Life's Little Adventures

Our Studio, Part XVIII

Previously on this thread

Photo Location Vans

When Jim Houghton and I first started our photo studio in New York way back in 1965, going on location was a drag — literally: we had to drag our equipment, props, and everything else to the chosen spot by subway or bus, unless there was enough of a budget for taxis. As our clientele grew, we began to rent cars, usually station wagons, from Hertz. Although we had no credit cards then, I did still have an account with Hertz, left over from the time I was the studio manager for the famous photographer Richard Avedon.

The first major improvement occurred in late spring of 1966, when we got an assignment to do several days of catalog fashion photography for Abercrombie & Fitch out in the Hamptons (the southeastern end of Long Island, New York). This involved dozens of items of clothing along with winter props such as skis (it was a Christmas catalog), and loads of styrofoam "snow."  So we needed a truck as well as a wagon.

We rented a large step-van truck and put together a makeshift dressing room in it. This also held all of the merchandise, the props and equipment, and served as a working area for the stylist. It was driven by a freelance assistant that we hired for the job. I rode in the cab along with him and one of the models; Jim, the stylist, client, and two models went in a rented station wagon. The two vehicles stayed in touch while looking for locations via walkie-talkie; this was long before cell phones.

After that we realized the need for a better way to work on location.

Then help arrived. A guy (I think his name was Bob) started a location van business geared to the still photography business. The first vehicle was a full-size Dodge van converted with a pop-up top and sufficient space for smaller jobs. One very useful feature was a car phone (remember, this was in the late 1960s, long before cell phones), and another was a 110-volt generator to power lights and special effects equipment. We often used this van in New York's Central Park. Bob, or whatever his name was, also provided a great picnic lunch. The clients, models, and stylists came by taxi or rental car.

As his business grew, he acquired other vans and hired drivers for them. The one we liked best was a huge Dodge Travco motor home (RV) in which everyone could travel together in comfort. This looked very much like the one on the left. We took this to such exotic places as New Hope PA, East Hampton NY, and the Upper Hudson Valley in NY. Again, this was equipped with phone and generator, plus a bathroom and a tiny kitchen.

Bob's big van was used on our infamous night job of the rock group AC/DC on a closed stretch of highway on Staten Island. Not only did it have to carry (and feed) the band and us, but also people from Atlantic Records as well as provide power for the smoke machines and strobe lights. The resulting photo was used on the back cover of their great album "Highway to Hell."

One problem with vans in New York City is that often the best way in and out of Manhattan is via the Lincoln, Holland, Queens Midtown or Brooklyn-Battery tunnels. Ordinarily, motor homes and camper vans are not allowed through these because of the propane tanks they carry. Bob's vans did not have propane, but he still always had to prove to the toll taker or police that it was okay. 

Another good vehicle for big location jobs is a regular tour bus. In the late 1970s we had an assignment for TWA that took us through New England and then down to Washington DC, all in a period of three days. This involved several models including children, and promoted the airline's guided bus tours. The bus itself was also a prop, so it had to be kept clean. For Washington we had to get a police permit to photograph in the streets. When we parked in front of the Capitol we were ordered to leave by the Capitol Police, who would not honor a permit from the city. Fortunately, I had already taken the photos before we were forced to depart.

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Miltenberg, Germany

Visitors to Frankfurt should really appreciate this easy daytrip to an off-the-beaten-path destination just saturated with Old World charm. It's taken directly from the pages of my recent guidebook Daytrips in Germany's Rhineland, available from Amazon.com.

Trip 18

Miltenberg

If a contest were held to choose the most beautiful small town in Germany, Miltenberg would certainly be among the top contenders. Its marketplace is so astonishingly picturesque that it seems to belong to another world — or a long-forgotten dream.

