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 |
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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).
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10" by
10" Print FF $300 |
15" by
15" Print FF LTD ED $495 |
20" by
20" Print FF LTD ED $675 |
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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.
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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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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. |
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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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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" |
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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. |
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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: 520-322-9750 |
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