Jessie The Welder: Johnson's Welding Shop - A 1940's Vintage Look

Great places to shoot can be discovered anywhere. Seems like you search and search for weeks and nothing jumps out at you. Then, unexpected, you stumble onto a location so iconic, so classic in its ambiance, it becomes a gold mine mixture of atmosphere and light.

Took my Jeep down to have some minor preventative maintenance welding done and discovered such a place the other day. It turned out to be a fantastic piece of luck for within an obscure little welders shop I discovered a rustic, chaotically skewed, tumble down assortment of tools, junk, and old equipment, a genuine alive and breathing example of Americana, the heart and soul of the working class American.

"Jessie's the name...what can I do for ya?"

I should have guessed he'd have a perfect name like Jessie.

"Got a bunch of work wait'n on me rat now. Can ya bring 'er back in a cup'l weeks?" Jessie said after we discussed what I needed to have done to the old Jeep. He was the perfect nostalgic welder type. Sort of scruffy with a week long stubble growing across his textured and weathered face. His callused hands displayed a life of hard work with their deeply textured and toughened casings. His eyes, barely discernible behind the partially closed eyelids, cast a look of tired experience. Dressed in dungaree blue jeans and a chambray shirt, he just looked the part.

"Sure can," I said half paying attention as my eyes surveyed the cluttered insides of his old tin and wooden welders shop. "Jessie, I was wondering...I sometimes pretend to be a photographer and the inside of your shop has really intrigued me. You mind if I come back sometime and take some pictures."

"Ya mean of this ole junkie place?"

"Yeah, it really has a lot of character. I can see some really good shots coming out of here."

"Oh..I'd guess it'd be okay."

That conversation set me on the path for a new Adventure Photography photo shoot. The next morning found me arriving with camera gear in tow. Jessie was working on a trailer ramp adding a beefed up gate to the back of it. With the characteristic hum and crackle, a Christmas tree of sparks flew around him and the inside of the shop was set aglow by the bluish welding light being cast across the clutter. A faint white smoke floated in the air carrying with it a familiar yet foreign burnt aroma so common to the welders ark. He stopped just long enough to raise his helmet and nod his approval of seeing me again so soon.

"Mind if I take a few pictures?"

He simply nodded his approval, jerked his head forward to drop the welders helmet into place and started welding again.

The first few minutes were spent just walking around and looking for the right angles from which to shoot. I took a few natural light shots just to see what kind of ambient light existed. It wasn't bad, but I already knew what I needed to do as far as lighting. The ambient light came from two partially opened sliding garage-type doors, only bigger, one on each end and several narrow windows along the top half of the south wall. Even though there was a lot of light pouring in from the opened sliding doors, combined with the windows it provided just enough light to illuminate the edges. The shops was mostly filled with dark corners and shadowed ridges. My job then was to light the structure of the cluttered tables and equipment and provide not only adequate light, but a direction to the light as well. Also, I wanted to add some color, just enough to accent the flavor of the place, to rekindle a 1940's vintage look.

For the first shot I used four speed lights on stands stationed almost in a straight row. Each light was covered with an warming gel, just enough to cast a late afternoon style of evening light across the scene. The dark nature of the place seemed to swallow the light and it took a bit of power output to cast enough light into the corners to illuminate the place. After adjusting the power setting for each light I took several tests shots, then readjusted the lights until I got the look I wanted. The color images looked great, but in the back of my mind a sepia toned black and white image lived for each of these images.

For a couple of the shots I asked Jessie to stand in and give me his classic welders look. He seemed a bit awkward being asked to do such a thing, but all he had to do was be himself and the look took care of itself. I used a snooted light to focus the beam on him so I could purposely darken the background and have him stand out. For his second shot I had him sit in an old ratty chair and take on that I'm taking a break look. Two lights were used for this one, one pointing toward his back and one with a snoot pointing at him from an angle to cast a bit of light on his face. I wanted to recreate a late afternoon lighting effect.

All in all, the hour or so I spent inside that old welders shop was one of the most enjoyable hours I have had in a while. My new friend Jessie was a delight, filled with a nostalgic character, and the old shop blessed my camera with its rustic clutter. Jessie was about to hoist an old motorboat off its trailer as I started to walk out for the last time.

"You the only welder down here?" I asked him.

"Yeah...for now. Just me'un the boss. We used to lay pipe for the gas company long time ago. He started doing that 50 year ago. I've only been h're for 48 year."

I laughed, "You don't say...just 48 years."