The Romans had a camp here in the 2nd century AD as part of their great defensive wall called the Limes. Around 1200 a castle was begun by the archbishop of Mainz to protect the growing trading post that connected the Rhine-Main area with an overland route to the Danube. The town prospered during the Middle Ages, changed hands several times and ultimately, in 1816, was annexed to Bavaria. Much of old Miltenberg, including its castle, has survived intact to delight us today. A visit here could be combined in the same day with one to Aschaffenburg.

GETTING THERE:

Trains depart Frankfurt's main station several times in the morning for Aschaffenburg, where you connect to a local for Miltenberg. The total trip takes a bit over 1½ hours, with return service until early evening.

By Car, Miltenberg is about 80 km (50 miles) southeast of Frankfurt. Take the A-3 Autobahn to Stockstadt, then head south on the B-469.

PRACTICALITIES:

Visits to Miltenberg should be made from May through October, on any day except Mondays — when the sights are closed. The local Tourist Information Office, T: (09371) 404-119, W: miltenberg.info, is in the Town Hall on Engelplatz. Miltenberg has a population of about 9,700.

FOOD AND DRINK:

The town is very popular with German tourists, and so offers a good choice of restaurants. Among the best are:

Altes Bannhaus (Hauptstr. 211, a block west of the Marktplatz) Excellent dining in an historic building with an arched cellar. T: (09371) 30-61. X: Thurs. €€€

Jagd-Hotel Rose (Hauptstr. 280, 4 blocks west of St.-Jakobus Church) In a 17th-century house overlooking the river; outdoor tables available. T: (09371) 400-60. X: Sun. eve., Mon. lunch. €€€

Mildenburg (Mainstr. 77, 2 blocks west of St. Jakobus Church) Facing the river, with outdoor tables available. T: (09371) 27-33. X: Mon. € and €€

Anker (Hauptstr. 31, near the Franciscan Church) Good-value meals at a small inn. T: (09371) 24-24. €

SUGGESTED TOUR:

Numbers in parentheses correspond to numbers on the map.

Leaving the Train Station (1), follow Brückenstrasse and cross the bridge spanning the Main. Hour-long Boat Trips are offered nearby, T: (09371) 3330, W: reederei-henneberger.de. Turn right and stroll along the water's edge, then make a left to the *Marktplatz (Market Place). One of the most beautiful sights in Germany, this open square is lined with an amazing array of half-timbered houses (Fachwerkhäuser)(photo, below). The Renaissance fountain in its center dates from 1583, while on the left is the Town Museum (2), located in the former 16th-century seat of administration. Step inside for a look at the town's history and traditional folk arts. T: (09371) 404-153, W: museum-mildenburg.de. Open May through Oct., Tues.-Sun. 10-5:30; Nov.-April, Wed.-Sun. 11-4. €.

Now walk uphill through the old town walls to Mildenburg Castle (3), a medieval stronghold built between the 13th and 16th centuries. The view from its tower is spectacular and well worth the climb. In the courtyard you will find the fascinating Toutonenstein, a carved stone monument from early Germanic times. The castle may be visited from May through October, Tues.-Fri. 2-5:30, Sat., Sun., holidays 1-5:30. €.

Descend the hill via the other path and return to the market place (photo, right). On its north side stands the 14th-century Pfarrkirche St. Jakobus (St. James' Parish Church) (4), which contains several splendid works of art. The twin towers were added in 1830.

The Hauptstrasse is lined with an impressive variety of old buildings, many of which are half-timbered. Walk past the Altes Rathaus (Old Town Hall), a 14th-century stone structure, and continue on to the Gasthaus zum Riesen (5). Claiming to be Germany's oldest inn, its guest register reads like a Who's Who of European history. The present structure dates from 1590, but some questionable documents seem to show that the inn was doing business since the 12th century and has sheltered Frederick Barbarossa and other greats. In any case, it's a nice place to stay, or just stop for a beer.

Just beyond this is the Engelplatz, where the tourist office is located in the town hall. The Baroque 17th-century Franciscan Church (6), on its north side, is a worthwhile stop before spending the rest of your time poking around the narrow alleyways that add so much interest to this ancient town.

