Somewhere, Out There

When we asked Local 600 photographers to submit work for our Shooting Gallery spread, the only requirement was that the image be shot on location.  Anywhere, anytime, anyplace, as long as it told a story about that singular time and place captured through the lens. The results were so astonishing that a winnowing down (to the 22 images contained in these pages) was fiendishly tough. The moment before young lovers kiss transforms an iconic backdrop into something fresh and magical; a stunned glance from a son to his father, as a man, stripped naked of far more than his clothes cowers in “the road” behind them; a century-old Gothic prison echoes the stark melancholy of an inmate, head down, and focused on his task. Images and moments, like all the others in this spread that throb with power, mystery, joy and drama. Somewhere, out there, if you go looking, you’ll find these places. But it took a photographer with a still camera to flesh them out in just a single frame.

Sarah Shatz
Ghost Town (2009)
Nikon D300, F 3.2, 1/125th sec, ISO 400, 17-55 @ 20mm lens

New York City, Halloween morning: 5th Ave. and 75th St. We spent days filming a chase sequence throughout the Upper East Side and Central Park, and on this morning, the ghost of a WWII nurse was about to shoot a scene when a group of schoolgirls tumbled out of the park at the Children’s Gate entrance. To them, the nurse could have been dressed in a Halloween costume or just another New York City sight. But to me the girls looked like they were the nurse’s charges and (except for the sneakers) could have easily appeared from the 1940s. Courtesy of Paramount Pictures

Ralph Nelson
Duel at Diablo (1965)
Leica M4, 35mm f/2 Summicron lens

When I was a young boy, most Westerns were shot within a short drive of L.A., many of them in the San Fernando Valley. Now the wagon trails are freeways, the open ranges are filled with condos and mini-malls and most locations, like this image, taken near Kanab, Utah, are far from California. I miss Westerns and being able to drive home after work. On the other hand, I still have the same Leica. Courtesy of Ralph Nelson

David M. Moir
The Bachelor (1999)
Nikon F5, 24-70mm 2.8 zoom, Ecktachrome 200 film

This image was taken on 2nd Street in San Francisco. I was hired as an additional Unit Still photographer the day when there were over 1,000 extras dressed as brides. I saw that the C-camera unit was setting up on the roof of a building, so I set up next to them and captured this frame, where the early morning light seems to cast this beautiful halo over all of the brides in their gowns. Courtesy of David M. Moir

Myles Aronowitz
Date Night (2010)
Nikon D300, ISO 2500, 17mm, f3.2, 1/160sec

Anyone who has shot in Times Square, especially at night, will recognize the undulating, flashing multicolored lights and the frenetic uncontrolled energy that makes this such a popular location. This was a “grab” Steadicam set-up with very limited crowd control. The Steadicam’s dance, the unpredictable crowds and traffic, the rapidly changing lights, and a scripted “scene of desperation,” all contributed to the intensity of this moment. You only completely appreciate the adrenalin rush when it’s over. Courtesy of Twentieth Century Fox

Walter Thomson
A Guide To Recognizing Your Saints (2006)
Nikon D1x, Nikkor 85mm, f1.8 lens

The film, A Guide To Recognizing Your Saints, is the semi-autobiography of writer/director Dito Montiel. Channing Tatum (pictured) plays Dito’s real life friend, Antonio. The film was shot entirely in Astoria, Queens, where Dito and Antonio grew up. Antonio had a rough and dramatic life and I thought this image showed some of that drama and even some heroism. Courtesy of First Look Pictures

Lacey Terrell
The Last House on the Left (2009)
Nikon D300, 24-70 2.8 lens (@ 40 mm, 2.8, 1/60th, 3200 ISO)

This remake of Wes Craven’s 1972 classic horror feature was filmed on location in Cape Town, South Africa and surrounding areas, doubling for the Pacific Northwest. Many of the film’s crucial elements are depicted here: the sign, shadowy characters, the storm. We are moving from one act to the next as the figures walk down the road and out of frame. Shooting in the rain and the dark was challenging, as me (and my blimp) were covered in Gore Tex and plastic bags.  Rarely did any of the camera team have covering.  As one of the South African guys told me, “This is Africa, we are cowboys!” © 2009 Rogue Pictures

Macall Polay
The Road (2009)
Nikon D300, 48mm lens,1/250 sec @ f8

Viggo Mortensen plays “The Man,” “Kodi Smit-McPhee portrays “The Boy” and Michael K. Williams is “The Thief,” in this image (taken at Lake Erie in Erie, Pennsylvania) from the film adaptation of Cormac McCarthy’s novel. After learning that the Thief stole from him, The Man retaliates leaving the Thief naked and alone in the barren wasteland, knowing he will probably not survive.  This is a defining moment, where the Boy, for the first time, disagrees with the actions of his father; a moment captured that only a still photograph can achieve. Courtesy of The Weinstein Company

Anne Marie Fox
Precious (2009)
Nikon D200, 105mm lens @ F3.2, 1/500 sec, 250 ISO

Gabourey Sidibe was featured in virtually every scene of Lee Daniels Oscar-winning movie, so I took the liberty of inviting Gabby into an empty classroom at the Harlem high school where several scenes were shot in and around the campus. This isolated image embodies both the lonesomeness and optimism of the film’s protagonist. I asked Gabby to gaze into the natural light source of the setting sun and imagine happier circumstances for her character. Courtesy of Lee Daniels Entertainment

