IF YOU HAVE TO SHOOT, SHOOT, DON'T TALK
Had the luggage delayed even more, I by all means would have been able
to carry out the next day's shoots as I had all the photo gear except
one with me in the carry-ons. The one being of course the infamous
tripod. Without which, of course again, the whole trip would have
turned very dodgy indeed, as the photo composition and bracketing of
exposure would have been much more difficult -- and a nuisance.
But the luggage arrived at night and the photo shoot was on.
If one discounts the fact that the brand new cable release mysteriously
fell apart just as I was preparing to shoot the UN Secretariat
(not a big deal, in the end, as releasing the shutter by hand in fact
helped to stabilize the camera on the tripod) and that I lost the
string for balancing the camera "monopod-like" when not using the
tripod (why, how could there be situations one cannot use a tripod in
NYC? [sarcasm]). It had served me through one London/Oxford and three
earlier NYC trips (and of course Cologne and the Nürburgring Nordschleife racetrack, the holiest of holies) and then it just got
lost. Luckily, I could combine
the two nylon belts I had for tying the tripod bag to act as a
makeshift stabilizer cord. It was also handy during the last
afternoon's shooting, after I'd checked out and left all the luggage
except the camera bag, camera and spotmeter to the deposit.
And yep, as for tripods and guards: as luck would have it, on the
second morning, only a few minutes after I'd been thinking that
perhaps on this trip there'd be no run-ins with guards, the good old
one, Chase@Park Ave. didn't disappoint. At best, there were two guards
making sure that the dangerous tripod on a deserted Sunday morning
at the Madison side plaza would not be used. With the stabilizer cord,
the shot of the Tower 49 nevertheless came out right. Rockefeller
another surefire thing: Both the Time-Warner and RKO were swiftly curbed tripodwise. In the latter,
by the time the guard had given the company line about no tripods
being allowed within the plot, I would have finished metering the exposure and taken the shots. Tripod to the curbside, outside Center
perimeter and start again.
And as before, these and other fascinating monotonies are available
once I get the background notes done. Which I haven't even started.
And there are 66 new shots to be commented on. Oh dear.
But the shots came out wonderfully, at least.
VISUALS OF 2005
In a photographic sense, the trip was as much about reshooting old
ones as getting photos of new or future entries.
As noted in the Photo notes, the chosen method of "falling back" to
shooting film and using a spot meter for exposure metering turned out
to work even better than expected. Add to that the (more or less)
successful introduction of the perspective correction lens and a new
way (or rather, old) of doing things has been found.