Craney Island

A target of opportunity:

Flying across the James River to an early morning shoot in Hampton. I’ve been shooting Craney Island for the Chesapeake project and had planned to photograph it on the return flight. I was strapped into the rear cabin of an Robinson R-44 and had my trusty KS-8 gyroscope spun up and ready to roll with the D3x.

I shot three or four frames and then out the camera away to concentrate on the shoot ahead.

A target of opportunity happens when you least expect it but are prepared ahead of time.

Craney Island

APA DC December 8th Foto Space

http://apadc.com/2011/11/23/12-08-apa-event-chesapeake-the-aerial-photography-of-cameron-davidson/

I’ll be presenting my Chesapeake book for APA DC on December 8th in Washington DC at FotoSpace between 6:30 and 9:00.

FotoSpace: FotoDC’s Headquarters
1838 Columbia Road NW, Washington, DC 20009

I am going to talk about the project, how long it took and why, I’ll get into how I found a publisher, a little bit about aircraft safety and why I feel it is important for photographers to create personal projects.

Plus – answer a bunch of questions and sign a few books.

Foto Space is in Adams Morgan and pretty easy to get to via Metro.

Set aside the evening if you can.

A trip down the mountain

I’ve been going through a mix of Haiti images shot over the past 13 years for a new promotional piece. Mike Davis recently edited together a collection of forty images for this new brochure. As I processed the files in Capture One I came across a few pics that are memorable to me.

The drive to Sequin from Jacmel takes you over some of the most difficult terrain in Haiti, the road, if it could be called that is nothing more than a rutted track that only a four-wheel drive vehicle can transverse. The group I was with were returning to Jacmel after attending to the medical needs of a remote village near Sequin. This young girl reached her hand out for some food as we drove past.

Turkeys in Haiti

It is shots like this that I wish I had brought medium format gear along – even something as simple as my Fuji rangefinder. The young girl and her mother walked along a dirt road with the chickens and poultry and soon were no longer visible in the fog that surrounds this mountain village.

Death rattle

This young girl was within hours of dying from malnutrition. Her mother had lost her husband in the earthquake and had returned home to her village. A young internist had found this baby and called to us by cell phone and asked our group to stop and see if we could help the child. He built a cairn along side of the road to mark the family’s home. We loaded the baby and her mother into the back of the truck where we made a nest of sorts for her. We took her to the hospital in Cayes Jacmel and came back a day later to see them. It was incredible, the baby responded to the liquids and fluids. We were concerned that the child may not make it to the bottom of the mountain when we first found her.

Dehydration

When our group arrived at Caye Jacmel, Jill ( a doctor with Inova) and her first nurse attended to this child who was suffering from Dehydration. The child was scared and it took a few hours of her lying still in order for the fluids to work their magic.

Lomo La Sardina Project

http://microsites.lomography.com/la-sardina/

Earlier this summer I shot a small campaign for LOMO cameras using old Holga, Diana and LOMO fish-eye cameras.

The brief was shoot whatever I wanted with any LOMO, Lubitel, Holga or Diana camera and break the rules by using outdated film. I just happened to have a box or two of Fuji 160 NC that was five years out of date. My goal was to make the images as retro and anti-digital as possible. The images were used on a tourism web site plus the new La Sardina camera special edition for the Commonwealth.

Foamhenge by Cameron Davidson

Foamhenge

Martha Spencer, Bluegrass Musician

Martha Spencer

Martha Spencer with a fish-eye lens

Martha Spencer photographed with a LOMO fisheye camera.

Steve Barr Banjo Player

Stevie Barr, Ace Banjo Player, founder of “No Speed Limit” and general cut-up.

Galax Fiddler Convention

Galax Fiddler Convention

Johnny Appleseed

Johnny Appleseed

In the land of T/S for a day

Years ago (2003-2005) I shot quite a bit of aerials with a homemade lens based on Mark Tucker’s plungercam concept. Another photographer, who started shooting aerials around 2004, launched his career with the concept of using tilt/shift lenses. Olivo Barbieri, an Italian fine art photographer is generally recognized as the first person to shoot t/s lenses in the air. He created several striking bodies of work that moved past the shallow-focus eye-candy trap. Getting past the O-wow response is enough of a challenge for any photographer. Barbieri did it and his works stands far above (IMO) of any other shooter shooting t/s lenses from the air. Why do I say this? Because there is theme and continuity to his work.

Cameron Davidson Tilt/Shift Aerial

I decided to not shoot any t/s aerials after the spring of 2005. Primarily because I felt that aerials in themselves when presented properly did not need any additional changes. My images are graphic and the abstract nature of many of the photographs is enough of a challenge for most viewers.

A couple of weeks ago, I was shooting an aerial gig in New York and New Jersey. Just for grins, I took my rarely used D300s camera and mounted my 45 PC-E Nikkor to it. I shot a few frames of subdivisions in fall color and this marsh with a foot bridge.

It was fun to shoot that way again and the image is now in the Corbis collection. I think the appeal is limited and don’t plan to shoot many images this way. Sometimes you just have to say yes to a target of opportunity.

86 new images in Corbis

New imagery for Corbis was recently loaded to their site.  Images includes landscapes in the Upper Peninsula of Michigan plus aerials from California, Michigan and Virginia. Subjects include traffic in Los Angeles and the Washington DC region, agriculture and the desert in Southern California, Cityscapes of Detroit and Los Angeles plus rail yards in Southern Virginia.

Cameron Davidson Aerials Corbis

Paris Photo | Grand Palais

Last Thursday I took off for France for a few days to see the gallery exhibits at the Grand Palais and to visit some photographer friends. I packed very little clothes and only my trusty GF1 with one lens. I did not go to Paris to shoot. My goal was to look at work, visit with friends and enjoy a few good meals. Which I did.

My friend Grant Symon is Scottish, lives in France with his wife and child in an storybook house set in a remote village. He is an amazing food shooter and Paul Freeman (another British photographer friend) and I went to lunch with Grant over the weekend. Grant recently completed an amazing book of still life food images from the Ritz. http://www.grantsymon.com/e/ritz.html If you are a foodie, check out the book. All of the images were shot available light in incredible environments. Beautiful book, stellar images and a challenge to every cook to try to duplicate the recipes.

 

Paris is too tempting of a city to not shoot.  So I decided to just go with the flow and shoot from the hip and see what came from just responding to people as they walked the city.

Cameron Davidson portrait






A visit with Wayne Henderson and Gerald Anderson

I’ve been shooting in Southwestern Virginia for the past few days and decided to stop by a visit a couple of luthier friends of mine. Wayne Henderson – on the left – is a well known Luthier and Guitarist. Gerald Anderson – on the right – worked alongside Wayne in his shop for twenty plus years and is a well respected guitarist, vocalist and luthier. The guy in the middle is none other than yours truly. Wayne said once I played a little better he’d let me have a guitar with a neck. The guitar I am “playing” is number 8. Wayne has made over 500 guitars and the waiting list is between seven to ten years. If you want to read a little bit about Wayne and guitar making – check out the excellent “Clapton’s Guitar: Watching Wayne Henderson Build the Perfect Instrument.

Wayne Henderson Cameron Davidson Gerald Anderson

Ace Assistant Audrey Lew shot the picture.