Antelope Island is, as I mentioned before, one of my all time favorite places. It sits in the Great Salt Lake and looks pretty Lord-of-the-Ringish. It has a healthy fauna with plenty of antelopes and buffalo roaming around. The way to get there is by a long very straight road that traverses the lake.
On the second day of our Giddy Up shoot we met again at my hotel downtown Salt Lake City. Again we had three riders, Tate and Cameron from the day before and as a new addition David Orion Thompson. We also had hired Hillary, a female model from Craigslist, her though for only half a day.
Once we got to the island, we ran into some problems. We had called a few days earlier about a permit and were told to just get it on the day of the shoot, that it would be a matter of minutes. I confirmed this again the day before, but of course once we got there nobody knew nothin’ and we had to make a slow march through state park bureaucracy. It would have been pretty frustrating except for the fact that the van with all the BMX’ers had broken down along the way and we wouldn’t have had anybody to photograph anyway. In the time it took us to get the permit, the boys somehow managed to get the broken heap off the road and to organize a new vehicle. When we all finally made it to the location we decided to play it like rock stars. Who really starts working before 11 o’clock anyway? In any case it helped my nerves considerably that the shoot the day before had worked out so well.
For the first set-up we picked a little dirt road at the south side of the island and started with Hillary since we would only have her for one more hour thanks to our earlier adventures. She and David definitely looked like they could be a couple and we tried to create a shoot that was half hipster, half Norman Rockwell.
After the girl left we went back to the dirt road with the riders. I had told them before the shoot that I wanted to incorporate Western iconography into the images of them riding. Cam didn’t need much prodding, he had an extensive collection of old time country music on his i-pod and a fine variety of cowboy shirts, but he went far beyond the call of duty by bringing a bona-fide bullwhip to the shoot.
He was very good at making the bike ride by itself even on a bumpy dirt road, and so here he gave it a push towards the camera, grabbed the whip and and gave it a good smack at precisely the right moment. Yeeh-haw!
After the dirt road shoots we broke for lunch at a few nearby picnic tables and noticed a small plane circling low and slow overhead as if looking for something.
After lunch we moved to the next location where David performed a bit of rodeo inspired riding. As with the other set-ups, we shot everything on a Mamiya RZ with a P25 Phase One back and lit the scenes with Profotos 7b’s. We usually arranged the heads with regular reflectors in as much of a circle as we could get away with.
For the last set-up of the day we moved to the access road to the island. Usually a sleepy stretch of blacktop were you can see oncoming traffic for miles. On that day it was far from sleepy though. We had set up our lights and had just started shooting when we saw police lights flashing in the distance. After a few minutes a huge Suburban police truck came flying by at 90 miles an hour, a few minutes later another police car with lights and sirens shot by followed by fire trucks, ambulances and more police cars. We kept shooting through the whole parade because even at their break neck speed, we had minutes to get out of the way. Cameron was manning the radio and finally found out that a private plane with a lone pilot went down on a remote part of the island earlier in the day. The plane we saw at lunch must have been looking for the missing aircraft.
Despite a bit of nervous energy on the set from all the racing emergency vehicles the shoot turned out very nicely. We had Cam (who also brought some nice suits beside the bullwhip) jump “over” the rental car. The image is a simple composite to get both the bike and the car in focus, I didn’t change the height of the bike at all. Cameron really could jump.
These two images are the only ones we really used photoshop on (besides color, contrast, blah, blah, blah) to showcase a bit of the different riding styles. Where Cam could really get high (aw, c’mon, you know what I mean) Tate could really go low. His ability to dip the bike and pop it back up was a thing of beauty. We had to hurry up with these images because at the end of the day the light was changing fast and we needed consistency for the composites.
After that we turned the set-up around to get a shot of the three of them with a nice sunset.
The images we produced during the two shoot days were pretty well received. Fab Julie Grahame picked the Bonneville pics for a feature on aCurator.com, David’s bucking bike made it on the American Photography contest website (and, as I just realized, disappeared again thanks to their low notch web maintenance), and the series placed second at the Internation Photography Awards (the Lucies) in the self-promo category, also clearly visible to an archaeologist on their engaging winner’s gallery.
Unfortunately at the same time the whole market for stock photography turned to and I decided to hold back with submitting the images until they have a better chance to make money. Hopefully the market for stock images as well as photography in general will rebound, but I do have a queasy feeling that the last pic of the day might have been a premonition.