Copyright © 2007 Earl Steinbicker

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The Avedon Years, Part XXVI

Previously on this thread

AN INVITATION TO PARTICIPATE

When I began this blog in May 2006, I added a section on my years of experience assisting the world-famous photographer Richard Avedon (photo, right, directing model). This is now the 26th entry in that thread, and there are many more to come as I dig deeper into my old files and prod an aging memory. All of my experiences with the master date from September 1952 through December 1956, and again from December 1959 through October 1965. This leaves gaps from 1923-52, 1957-1959, and 1965 until his death in 2004. I would love to fill these with the help of others for use here, or possibly to add to someone else's book, video, or oral history project.

The Wikipedia entry on Avedon contains abbreviated basic information on his entire life, but of necessity leaves us with more questions than answers. Perhaps someone reading this can fill in some of the missing pieces. It is possible that I am the only living person with a really extensive, thorough knowledge of both his life and career during the period 1952 through 1965, and I would like to share this for posterity while I am still able.

If you have anything to add, please leave a comment below and I'll contact you. Thank you.

ON TO the next on this thread, Assisting Avedon.

RETURN to Avedon Years Index.

A Fun Read

Do Travel Writers Go to Hell?

I just finished reading this controversial new book by Thomas Kohnstamm, who purports to reveal all with his "Swashbuckling Tale of High Adventures, Questionable Ethics & Professional Hedonism." Why has this life eluded me? I've been a professional travel writer for over thirty years now, but no such luck.

Kohnstamm, who contributed to numerous Lonely Planet guidebooks, spins a yarn that will surely make his editors cringe. Sex, drugs, booze, payoffs, and creative writing about places he may never have visited are all part of it. He seems to attribute this to being perpetually broke as a result of a pitiful author's advance.

LET ME SET THE RECORD STRAIGHT.

I have been studying all of the major travel guide series for decades, including Michelin, Fodor's, Frommer's, Let's Go, Rough, and — yes — Lonely Planet, and have never had any reason to suspect serious shenanigans. It is possible that the odd restaurant here or there gets listed because the writer got a free meal, or a hotel in exchange for a night's sleep. But they would still have to be recommendable places or the writer would quickly lose all credence.

It is true that most travel writers are badly underpaid and must do it more for the love of travel and writing than for possible wealth. I found this out way back in 1989 when I wrote for Fodor's. In many cases the only way to earn a decent living is to own all rights to the book, including all copyrights. All of the authors on our Daytrips series own the copyrights to the books they wrote.

In my case, I have accepted free flights from major airlines in exchange for putting their logo on the rear cover of the book, a form of paid advertising. I do not recommend or discuss airlines in the text, so there is no conflict. I also do not recommend or discuss hotels in the books, so I am comfortable with free lodging arranged for by the national tourist authorities. I DO recommend restaurants along the travel routes; therefore I DO NOT accept free meals.

STILL, THIS IS A FUN READ.

Hillarious would be a more accurate word for this tale in the style of Hunter S. Thompson's "Gonzo" journalism, wherein the fine line between fiction and non-fiction becomes blurred while involving the author as a character. After this, however, I doubt that Mr. Kohnstamm will be doing any more work for Lonely Planet — or any other guidebook publisher.

Do Travel Writers Go to Hell? — By Thomas Kohnstamm — Three Rivers Press — 2008 — $13.95 — ISBN 978-0-39465-1

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Our Studio, Part XVII

Click here for the previous entry on this thread

THE CAMERAS WE USED

When Jim Houghton and I began our photo studio in New York back in 1965, we had to do it on not much more than a shoestring. So we made use of whatever cameras we owned between us — not necessarily the best ones for whatever assignments we could get. Jim contributed his Leica M2 and a Mamiyaflex TLR. I threw in my well-used Canon 35mm SLR, a Mamiya 6x9 press camera, an ancient 4x5 Linhof and an utterly useless Nikonos underwater job. Right away, we traded the Mamiya 6x9 press for another Mamiyaflex TLR as these were good for both general commercial, fashion, beauty, and portrait work. The Canon soon acquired an identical twin, and the Linhof proved marginally useful for product shots.

