Caption: The Start of the New York City Marathon from atop the Verrazano Narrows Bridge, 30,000 runners at the start of the race completely cover the bridge. This view from atop the Staten Island Tower is 500 feet above the runners and 700 feet above the water. An unusually clear morning for the NYC Marathon start this image also shows the cables which were in the process of being repainted, lucky for me it was a three color paint job.
Ultimate Reproduction: For museums, private collectors and corporate archives. A 40 by 40 inch Singed Limited Edition D'Vinci Fine Art Print. Image printed full frame including the sprocket holes and the entire piece of film, actual image size is 39" by 36". This Edition limited to 10 with 2 Artists Proofs. No more than ten this size will ever be printed or sold. The price increases as the edition is sold out. This is the newest style print I have been making and includes the entire film chip. Scanned in 16 bit at 650 megabyte drum scan, digitaly remastered in Photoshop then printed with the entire piece of film. All of my work will be offered in this way as limited edition prints. My lightning and severe weather photographs are on display this summer at the Etherton Gallery and you can walk in and see these incredible prints in person.
More information about the D"Vinci Printer: This is a new high-end printing system comprised of a 54” wide Roland Hi-Fi Jet printer, ErgoSoft’s StudioPrint RIP software and a special formulated set of 12 inks. Roland pigmented inks include cyan, magenta, yellow, black, light cyan, light magenta, orange, green, and a dilution of 4 special Cone black inks. These special carbon black inks add greatly to the quality of not only black & white artwork but to color artwork as well. The Cone inks increase the archival aspect to our prints. The longevity of our Giclee prints can now be measured in centuries. The paper is Arches infinity smooth finish. It is mould-made, acid-free (Ph 7), lignin-free 100% cotton paper. It has a Basis Weight of 230 gsm, it's caliper thickness is 17 mils. It is also free from OBI's (optical brighteners) which cause rather rapid discoloration of paper. Full Frame with Sprockets Holes: I also like the image this way as is shows the Film type PKR 5033 is Kodachrome 64, when Kodak used to process slide film they would burn their processed by Kodak into the edge of the film backwards, it shows it is frame number 31 near the end of the roll and you can even see where the camera sprockets left marks on the film sprocket holes as I was shooting at six frames per second. So it is interesting there is even a story to be told in sprocket holes. I'm also making a less expensive 30 by 30 inch version available. The image above shows how it will look printed although it will be signed and numbered edition without the white text overlay.
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| 40" by 40 " Print with Sprockets $1675 | 30" by 30 " Print with Sprockets $875 | |
Details: Printed with full film chip and sprocket holes with half inch white border. Signed on the back in pencil, limited edition (limited to 10 of the 40 by 40 inch paper size)
Number 1 sold
Number 2 $1675
Numbers 3-4 $1975
Numbers 5-6 $2375
Numbers 7-8 $2875
Numbers 9-10 TBA.
2 A.P. prints (one remians) | Details: Printed with full film chip and sprocket holes with half inch white border. Signed on the back in pencil, limited edition (limited to 15 of the 30 by 30 inch paper size)
Number 1-3 $875
Numbers 4-6 $1200
Numbers 7-10 $1800
Numbers 11-13 $2200
Numbers 14-15 TBA.
4 A.P. prints |
Custom order only. Allow 4 weeks production time. Crating and shipping depends on location. Local Pick up Free. Commercial display rights available for an additional fee (contact for pricing).
Fuji Crystal Archive Prints Prints smaller than 20x 20 are printed on Fuji Crystal Archive photographic paper. They use the same digitaly remastered files as our D"Vinci prints. Created to meet or exceed the highest Fine art standards for photographic printing. These prints are produced from highly detailed high resolution RGB digital files, and printed to exacting standards on Fuji Crystal Archive Photographic paper. It delivers superb colors and pure whites with exceptional color image stability and sharpness. Fuji Crystal Archive offers long-term dye stability, which leads to an increase in print longevity, greater than 60 years under normal viewing conditions. The links below will take you directly to Paypal where you can pay for a print by credit or debit card (turn around 2 weeks).
| 10" by 10" Print FF $300 | 15" by 15" Print FF LTD ED $495 | 20" by 20" Print FF LTD ED $675 | |
Details: FF LTD ED Printed Full Frame Signed Limited editions (limited to 50 of each) |
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Looking almost straight down with a Nikon 20mm lens at the Start of the New York City Marathon from atop the Verrazano Narrows Bridge, 30,000 runners at the start of the race completely cover the bridge. This view from atop the Staten Island Tower is 500 feet above the runners and 700 feet above the water. An unusually clear morning for the NYC Marathon start this image also shows the cables which were in the process of being repainted, lucky for me it was a three color paint job. The link below will take you directly to Paypal where you can pay for a print by credit card. There is more information about the print process listed at the bottom of the page. | |
| 8" by 10" Print FF $300 | 11" by 14" Print FF LTD ED $495 | 16" by 20" Print FF LTD ED $675 | |
| We want you to shoot some head shots.
