The Flying Light Project

A couple of years ago, I tried a photography experiment where I composed one shot in two cameras.  My “Single Shot: Half Shot” photograph, if you will, was designed so that the film was be exposed in one camera, then re-exposed in a second camera.  I got it to work – at least reasonably so – with my composition Night Train to Heaven, in which I shot the “Jesus Saves” neon sign of the Capital City Rescue Mission against the backdrop of a railroad track.

Now in taking this picture, I had to go through several “dud” and “crumbs” shots – the ones that didn’t work out, the ones that were over-exposed or under-exposed or whatnot.  Too bright.  Out of alignment.

And then there was this one.  Damn, I must have left the shutter open as I advanced the frame, what a way to ruin the photograph…

Hold on a second.

I thought about what happened.  When I initially photographed the neon sign for this picture, the camera I used – the Agfa Clipper Special f/6.3 – was on a tripod.  In order to advance the camera to the next frame, I had to point the camera down, advance the frame knob until I saw the next frame number in the frame counter on the back panel of the camera (hey, it’s dark at night, and I’m trying to see through a red-tinted camera film exposure counter window). Then I had to re-position the tripod for the shot.  In this case, I must have accidentally switched the camera’s shutter exposure from “B” (bulb) to “T” (time).  In “T” mode, the shutter is locked open and stays open until the shutter is pressed again – similar to a <CAPS LOCK> key on a keyboard.

So in this case, the light trail on this photo was captured by advancing the film while the shutter was still open.  In other words, the light trail – which begins on the lower corner of the photograph, moves up to the top of the photograph, and then travels along the top border of the photograph – as well as the bright light in the lower left corner, which originally belonged to the green “GO” signal of a traffic light – was all due to an accidental exposure.

But what if I wanted that exposure to NOT be an accident?  What if I wanted to control the light in such a way that it actually caused a trail from something like a traffic light or a neon sign?  What if I wanted one set of neon lights to physically blend in with another set – all captured in the camera itself?

Tapping my temple.  Think, think, think…

What if I took a picture of a neon sign… and then left the shutter open and moved the camera instead, causing light streaks to emanate from the neon signage?

If it works, it’ll be spectacular.  Come on, it’s gotta work.  Four and a half years of blogging about my photographic experiments means stuff like this HAS to work.

Last Thursday night, I took the Agfa Clipper Special f/6.3, along with a roll of Kodak Verichrome Pan, in search of a neon sign to test my concept.  It was a late, drizzly Halloween night, and all the Trick or Treaters were probably home getting sugar-buzzes on all the “Fun Size” candies in their candy bags.

Can’t use that sign.  I don’t want a sign with a national trademark, like Bud Light.

Can’t use that sign.  Do you know how many illuminated OPEN signs there are in this world?

Can’t use that sign.  Yes, I know it says GIRLS.  That can’t be too offensive.  However, I may want to enter this picture in Altamont some day, and someone might have a problem with me taking a picture of a strip club’s marquee as a test subject.

Can’t use that sign.  Did all that Lark Street neon signage a year ago, and picked up a parking ticket for my efforts.

But then – I found a neon sign for a florist in Cohoes.   Perfect test subject.

Time to grab all the equipment.  And take notes, Chuck.   This is the “Flying Light Project.”

Equipment: Agfa Clipper Special f/6.3, mounted on my Vanguard Tracker 4 tripod mount.  Camera shutter is on Bulb.  F-stop at 8.  A pack of Kodak Verichrome Pan 70mm film is loaded in the Agfa and is ready to shoot.

Let’s do this.

First test.  Three seconds on bulb, just to get a picture.

Nice.  It worked.  Happy dance.

Second test.  A few seconds, then I pan the tripod slowly on its axis.  Motion from the tripod mount.

Third test.  Shutter open, as I pan the picture from a Dutch angle until the photo is level.

 

Fourth test.   Shutter open, then slowly – while the shutter is on T – crank the film to the next frame.  Motion from the film advance.  The camera runs out of film on that final exposure.

But I got these shots.  Say it with me.  Awe.  Some.  Sauce.

The experiment was a success.  So you know that I’m going to play with this concept some more.  I may find some 70mm color film.  I might run some splitfilm in the camera.  I might do this, I might do that.

Not bad for a camera that I bought for $15 at a flea market.

So rest assured, my beloved blog readers…

I’m definitely on the right track.