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Alternate 'bathing suit' photo
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<blockquote data-quote="Prosper Keating" data-source="post: 10393" data-attributes="member: 1376"><p>Sorry about this, guys! Photo link glitch but I couldn't edit it. Can we turn the Edit function back on?</p><p></p><p>There were several photographers covering Rollie Free's September 1948 run. One of the better-known was Peter Stackpole of LIFE magazine. </p><p></p><p><img src="http://img.auctiva.com/imgdata/2/4/7/8/3/2/webimg/269134003_o.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>This is one of Stackpole's shots from 13.9.2009. This is indeed sometimes described as taken just before the famous image with Free's head down. However, if the mountains and the black line are compared, it suggests a different run. </p><p></p><p><img src="http://img.auctiva.com/imgdata/2/4/7/8/3/2/webimg/269143933_o.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>This is the more famous image, which was trademarked by Herb Harris of Harris Vincent Gallery Over in Texas in April 2008. The print quality tends to vary with the period autographed prints that Free used to give or send to fans and friends. In some cases, one suspects that they were either second or third generation prints or made from dupes. No matter: they did the job. </p><p></p><p>One could say that it is possible although improbable that Stackpole took this shot, given the quality of his photography in general. There again, it would not be the first time that soft shot was deemed more exciting than a shot of superior technical merit. Editors might have felt that the soft shot with Free's head down looked more authentic. If the shadows in both shots are examined, it is immediately apparent that very little time elapsed between them. </p><p></p><p><img src="http://img.auctiva.com/imgdata/2/4/7/8/3/2/webimg/269133987_o.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>Here, from LIFE's archives, also attributed to Stackpole, is another shot from the September 1948 attempt. Free is coming back the other way, with two photographers in the foreground, lining up panning shots. Again, the shadows suggest that very little time has elapsed between this shot and the other two shots. </p><p></p><p>The famous shot, as trademarked by Herb Harris, was reportedly published in the Los Angeles-based Motorcyclist magazine shortly after the run or runs. Again, this supports the contention that Stackpole did not take it. Perhaps it was taken by one of the two fellows in the above photograph, perhaps by the one using a tripod and what might be a Rolleicord, which would have rendered panning a bit difficult and might explain the fuzziness of the image. </p><p></p><p>So, like the other famous LIFE magazine biker image of the drunken oaf on a bobber in Hollister, where the photographer bought a trucker a few beers and got him to sit on the motorbike for a shot his editor would publish, perhaps these famous shots do not actually depict the run itself. </p><p></p><p>Speaking as a former motorcycle journalist and magazine editor, getting good shots of interesting events often requires a bit of inventiveness. It is actually very hard indeed to capture 'the moment' on camera, even if one has a battery of photographers on the job. Much better to get the subject to roll backwards and forwards and play with the shutter speeds to create the impression of speed. </p><p></p><p>Perhaps the iconic shot of Free, head down, blasting along the oily line shows the master at 50mph rather than 150mph, giving the photographers what they needed for the magazines and sponsors. </p><p></p><p>PK</p></blockquote><p></p>
[QUOTE="Prosper Keating, post: 10393, member: 1376"] Sorry about this, guys! Photo link glitch but I couldn't edit it. Can we turn the Edit function back on? There were several photographers covering Rollie Free's September 1948 run. One of the better-known was Peter Stackpole of LIFE magazine. [img]http://img.auctiva.com/imgdata/2/4/7/8/3/2/webimg/269134003_o.jpg[/img] This is one of Stackpole's shots from 13.9.2009. This is indeed sometimes described as taken just before the famous image with Free's head down. However, if the mountains and the black line are compared, it suggests a different run. [img]http://img.auctiva.com/imgdata/2/4/7/8/3/2/webimg/269143933_o.jpg[/img] This is the more famous image, which was trademarked by Herb Harris of Harris Vincent Gallery Over in Texas in April 2008. The print quality tends to vary with the period autographed prints that Free used to give or send to fans and friends. In some cases, one suspects that they were either second or third generation prints or made from dupes. No matter: they did the job. One could say that it is possible although improbable that Stackpole took this shot, given the quality of his photography in general. There again, it would not be the first time that soft shot was deemed more exciting than a shot of superior technical merit. Editors might have felt that the soft shot with Free's head down looked more authentic. If the shadows in both shots are examined, it is immediately apparent that very little time elapsed between them. [img]http://img.auctiva.com/imgdata/2/4/7/8/3/2/webimg/269133987_o.jpg[/img] Here, from LIFE's archives, also attributed to Stackpole, is another shot from the September 1948 attempt. Free is coming back the other way, with two photographers in the foreground, lining up panning shots. Again, the shadows suggest that very little time has elapsed between this shot and the other two shots. The famous shot, as trademarked by Herb Harris, was reportedly published in the Los Angeles-based Motorcyclist magazine shortly after the run or runs. Again, this supports the contention that Stackpole did not take it. Perhaps it was taken by one of the two fellows in the above photograph, perhaps by the one using a tripod and what might be a Rolleicord, which would have rendered panning a bit difficult and might explain the fuzziness of the image. So, like the other famous LIFE magazine biker image of the drunken oaf on a bobber in Hollister, where the photographer bought a trucker a few beers and got him to sit on the motorbike for a shot his editor would publish, perhaps these famous shots do not actually depict the run itself. Speaking as a former motorcycle journalist and magazine editor, getting good shots of interesting events often requires a bit of inventiveness. It is actually very hard indeed to capture 'the moment' on camera, even if one has a battery of photographers on the job. Much better to get the subject to roll backwards and forwards and play with the shutter speeds to create the impression of speed. Perhaps the iconic shot of Free, head down, blasting along the oily line shows the master at 50mph rather than 150mph, giving the photographers what they needed for the magazines and sponsors. PK [/QUOTE]
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