You wouldn't think shooting head shots of a couple of old runners would turn into such an interesting photograph. It all started like this. My former employer The Tucson Citizen Newspaper and USA Today were both owned by Gannett Inc. Another photographer friend of mine working at USA today at the time referred me to the local USA Today photo assignment editor in New York. I took my portfolio in and met with him and told him if he ever needed help with an assignment to let me know. I received a call a few weeks later to shoot a New York City Marathon press conference, which was being held at Tavern on the Green in Central Park. While shooting head shots of two well known runners for USA today, I managed to strike up a conversation with the press officer for the Marathon. I told him about moving to New York and how I was trying to get magazine work. I was only 22 at the time so most people thought I was just in school even though I had already worked as a photojournalist at the Tucson Citizen for the past two years. I asked about shooting the start of the race and he said he could help me out by getting me a press pass to shoot the start of the marathon. Cool I thought to myself someone in New York actually wants to help me out. I was not on the bridge yet though as it takes another specialized pass to gain access to the bridge. | |
| 8" by 10" Print FF $300 | 11" by 14" Print FF LTD ED $495 | 16" by 20" Print FF LTD ED $675 | |
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A very early start to a great day. I was up at four in the morning the day of the Marathon to catch a runners shuttle buss which would take me out to Staten Island. The race begins on the south side of the Verrazano-Narrows Bridge and I was not familiar with the area. I don’t know how many buses were leaving from Grand Central Station but there are 20,000 to 30,000 runners that have to be shuttled out there for a 7am start. I had planed to just shoot from ground level as I was happy to have just gotten this far. I asked another photographer as he was wearing a bridge pass and he said to talk with the guy over there as he pointed to a guy with a bunch of photographers huddled around him. It was the same press guy from the Marathon Press Conference and he remembered me. I asked how to get a pass to shoot from the bridge and instead of saying no, he said do you want to shoot from the top or on the road? I thought for half a second and said the top! Then he just handed me the pass, now I had to figure out how to get up there.
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| 8" by 10" Print FF $300 | 11" by 14" Print FF LTD ED $495 | 16" by 20" Print FF LTD ED $675 | |
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Afraid of Heights?
I had to shoot from the other side of the railing behind me in the photo, being afraid of heights I crawled on my stomach under the railing up to the edge of the bridge. No ropes no harness just 500 feet straight down to the runners below. Manhattan is over my right shoulder. The tallest buildings in the background were the twin towers" | |
Getting there is Half the Fun So I walk back to the bridge with the pass tied on my jeans. The cops blocking the bridge ask for my pass and I show it to them, I walk around for a while and look at the different shots I can get from the deck of the bridge. Then I ask another photographer how do you get on top? He points to a small door on the side of the bridge span. One of the bridge workers is there and he asks if I want to go up on top, I look skyward, with the bridge towering 500 feet above my head and say sure and step through the little metal door. I figured it would be 500 feet of stairs or rung ladders but there is a tiny elevator big enough for two photographers their camera bags and the bridge guy who knows how to run the elevator. So we're packed in there and it is pretty dark inside the bridge. Then we get to a spot were there is a big platform inside the bridge and the bridge guy says go that way. Climbing a series or rung ladders and climbing through big steel bulkheads in the dark it’s kind of like being inside a submarine without any light. I can see light at the end of the tunnel and some people are coming down, I climb the last ladder flip the hatch open to a bright blue sky, climb up and then I'm standing on top of the world, ok the top of the bridge and what a sight to see.
Afraid of heights? The whole time I’m working my way up there I was thinking I'm afraid of heights, and the kind of heights I’m afraid of are like twenty or thirty feet, what is this going to be like to be 700 hundred feet above the water? I think there were about 20 or 30 other reporters photographers and video crews up there with me and when I started to think about how dramatic the image looked, I just pushed my fears aside. I searched for the best angles and tried to figure out what were the shots I wanted to get. I was amazed that I was able to find a spot where I could shoot from the center of the bridge because that looked like the strongest design through the lens. There is a railing that encloses the top of the bridge but the railing is about four feet from the edge. To shoot the photograph looking straight down you have to be on the other side of the railing. Being afraid of heights and all I decided to slither like a snake under the railing and just lay down on the bridge with my head and camera hanging over. I was worried I might drop a lens or camera body and kill a few runners, a metal lens cap might give you a real headache from that distance, so I was extra careful changing lenses. No rope, no harness, just shoot as much as you can, I even managed to shoot a few frames with the Medium Format Hasselblad 500 CM but I later found out the high speed spring on the Carl Zeiss lens was stretched out from leaving the camera on 1/500th. So those shots were slightly over exposed.
At the Finish line I took the Staten Island Ferry back to Manhattan and managed to shoot a shot of the first place runner as he crossed the finish line in Central Park. I walked back to my apartment at 15th. Street and Third avenue, put my feet up on my desk, pulled the film out of my cameras it was the end of great day in New York City. | |
Payment Requirements Orders must be paid in advance. Prints take seven to ten days once your payment is received. These prints are for personal display use only. USA shipping charges $12, other locations in the world pay actual shipping charges. Our prints are signed and numbered by A. T. Willett available in limited editions.
Commercial Display Uses Prints for commercial display use can be quoted for trade show back grounds, office decor and other commercial uses, please contact us by email to request a quote. Usage for stock photography advertising or editorial use click here. Allamy.com Marathon Bridge Photographs Email: atw@atwillett.com Phone: 520-661-6060 | |
