but most of the guys have on suit coats, if not ties. Hair lengths are Kennedyesque, not shoulder-length. Skirts are delightfully short.

Other concert photos

Simon and Garfunkel photo gallery

There are a lot of “magic moment” photos in this selection that I knew at the time would never make it into the paper, but were recorded anyway. Now that I’m not constrained by the cost of dead trees and ink, you’ll get to see them. Like I said before, most of them don’t work, but they do give you some insight into my thought process and how a picture evolves. Click on any image to make it larger, then click on the left or right side to move through the gallery. Humming of music is allowed.

February 23, 2012

Train Cars Hop Track

Twenty-seven railroad cars squashed together in a massive pileup Monday morning (March 7, 1966) about a mile north of Neely’s Landing. Two crew members were hurt and two workers were injured later during the clean-up operations, the Missourian story said.

“It’s one of the worst train wrecks I’ve ever seen,” a railroad worker of 44 years commented.

Frisco on regular run

The 76-car Frisco freight train was on its daily St. Louis-to-Memphis run when the cars in the middle derailed almost directly in front of the main cut of the Westlake Rock Quarry, a 200-foot bluff to the west. The Mississippi River was about 150 feet to the east, but no cars went into the river.

Conductor and brakeman injured

Engineer J.H. Davenport lost contact with his crew after the pileup. He found that the conductor, A.L.Bailey, and the rear brakeman, R.L Becker, were injured and “shook up.” He phoned for help from the home of Sylvester Hitchcock at Neely’s Landing. The two injured crewmen were taken to the Frisco Hospital in St. Louis. Neither was seriously hurt.

Massive cranes came from St. Louis and Memphis

Two wrecker crews worked with giant cranes mounted on railroad flatcars to clear the tracks. A crew from Memphis, with a 250-ton crane, worked the wreck from the south. A St. Louis crew, working with a slightly smaller crane attacked from the north.

Bulldozer shoved, pushed and rammed

Gerald Ford of Neely’s Landing used a bulldozer to help push the freight cars off the tracks. As the steel cable on the crane pulled one end of the cars, the dozer shoved, pushed and rammed the other end.

What caused it?

It was working this wreck that I stumbled onto a technique that came in handy over the years. Nobody would comment on the cause of the derailment, so I tried getting the workers aside and asked, “You’ve seen a lot of these things. When you’ve pulled apart ones that looked like this one, what did you find?”

The engineer said he thought the cause might have been a spreading of the rails or a break in the rails. One of the crewmen said that one of the wheels might have frozen and jumped the tracks.

Cable whipped back on workmen

Two crewmen were injured when a cable whipped back striking about six workmen and catching the legs of two of the men.

I learned from experience to be wary of cables. One of the first things Dad taught me when I was a kid hanging around his job sites was to always step on, not over, a cable on the ground. That way you’d be thrown to the side instead of being cut in half if someone suddenly took up the slack without warning. I saw enough tow cables go whipping around to always stay a cable-length away when they were under load.

It was a cold night

This must have been one of those nights when Frony said, “Let the Kid handle it.”

I was going to comment that we didn’t have any access problems at the scene, but the last paragraph of the story says that a Frisco official grabbed a Missourian photographer (me) as he was taking a picture of the wreckage. He warned the photographer and a Missourian reporter not to get too close. Another reporter who did not have a press card was told to leave.

Frisco was better than the B&O

That’s still better than the treatment I was used to getting when the B&O Railroad would pile up a train in southern Ohio. Their railroad bulls were of the ilk and era of the days when hobos were rousted from the trains by clubs and worse. To add to the problem, they had law enforcement powers and were quick to threaten you with arrest for trespassing on their right-of-way. Derailments were common because their tracks were in miserable shape, with rotted ties and spikes that were loose or missing.

I thought I had them when a trainload of new automobiles piled up south of Athens, Ohio. Before I headed to the scene, I stopped by the county courthouse to see who owned the land alongside the track. I called the farmer to ask if I could cut across his field and shoot the wreck from his property. “Sure,” he said. “You’re welcome.” Then, just as I was starting to put the phone down with a sly smile on my face, he finished his sentence. “You do remember, don’t you, that the Hocking River is flooding. You’re going to have to be about nine feet tall if you’re going to stand there.” Drat!

Train wreck photo gallery

Some of these images are redundant, but I figure Keith Robinson and his train buff buddies will find details in them that the rest of us will miss. Click on any photo to make it larger, then click on the left or right side to move through the gallery.

February 21, 2012

John Glenn Runs for Senate

It’s been 50 years since John Glenn made his trip around earth in the Friendship 7 Mercury spacecraft. Eight years later, he was brought to earth in a different way when he failed to win the Ohio Democratic nomination for the U.S. Senate. He lost to Howard Metzenbaum, who lost to Robert Taft, Jr., in the general election.

These photos were taken when he was campaigning in Athens, Ohio, in 1970.

The Gold Star Mothers speech

Glenn and Metzenbaum faced off again in 1974. Metzenbaum contrasted his strong business background with Glenn’s military and astronaut credentials, saying his opponent had “never worked for a living.”

Glenn’s reply came to be known as the “Gold Star Mothers” speech. He told Metzenbaum to go to a veterans’ hospital and “look those men with mangled bodies in the eyes and tell them they didn’t hold a job. You go with me to any Gold Star mother and you look her in the eye and tell her that her son did not hold a job.”

Began Senate career that lasted until 1999

After besting Metzenbaum in the primary, he beat his Republican opponent and held the Senate seat until 1999.

John Glenn photo gallery

Missourian photographer Fred Lynch’s blog had a photo of John Glenn campaigning for Robert Kennedy in Cape in 1968. I didn’t shoot Glenn there, but I did snag these photos of the astronaut two years later. Click on any photo to make it larger, then click on the left or right side of the image to move through the gallery.