Photography Archives

May 22, 2013

Bill Cosby in Concert

SEMO Classmate, photo buddy and, eventually, best man, Andy McLean introduced me to Bill Cosby. Andy had every Cosby LP every pressed and had memorized every routine until he could do them better than Cosby.

So, when I had a chance to see Cosby in concert at Ohio University in 1969, I snagged two tickets for Fiance Lila and me. We had a front-row seat for his performance in the round (OK, it was in the square, but I didn’t do all that hot in geometry, so I didn’t quibble).

Unusual experience

This was an unusual concert for me. Usually I’m so busy shooting the show from every angle, including the overhead catwalks, that the actual performance is a blur to me. Well, my pictures are sharp, but my memory of what the artist performed is fuzzy. This time, though, I enjoyed the performance as a civilian. I still shot pictures from my seat, but I got to enjoy the show.

Depending on your generation, you may remember Cosby as Fat Albert, Cliff Huxtable or the guy who pitched Jell-O, but he’ll always be Noah to me.

“Come around, Idiot, Come around”

Cosby’s routine about driving a stick shift in San Fransisco resonated with me. See, Athens is said to be built on seven hills, and some of them are ungodly steep. Usually with a stop sign at the top of them.

I had never driven a manual transmission before, but I wanted a Volkswagen Squareback. I bought the car and trusted that Lila could teach me how to drive it. Trust me, if your girlfriend can teach you to drive a stick and still be willing to marry you, then you better snatch her up.

There was one killer hill (with a stop sign) on the way from the house to the office. She taught me the technique of pushing the clutch down with my left foot, putting my right foot on the gas, holding up on the emergency brake with my right hand, and frantically waving my left arm out the window while shouting, like Cosby, “Come around, Idiot, Come around.”

Did he cut it short?

I had a coworker on The OU Post who thought Cosby had cheated the audience by putting on a short show. If it WAS shorter than usual, the audience around me didn’t seem to mind.

Well, maybe Andy could have done it better, but I was pleased with the performance.

Other performances

I was telling someone the other day that I’m embarrassed to have shot a bunch of performances and paid so little attention to them that I don’t know if they were famous or not when I run across the negatives. Here are some I DO remember:

Bill Cosby photo gallery

Click on any photo to make it larger, then click on the left or right side of the image to move through the gallery.

May 20, 2013

Tips for Shooting Quickly

This picture has “brothers” written all over it. It happened to have been taken in Athens, Ohio, in 1969, but a similar one could be taken anywhere in the world.

So, how do you take a picture like this? I don’t remember doing it. It was a single frame sandwiched between a scenic of a tree and interior of a house. The scenic tells me that I was cruising around looking for wild art before or after the interior assignment.

My guess is that I was standing on the back porch talking with the homeowner when the kids started going at it. I had time to get that one picture before mom or dad broke up the scuffle.

To be ready for quick shooting, I always had at least one camera body set to shoot for different lighting situations. That might mean one would be set for bright daylight and another for low level lights. When you have to shoot fast, you don’t have time to take light readings and fumble with shutter speeds and f/stops. You grab the appropriate body, shoot and hope your exposure is close enough to fix in the darkroom.

Tight or loose?

I like the looser composition of this shot that hasn’t been cropped much because it gives the feeling that the kids are going at it unsupervised The tight shot feels like an adult is hovering.

Why did I emphasize the tight shot, then?

Newspaper rule of thumb was that a face had to be the size of a dime if you were going to be able to see detail in it. The cropped photo is the one that would have run; reader eyeballs don’t linger long, so you want to get your message across quickly.

Even this shot is cropped in from the left a little. The original shows a tricycle parked at the bottom of the steps on the left.

In addition to making the faces larger, there was another consideration: the boys are in the shade and a white house in the background is in bright sunlight. That’s a killer wide range of exposures to try to balance in a photo. Taking the background out meant less distracting blown-out highlights.

May 18, 2013

SEMO Through a Long Lens

Cape was a Honeywell Pentax town. I’m not sure if Nowell’s Camera Shop even sold Nikon. When I left town, I had two or three camera bodies and at least three lenses: a 35mm wideangle, a 50mm normal lens, a 105mm telephoto and (I think) a 200 mm telephoto.

The 105mm magnified about two times and the 200, about four times.

This shot of Academic Hall taken from in front of Kent Library in 1966 or 1967 was probably done with the 200mm. Click on the photos to make them larger.

Closeup of dome

If you couldn’t afford a long lens, you could buy extenders that would effectively increase the length of the lens by two to three times. The tradeoff was that it made the lens a lot slower and there was some degradation in quality. I’m guessing I must have just gotten a 2X extender to make this shot of the dome. It would have converted my 200 into a 400mm lens, which would have magnified about eight times.

This caused some head scratching

This one had me calling in Wife Lila and Neighbor Jacqie for second and third opinions. This is south and west of SEMO. As best as I can figure it out, I must have shot it from one of the hills around Gordonville Road with the extender reaching out into the distance.

Academic Hall is easy to pick out in the middle. The water tower and smokestack to its left are at the university’s power plant north of Academic Hall. The white building at the top left is the Foreign Languages Building. The large building below and to the left of Academic hall is Southeast Hospital.

Jacqie and I thought the building on the left above the Riverside West sign was Central High School, but after looking at the photo more closely, I determined that Central is the dark, multistory building on the far right. That makes the building on the left a mystery. Anybody want to make a guess? Did Notre Dame have that shape?

Academic Hall links

Here are links to earlier stories about Academic Hall.

Academic Hall gets a new hat
Academic Hall in 1966 and 2011
Fred Lynch had a photo of the dome with scaffolding around it
Dome reconstruction starts
Vintage and current SEMO aerials and photos
1966 Outstanding Seniors in front of Academic Hall

May 9, 2013May 10, 2013

Tom Holt Grilling Hints

Frony shot most of The Missourian’s food features because Mary Blue, who wrote most of them, was organized and worked well in advance. Most of my photos were spot news, self-generated features and assignments that popped up at the last minute when Frony wasn’t available.

Frony must have been out of pocket when it came time to shoot classmate Tom Holt from the Central High School Class of 1965. Tom and I had classes together and even went on a double date at least once, but we ran in different circles: he was a jock and I was a debater who had a plastic pocket protector.

Baste that chicken

I guess basting is what he’s doing. See, my cooking skills are severely limited. Wife Lila said the other night, “You know you’d starve if I got hit by a bus.”

Not exactly denying it, I said, “I think I could survive. I mean, I have my cookbook to fall back on.”

“Your cookbook?” she asked, giving me a quizzical – OK, unbelieving – look.

“Sure,” and I reached under the kitchen telephone and brought out a stack of carry-out menus.

Every great cook has an assistant

I don’t know who Tom’s assistant was. Somebody will have to fill in the blank.

These pictures suffer from overdevelopment in the darkroom. When you’re dealing with a contrasty situation like this, you should expose for the shadows and cut back on the developing time to reduce the contrast. I got the shadow part right, but I left the film in the developer a minute or two too long and caused the highlights, like the assistant’s shirt, to block up.

I couldn’t find the date when the pictures ran in The Missourian, so I can’t pass on Tom’s cooking tips.