Susan Hanover
Year One (2008)
Contax T3, fixed 33mm lens, Plus-X film at a f16, negative scanned at Studio Photo

White Sands, New Mexico is a photographer’s dream location.  It’s all about the light, and the sun and wind absolutely dominate the senses. Working on this Columbia feature, we frequently had to shoot around sandstorms and missile tests (!), as well as having to haul our equipment through all of the natural elements.
Courtesy of Suzanne Hanover/SMPSP

Chris Ragazzo
Texas Ranch House (2006)
Canon EOS-10D, 1/125 at f 5.6, focal length 35mm

The three young women sewing together for a July 4th celebration were participants in a PBS Reality Series who had agreed to live as if the year were 1867. Their house was in the middle of a 47,000 acre West Texas ranch, where not a single plane would fly over. I search for moments of quiet on set that exude authenticity. It happens when my subjects have forgotten my presence, and I’m able to see something real and beautiful that I couldn’t have composed artificially. © 2006 Educational Broadcasting Corporation/Thirteen/WNET New York

Greg Gayne
La linea (2009
Canon 5D, Canon 16-35mm wide zoom set to 19mm, 1/250 sec at f/4.5 and minor exposure tweak in CS5.

I shot this image while working on location in Tijuana, Mexico as unit photographer for La linea, a feature starring Andy Garcia, Ray Liotta and Esai Morales.  Having just finished our workday filming in a little pueblo on the US/Mexico border, I noticed several kids climbing around on this decrepit border wall.  It was such a surreal moment, seeing these kids being so carefree on a wall that has come to symbolize so much political strife.  The light was perfect and the children were excited to be photographed, making it both an evocative and enjoyable moment for me. Courtesy of Greg Gayne

Justina Mintz
Random Encounters (2010)
Canon 5D Mark II at 70mm, ISO 320, f/3.2 1/320th shutter

Hollywood sign, magic hour, two people on the brink of a kiss; shot in the Hollywood Hills of California, this image truly captures the anticipatory mood of this recently wrapped romantic comedy. Courtesy of Imagination Pictures & IP Random Film, LLC

Urusula Coyote
Breaking Bad (2010)
Nikon D300, Nikkor 17-55, 2.8 mm lens

This photo, The Cousins & Uncle Tio, was taken from Episode 303 on location at an abandoned chicken ranch on the outskirts of Albuquerque, New Mexico. The assassin cousins (Luis and Daniel Moncada) and Uncle Tio (Mark Margolis) are here at the Los Pollos Chicken Farm to meet with Gus (Giancarlo Esposito) to discuss the revenge murder of Walter White (Bryan Cranston). It was an honor to work on this show with its brilliant cast and crew and the cinematographic vision of Michael Slovis. Courtesy of AMC/Sony Pictures Television

Stephen Vaughan
Master and Commander: The Far Side of the World (2003)
Hasselblad X-Pan on Tri-X, 1/500th second @ f11, scanned and converted to a duotone

This image, which I call “Peter Weir Frames Up,” was shot while filming in the Galapagos Islands. The stark harsh nature of the black lava fields contrasted with the generous, brilliant nature of (director) Peter Weir is why I like it so much. Courtesy of Twentieth Century Fox

Jeffery Garland
Ticket Out (2010)
Canon 5D MKII, 28mm lens, 1/60sec @ F2.8, 3200 ASA

This image was taken on a cold winter night in Cumming, Iowa, when (actors) Ray Liotta and Alexandra Breckenridge are arriving at a safe house to rest for the night. I’m drawn to images that are simple but make people think: “What is really going on?” It’s like a story that is forever frozen in between moments – before and after – and always left as an unresolved question. Courtesy of Ticket Out LLC and

Noah Hamilton
Soul Surfer (2010)
Canon 1D Mark 2n, Tokina 10-17mm @ 17mm, f5.6 at 2000th sec, ISO 200

Don King, the water unit DP for this upcoming feature on the life of pro surfer Bethany Hamilton, films our leading actress (AnnaSophia Robb) in Hawaii duck-diving a Makaha beach wave. This undersea image captures two very talented professionals, working in an often-unpredictable environment. Courtesy of Sony Pictures Home Entertainment

Sam Emerson
Rendition (2007)
Canon 1Ds MK III, 85mm f/1.2 lens; 800 ISO at 1/160 @ 2.2

Thanks to the brilliant cinematography of Dion Bebe, ASC, this is just one of this film’s many fabulous images. It was shot in a mud-brick room located in a small village on the outskirts of Marrakech, Morocco.  The “key” light streaming through the window had a hint of front fill on the actress. I love the softness and sense of mystery. Courtesy of New Line Cinema

Hilary Bronwyn Gayle
Mercy (2006)
Mamiya 645, 55mm lens @ f5.6, Kodak Tri-X 320 ISO (pushed 2 stops to enhance contrast and grain); film scanned using an Imacon film scanner

The historic Beauregard Parish Jail in DeRidder, Louisiana provided the perfect location for the opening scenes of Patrick Roddy’s psychological thriller. The 1914 Gothic Revival structure sets the melancholy tone that follows throughout the film. Natural light spills across the corroded iron bars and rusted bunks, highlighting textures that years of abandonment have created.  John Mercy performs a menial task, just another part of his monotonous life on the inside.  Although he is hopeful about his rehabilitation and release, his past will continue to haunt him and threaten his dreams of a new life.
© Hilary Bronwyn Gayle/Courtesy of Patrick Roddy

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