None of these were really ideal.

What we really needed most was an 8x10 view camera. At that moment I was offered a brand-new 300mm f/5.6 Schneider Symmar lens in a Compound shutter at a fantastically good price. What was wrong with it? Not much, only that it had the wrong name engraved on its barrel and was thus not saleable through normal channels. I snapped this up, and bought an el-cheapo Calumet 8x10 body. This was no Deardorff or Sinar, but it served the purpose and lasted through our entire career. In truth, it was a clumsy beast, but practically indestructible. I swear it was made of cast iron. The Symmar lens fit it perfectly, and soon thereafter we added a Schneider Angulon lens for wide-angle shots.

Salvaging a 150mm Schneider Symmar lens from the old Linhof 4x5 camera, we purchased a Calumet 4x5 monorail view that seemed to be an exact copy of the old Kodak monorail of the 1940's. This was good for product shots, and for catalog work where the client wanted a larger image but was unwilling to pay for 8x10.

The real workhorses were the Mamiyaflexes. These TLRs had interchangeable lenses, were easy to load, and used 120 roll film. Unfortunately, they were also extremely fragile and broke down frequently. Most often, the film advance lever broke off when shooting too fast. At one point, on location on Paradise Island in the Bahamas, all three of our Mamiyaflexes ceased working. With a small screwdriver I was able to get enough undamaged parts to put together ONE working Mamiyaflex.

After that, we decided on a Hasselblad. The 500 EL model, with electric drive, a pentaprism viewfinder, a bellows-type lenshade, and a fast-focus lever to be exact. Wow! What a camera that was! Fast, comfortable to use, and extremely rugged. It was so good that we soon acquired another identical one. And a few more Zeiss lenses. Photo on left shows this model, without the fancy viewfinder or lenshade. One particular feature of Hasselblads was the snap-on film magazine. With a few of these loaded, it only took about one second to reload, so there were no interruptions for changing film.

The Canons soon gave way to Nikon Fs, each equipped with a motor drive. We used these Nikkor lenses: 28mm, 28-50 zoom, 50mm, 105mm, and 200mm. While on a trip to Tokyo we bought two more bodies, motor drives, and lenses at bargain prices. All of the model Fs (photo, left) were later replaced with model F2s. One nice thing about Nikons was the rugged bayonet mount, which enabled lenses from any Nikon SLR model to fit any Nikon F-series SLR body, regardless of model. This way, we could keep our old lenses (which never wear out) and just replace bodies. The newer F2 bodies were also much easier to load, with their swing-open backs.

Another very useful camera was the Polaroid folding pack-film camera, which had regular shutter speeds and lens openings, plus a combo viewfinder-rangefinder. This enabled us to check lighting effects and verify exposures before shooting with a regular film camera. It was deadly accurate — if the Polaroid test photo looked good so would the photos taken with the above cameras. This was especially true with complex strobe lighting setups. It was also handy for checking out possible locations before the actual shooting began.

In addition to that Polaroid, we also had a 4"x5" Polaroid sheet film holder/processor, which was used with our 4x5 Calumet camera. And best of all, the custom back for Nikon SLRs, which produced big, enlarged Polaroids shot through the Nikon body and lens.

For personal non-commercial use, I had an Olympus OM-1 35mm camera with zoom lens, chosen because it was so compact, a Polaroid SX-70 (again, very compact), and a Nikon Super 8 movie camera. Jim had his beloved Leica, which he used heavily.

Later, I'll discuss the various films we used, plus the developers, papers, and other darkroom supplies.

OF COURSE, if we were doing this today it would be all digital cameras. Instead of a darkroom there would be an Apple computer loaded with Adobe Photoshop, and a good printer.