Picture This!
Historical Reenactments

Picture This!

Our Picture This! assignment this month was historical reenactments, pictures from festivals and commemorations that mark momentous events in our past. Readers responded with images made at Civil War, Renaissance, and Revolutionary War events from all over the country. These reenactments are great times to make images of people, as many of the participants do their best to dress appropriately and stay "in character" throughout the day. They are also great events to learn about our history, and to understand what those in the past sacrificed for their beliefs and, in many cases, for our freedom.


Dade departed Ft. Brooke (Tampa) in December of 1835 to march 106 troops to Ft. King in Ocala. At a spot near what is now Bushnell, Florida, they were ambushed by a larger band of Seminole Indians and all but two troopers were killed. This battle started the Second Seminole War." Harnly worked with a Canon EOS 10D and Canon 70-200mm L f/4 lens.
© 2003, R. Daniel Harnly, All Rights Reserved


Character Portrait: John R. Keogh made this great portrait titled "Uniform, Washington Artillery" with a Fuji S2 and Tamron 28-300mm lens.
© 2003, John R. Keogh, All Rights Reserved



Three To Won: Taken outside Ft. Esque, Missouri, David Fetherkile worked with a Canon A1 and 28-90mm Vivitar Series 1 lens on Kodak Infrared B&W film and 25A Rokunar filter. He wrote: "After running out of shells for their cannon these artillery soldiers drew pistols for closer combat."
© 2003, David Fetherkile, All Rights Reserved


Confederate Cavalry At Dawn: Frank T. Becker sent us this evocative photo made at the Perryville Battlefield in Kentucky at the 140th Anniversary Reenactment. He photographed with a Nikon D100 set at ISO 800.
© 2003, Frank T. Becker, All Rights Reserved


British Invasion: Taken at the Revolutionary War reenactment of the Battle of Guilford Courthouse in Greensboro, North Carolina, Marvin Isreal worked with a Nikon D100 and Tamron 28-300mm lens and exposed at f/8 at 1/250 sec to photograph this line of soldiers.

© 2003, Marvin Isreal, All Rights Reserved




Antietam Aftermath: Charles Martin sent us a series of images that were part of a slide show accompanied by a live symphony orchestra. Over 200 of his images were used for the show. He worked with two Canon EOS cameras and 70-210mm and 100-300mm lenses. He made the images at the Battle of Antietam reenactment in 2002.
© 2002, Charles Martin, All Rights Reserved




Beefeater Commander: The San Marcos, California, Chamber Renaissance Faire served as a great portrait event in itself for Bartley D'Alfonso, who sent us a set of images from the day's event. He worked with a Nikon N8008 with a Nikkor 70-210mm zoom lens. He exposed on Fujichrome 100 slide film and used a Nikon SB-24 flash. This is a portrait of reenacter Kenneth Branam.
© 2003, Bartley D'Alfonso, All Rights Reserved




Woman In Doorway: Loyd C. Heath sent in a series of photos from Old World Wisconsin, a living history museum in Eagle, Wisconsin. This reenacter was photographed standing in a kitchen doorway of the Pedersen farmhouse with a Nikon D1X and Tamron 28-105mm lens.
© 2003, Loyd C. Heath, All Rights Reserved

This venerable neon cowboy has stood tall over Fremont Street in downtown Las Vegas for many a year. Photographed with a Nikon F3 and 300mm lens on Extachrome 400, pushed one stop.
© 2003, George Schaub, All Rights Reserved

Picture This! - Our Next Assignment

Neon City
O f all the forms of artificial light neon is perhaps the most exciting and creative. Given the ability to create color and to enclose the gas in all sorts of shapes and forms, artists have used neon for everything from modernistic sculpture to Highway 66 motel signs. If you've been to Times Square or the shopping districts of Tokyo or Hong Kong you probably got the real neon blitz. So seek out those great signs--old and new--get out your tripod and ramp up the ISO and send us your best of neon city wherever it might be.

Please Read This:
It is important that you read and follow these guidelines.
We need to follow this procedure because of the large volume of images we receive.

1) Images sent to us cannot be returned. You retain complete copyright over the images, but do grant us permission to print your image(s) in the magazine and on our website, www.shutterbug.com.

2) Because images are not returned please send a quality print or duplicate transparency. We will not accept or view images on CD, ZIP, or any other electronic media.

3) Images will be selected on the basis of content and technical quality. Please mark your outer envelope with the topic of the month (for example, "Wide View").

4) Enclose a short caption with the image stating camera, lens, film and exposure, plus location. If you are submitting an image with a recognizable person we must have a model release or signed permission from that person to reproduce their image in the magazine and on the website.


Send your image and information to:
Picture This! Shutterbug Magazine,
1419 Chaffee Dr., Suite #1, Titusville, FL 32780.
Deadline for submission: October 15, 2004
Images will appear in our January 2005 issue.
Our next topic: Sunrise/Sunset
Deadline: November 15, 2004
Publication Date: February, 2005

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