He cast a giant friendly smile toward me as I walked out of the darkened shop and into the bright sunlight.

"See ya in a couple weeks." I said...and he nodded his approval again and went back to work.

Shooting on Location: A Process of Evaluation

Shooting on Location has its rewards and drawbacks. The drawbacks tend to multiply themselves when things do not go right. The rewards, however, far outweigh the drawbacks and are worth every headache you might encounter along the way. Location shoots offer opportunities not easily duplicated in a studio and the fun part of shooting on location is being able to build the shot to fit your concept. Throw in a portrait opportunity and the requirements change even more. But, building the shot requires a great deal more evaluation and effort than simply showing up and shooting at random with whatever light is available.

Shooting on location requires an element of evaluation; to do so effectively you must identify what is important, what to leave out or avoid, the direction and quality of the light, where the shadows are, where the hot spots are, what is in the background, and most importantly, what to accomplish here. Many novice photographers see the big picture and snap away without seriously contemplating what the potential of the location offers. Instead, take some time to think through the photographic problem and evaluate what the potential is.

I will often just sit and enjoy the moment if I am alone in a new outdoor location. Often this will slow down time and potential things to photograph begin to reveal themselves. Remember too, evaluation of a location means to think beyond what you are currently seeing and think in terms of what might be if you return to this same spot later in the day, or early before sunrise, or even a different season.

Some locations are simply filled with clutter often making it difficult to weed through and line up your shot(s) in such a way as to avoid including things that detract from your image story. When working in a cluttered location try to narrow the scope of your shot by focusing in on a smaller portion. Many times, this condensed portion will tell the larger story from a smaller perspective, and that in most cases is all you need to do. Oddly enough, the clutter itself can become your story, so keep an open mind about what you are shooting.

Some locations are just very bland in nature not presenting much in the way of an interesting story. When faced with this kind of dilemma you may need to shake up your composition by changing the angle from which you are shooting. Get down low, all the way if necessary, and include something small as part of your foreground. Also, c limb higher if you can, maybe even stand on top of your vehicle, a fence or wall, or simply raise your tripod as high as it will go, anything to change the perspective of your shot. This will often shift your view enough to allow the bland nature of the location to take on an entirely new and exciting look.

One location I have always enjoyed shooting when I can make it over that way is the Tallgrass Prairie Preserve located in north central Oklahoma. I've been there enough times to have identified several locations that potentially offer great photo opportunities. Even so, with each visit, the conditions have been so different they required a new and often changing evaluation of the situation.

The prairie possesses many changing moods and because of that when I am there I am constantly adjusting what I am doing. Early morning light on the prairie is fantastic with the rolling hills and shallow canyons often laced with mist or fog. By mid morning the light becomes much more harsh and direct which carries over well into the late afternoon. As the sun rolls closer to sundown, the angle of the light changes again casting shadows and creating shapes only seen during this magical hour. Factor in clouds and everything changes again. For each of those situations, a new evaluation of the conditions is required. Mid-day shooting means you have to focus in on details or capture the essence of a location through the use of contrast, color, and composition. Late afternoon means you need to find a different angle to shoot the same subjects you shot during the morning light. Near sundown, a large vista is required where you can capture one of those legendary prairie sunsets. In short, anticipate the potential of any given location and plan your shot accordingly, but leave yourself an opening to adapt to the changing conditions.

Location shooting requires a constant adjustment of what is required to capture the moment. Constantly looking for opportunities also requires you to see and look beyond the obvious and recognize how the dynamics of a location might change with a change in light. Effectively evaluate your situation and odds are you will capture some amazing photographs.

Being Seasick - It's True What They Say

It has been said there are two kinds of seasickness; one where you are so sick you are afraid you are going to die, and one where you are so sick, you are afraid you won't die. I've had both kinds and can attest to the validity and veracity of those statements.

I will never forget the first time I ever got seasick. It was one of the worst experiences of my life and was so bad, my fears about the meaning of the second statement rapidly threatened to end what few remaining minutes I was sure I had to live. It was November, 1973. Straight out of the Coast Guard boot camp I was assigned to one of the best duty stations then available in the Old Guard, The Umpqua River Lifeboat Station at Winchester Bay, Oregon. I was pretty green and inexperienced but filled with enthusiasm about the prospects of being a member of one of the elite units in the U.S. Coast Guard. So, when the opportunity came for me to make my first ride on one of the fabulous 44 foot motor lifeboats, the legendary CG44303, I jumped at the opportunity.

