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Picture This!
Historical Reenactments
By Shutterbug Staff • September, 2004
Picture This!
Our Picture
This! assignment this month was historical reenactments, pictures from
festivals and commemorations that mark momentous events in our past. Readers
responded with images made at Civil War, Renaissance, and Revolutionary
War events from all over the country. These reenactments are great times
to make images of people, as many of the participants do their best to
dress appropriately and stay “in character” throughout the
day. They are also great events to learn about our history, and to understand
what those in the past sacrificed for their beliefs and, in many cases,
for our freedom.
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Dade departed Ft. Brooke (Tampa) in December of 1835 to march 106 troops
to Ft. King in Ocala. At a spot near what is now Bushnell, Florida,
they were ambushed by a larger band of Seminole Indians and all but
two troopers were killed. This battle started the Second Seminole War.”
Harnly worked with a Canon EOS 10D and Canon 70-200mm L f/4 lens.
© 2003, R. Daniel Harnly, All Rights Reserved
Character Portrait: John R. Keogh made this great portrait titled “Uniform,
Washington Artillery” with a Fuji S2 and Tamron 28-300mm lens.
© 2003, John R. Keogh, All Rights Reserved
Three To Won:
Taken outside Ft. Esque, Missouri, David Fetherkile worked with a Canon
A1 and 28-90mm Vivitar Series 1 lens on Kodak Infrared B&W film
and 25A Rokunar filter. He wrote: “After running out of shells
for their cannon these artillery soldiers drew pistols for closer combat.”
© 2003,
David Fetherkile, All Rights Reserved
Confederate Cavalry At Dawn: Frank T. Becker sent us this evocative
photo made at the Perryville Battlefield in Kentucky at the 140th Anniversary
Reenactment. He photographed with a Nikon D100 set at ISO 800.
© 2003, Frank T. Becker, All Rights Reserved
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British Invasion: Taken at the Revolutionary War reenactment of the Battle
of Guilford Courthouse in Greensboro, North Carolina, Marvin Isreal worked
with a Nikon D100 and Tamron 28-300mm lens and exposed at f/8 at 1/250
sec to photograph this line of soldiers.
© 2003, Marvin Isreal, All Rights Reserved
Antietam Aftermath: Charles Martin sent us a series of images that were
part of a slide show accompanied by a live symphony orchestra. Over 200
of his images were used for the show. He worked with two Canon EOS cameras
and 70-210mm and 100-300mm lenses. He made the images at the Battle of
Antietam reenactment in 2002.
© 2002,
Charles Martin, All Rights Reserved
Beefeater Commander: The San Marcos, California, Chamber Renaissance Faire
served as a great portrait event in itself for Bartley D’Alfonso,
who sent us a set of images from the day’s event. He worked with
a Nikon N8008 with a Nikkor 70-210mm zoom lens. He exposed on Fujichrome
100 slide film and used a Nikon SB-24 flash. This is a portrait of reenacter
Kenneth Branam.
© 2003, Bartley D’Alfonso, All Rights Reserved
Woman In Doorway:
Loyd C. Heath sent in a series of photos from Old World Wisconsin, a living
history museum in Eagle, Wisconsin. This reenacter was photographed standing
in a kitchen doorway of the Pedersen farmhouse with a Nikon D1X and Tamron
28-105mm lens.
© 2003, Loyd C. Heath, All Rights Reserved
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This
venerable neon cowboy has stood tall over Fremont Street
in downtown Las Vegas for many a year. Photographed with
a Nikon F3 and 300mm lens on Extachrome 400, pushed one
stop.
© 2003, George Schaub, All Rights Reserved
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Picture This! -
Our Next Assignment
Neon City
O f all the forms of artificial light neon is perhaps the most exciting
and creative. Given the ability to create color and to enclose the gas
in all sorts of shapes and forms, artists have used neon for everything
from modernistic sculpture to Highway 66 motel signs. If you’ve
been to Times Square or the shopping districts of Tokyo or Hong Kong you
probably got the real neon blitz. So seek out those great signs—old
and new—get out your tripod and ramp up the ISO and send us your
best of neon city wherever it might be.
Please Read This:
It is important that you read and follow these guidelines.
We need to follow this procedure because of the large volume of images
we receive.
1) Images sent to us cannot
be returned. You retain complete copyright over the images, but do grant
us permission to print your image(s) in the magazine and on our website,
www.shutterbug.com.
2) Because images are not returned
please send a quality print or duplicate transparency. We will not accept
or view images on CD, ZIP, or any other electronic media.
3) Images will be selected
on the basis of content and technical quality. Please mark your outer
envelope with the topic of the month (for example, “Wide View”).
4) Enclose a short caption
with the image stating camera, lens, film and exposure, plus location.
If you are submitting an image with a recognizable person we must have
a model release or signed permission from that person to reproduce their
image in the magazine and on the website.
Send your image and information to:
Picture This! Shutterbug Magazine,
1419 Chaffee Dr., Suite #1, Titusville, FL 32780.
Deadline for submission: October 15, 2004
Images will appear in our January 2005 issue.
Our next topic: Sunrise/Sunset
Deadline: November 15, 2004
Publication Date: February, 2005
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