The Highland Games are an annual tradition in
Prescott, Arizona. Scottish pipe playing, whiskey tasting, clan colours and
accoutrements, and of course games of “throwing things.”
I like being there as the eclectic and eccentric
nature of the crowd allows for photographic experimentation.
As I was walking around, a photographer carrying a
tripod and two cameras with lenses more expensive than my car looked at my
1970s mechanical camera hanging from my neck and said:
“Will you be able
to catch any action with that lightbox?”
And as she smiled at her comment, I decided to
capture what my trusty Nikon F and Illford 100
ASA film could freeze in time, rather than capturing the events per se.
So,
I decided to focus on body postures among the throwers.
But first, I was attracted by the intricate tattoos
among many of the athletes and wanted to report on one aspect of the body
posture featuring the tattoos. That is
why I started this post with my favorite contextual photograph.
Ok, so my goal was to capture the different stages
of upright weight throwers. The idea behind this competition is to stay under a
giant H- frame and try to get the weight over the middle bar of the H. This bar
is elevated during the competition till no one can get the weight over it.
It is like an Olympic high jump where the “jumper”
is the weight thrown by the athlete.
For most athletes, the first posture seems to be
Which is followed by a movement to build momentum
Then the final swing
And the vertical release of the weight
I also took a couple of photos of swirling horizontal
throw movements of the hammer throw equivalent. The subjects were the
exquisitely tattooed man and woman which I thing gives the highland games a
historic and anachronistic context.
First the preparation
Then the rotation
… So, did I capture the games? No, but I tried to capture a dimension that indirectly addresses human body posture, movement and perhaps the spirit of these historic games.
So, I left these settings on during the scan function.
September 19, 2018
© Vahé A. Kazandjian, 2018
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