The Umpqua River Bar is considered one of the most treacherous crossings on the west coast. At it's worse, there could be multiple layers of 25 to 30 foot breakers booming across that narrow stretch of opening between the south and north jetties. When it was like that, nothing came in or went out. Our 44's were the only vessel capable of navigating through surf conditions like that, and we would only do so in an emergency. Luckily, for us on that day, the conditions were not so dramatic, but they were developing into a potential nasty situation with 10 to 12 foot breakers randomly breaking across the bar like rows of soldiers marching in rhythm to a musical beat. Several trawlers were wanting to come across before the bar closed up and were jumpy about coming across without a 44 on station.

Myron Dale our first class bos'nmate waved at me to come over.

"You ready for your first bar patrol?"

"You bet I am...let's do it", I said rather naively.

"Okay, then it could get nasty out there", he said warning me about what we might run into, " We could be out there for a while."

"I'm ready."

On our way out to ready the CG44303, because we would be on station through lunch, our cook made us some baloney sandwiches and handed us a thermos of coffee. Within a few minutes we had the 303 fired up and idled out of the boathouse.

Myron lifted the radio microphone and contacted the station, "Station Umpqua River...CG44303 underway." Red Oneil was our engineer on this run and his fire engine red hair poofed out from under his hat in a rather non-regulation manner. "Hey Sport...first time out huh." He said with his characteristic sandy-faced grin

"Yeah I guess so."

"Should be a piece of cake...we do this all the time. If anything happens, I'll tell you what to do...don't worry about anything."

I nodded again with my naive confidence.

The powerful twin Cummins diesels vibrated below deck and filled the air with their deep report even at idle speed. As we turned into the main channel, Myron shoved the throttles full forward and those engines roared like two lions after a kill. You could feel the power they possessed as they shoved the hull through the water. It was thrilling to say the least. I am finally here, I thought, actually getting involved in the action.

It took a few minutes to reach the bar area where we stopped just inside where the main channel crossed through. About five trawlers were lined up outside the bar waiting for it to lay down enough for them to come across. Breakers on the bar always occur in a series which varies somewhat, four or five, maybe as many as six or seven breakers before it will lay down just long enough to allow a boat to come through, then it starts all over again.

One by one they started coming across, The Midnight Sun, The Harmony....It took several minutes between each pass and slowly they crossed over without incident. Where we were sitting was pretty rough as we caught all the residual swells and chop coming off the bar and as well designed as those 44's were, they rode like an old bathtub rolling and rocking and kicking up and down, back and forth. Before long I began to feel the effects of all that random movement. My head started spinning, I burped several times and passed a few other assorted gasses, downwind. My insides started to feel woozy in ways I have never felt before. I moved around hoping by standing in another spot might alleviate the symptoms. It didn't work. The fumes from the diesel engines wafted like toxic, poisonous gases all around us exacerbating my situation. Red took notice of my situation.

"You're look'n a might peeked there Sport, a bit green around the gills. You gonna make it?"

"I ain't feeling so well..." I replied in a rather weak and pathetic voice.

"Well, Sport, what you need is to eat something...here, try one of these baloney and mayonnaise sandwiches. That'l fix ya right up."

Of course I naively took his advise and I never got past the first chew of the first bite. Over the side I leaned and the entire contents of my insides spilled like some vile poison onto the surface of the foam covered waters. Within seconds the seagulls swarmed all over that mess and fought over the larger chunks and my insides continued to empty themselves. Over and over, the retching continued unabated for several minutes to the point the only thing coming out was a thin line of yellow slime. My gut ached like nothing I have ever experienced. I literally thought I was dying.

All the while this was happening Red and Myron were laughing out loud at my plight. Not sure which made me madder, the seagulls or them laughing...I think it was the seagulls. After a few minutes I finally settled down and started to feel better. Red stopped his laughing long enough to comment on my situation. "See, told ya that would fix you up...got all that stuff out of ya and you feel better now don't ya."

I had to admit he was right, but good gosh all mighty that was the worst sick I've ever endured and I continued to retch a few more times until we headed in. Red gave me some advise afterwards. "Next time have ole cooky give you a bag of plain peanuts still in the hull and eat them while you are out there. Gives you something to do and keeps your mind off what's going on."

You know he was right and even though I still suffered from time to time with being seasick, I never again suffered quite as bad as that first time. By the time I finished my tour at the Umpqua River Station a few years later, I was a full fledged salty dog able to withstand even the nastiest of conditions...well...most of the time that is, as long as I had my bag of peanuts...:)