Metallica: Blackened Recordings executives are seen here presenting platinum awards to Blackened Recordings artists Metallica commemorating sales of one million units in the United States of their November album release Hardwired…To Self-Destruct. Photo at Nassau Coliseum, New York on May 17, 2017. Photo by Finlay MacKay. 🏆
As for the duel with Hamilton, Burr almost never showed any remorse. Soon after returning to America, he visited his aunt, Rhoda Edwards, who worried about his immortal soul and warned him, “You have committed a great many sins against God and you killed that great and good man, Colonel Hamilton. I beseech you to repent and fly to the blood and righteousness of the Redeemer for pardon.” Burr found this rather quaint: “Oh, aunt, don’t feel too badly,” he replied. “We shall both meet in heaven.” One day, Burr was walking down Nassau Street in New York when Chancellor James Kent happened to see him. Kent lost all control, swooped down on Burr, and started flailing at him with his cane. “You are a scoundrel, sir!” Kent shouted. “A scoundrel!” His legendary aplomb intact, Burr tipped his hat and said, “The opinions of the learned Chancellor are always entitled to the highest consideration.” Then he bowed and walked away. Burr never lost his sense of humor about having killed Hamilton and made facetious references to “my friend Hamilton, whom I shot.” Once, in the Boston Athenaeum, Burr paused to admire a bust of Hamilton. “There was the poetry,” he said, tracing creases in Hamilton’s face with his finger. Another time, Burr paused at a tavern to refresh his horses and wandered over to a traveling waxworks exhibition. He suddenly came upon a tableau that represented him and Hamilton in the duel. Underneath ran this verse: “O Burr, O Burr, what has thou done? / Thou hast shooted dead great Hamilton. / You hid behind a bunch of thistle, / And shooted him dead with a great hoss pistol.” In relating the story, Burr roared with laughter. Only once did Burr betray any misgivings about killing Hamilton. While reading the scene in Laurence Sterne’s Tristram Shandy in which the tenderhearted Uncle Toby picks up a fly and delicately places it outside a window instead of killing it, Burr is said to have remarked, “Had I read Sterne more and Voltaire less, I should have known the world was wide enough for Hamilton and me.
In his legendary career as a hockey photographer, Getty Images’ Bruce Bennett has pushed the boundaries of creativity and innovation. For 40 years he has seen the sport from countless angles and vantage points. But there’s always more to try, and always more to learn. In the Islanders’ last season at the arena affectionately known as “The Barn,” Bennett wanted a picture that had eluded him years before. He shares the story behind the shot:
The last time I mounted a camera on the bottom of the Nassau Coliseum scoreboard was four years ago and I wasn’t happy with the results. Even using a full frame camera with a Canon 15mm lens, it was tough to visualize how much of the ice surface would actually be captured in the frame. The resulting images hardly captured half the ice surface, and thus I shelved the thought for a few years.
Four years later, with the Islanders saying farewell to the Coliseum, I decided it was time to try it one more time. When the team moves to the Barclays Center next season, it will become impossible to recreate the vantage point because the scoreboard there is mounted off-center, sitting over one of the blue lines. This time I used the Canon 8-15mm lens and the Canon full frame 1DX camera. Fully racked out to 8mm, the lens produced not only an image that is ‘fisheye’ in appearance, but also masks out the remaining area in the frame in black, which helps accentuate the fisheye effect.
The installation required arriving three hours before game time so that the scoreboard could be lowered to the ice for installation. I had to take into consideration that the camera would need to operate throughout the game so the camera needed to turn itself off after a period of inactivity to preserve battery life. In addition, sufficient safety cabling had to be used to ease the minds of all parties involved. Remote frequencies were reserved so that the camera could be triggered by pushing a button from my rinkside position 100’ away. All images were shot in both JPEG and RAW so I needed to make sure that the camera was loaded with large enough memory cards to store all the images.
My first try was at the final regular season game at the Coliseum. I shot available light and blasted away at several opportunities, including the opening faceoff which resulted in a very viable and worthwhile image. But I held back throughout the game as the key to getting the winning photograph for me in this instance would be the postgame celebration. The team had done this throughout the season – with sticks raised in the air while standing on the logo at center ice. The game went into overtime and then to a shootout where the Islanders ultimately lost the game and I was unable to get the shot I wanted.
So a week later when the Islanders played their first playoff game, I took another stab at it. Armed with the knowledge gained in the first game, I decided to utilize the arena strobes. These are flash lighting units that we have permanently installed in the catwalks and are synced to go off when our camera triggers. The gain here with strobes is the high quality, the lack of ‘noise’ in the image, and an increase in saturation and color. But it’s also somewhat risky. With strobes, I was locked into a maximum of one frame every three seconds instead of ten frames per second. More worrisome was that the camera in the scoreboard needed one remote to trigger it and a separate remote to trigger the lights, meaning twice the possibility of failure. With all the surrounding metal and all the electronics in the scoreboard it was risky, but the potential increase in quality with strobe lighting was worth the risk. (For you photo geeks out there: 200iso, 320th second at f/8 using the Pocket Wizard mini on hypersync)
So at game time, with the building packed, all electronics on, all fans tweeting, facebooking and clogging the RF and airwaves, I triggered the camera, and when the strobes went off at that same moment I knew I was in business. Less than three hours later, when the game went to overtime, I knew I had some good game action and some face-offs. But when John Tavares scored the game-winner just 15 seconds into overtime, I knew I had the crown jewel. As they did all season, the team slowly glided over to the center ice logo where I was able to grab three frames before they moved on. About an hour later the final images were moved to the Getty Images site once I was able to retrieve the camera. My favorite frame is the overall view with full fisheye effect but I’m happy with all the results.
Memorable shots, in a building with no shortage of hockey memories.
Bertha Remaster of a combination of soundboard and audience sources.
Set1: SBD>>MC>>REEL>>DAT>>CDA>>WAV(EAC)>>SHN>>DAW(Bertha)>>CDA/SHN – Sound A- Set2: SBD>>MC>>CASS>>DAT>>CDA>>WAV(EAC)>>SHN>>DAW(Bertha)>>CDA/SHN – Sound A- Last 20 minutes of show: MAC(Nak 700’s)>>SonyTC-158>>DAT>>CDA>>WAV(EAC)>>SHN>>DAW(Bertha)>>CDA/SHN – Sound B
d1t01-China Cat Sunflower >> d1t02-I Know You Rider d1t03-Cassidy d1t04-Loser d1t05-Banter d1t06-Me & My Uncle >> d1t07-Big River d1t08-“Step Back” d1t09-Althea d1t10-Lost Sailor >> d1t11-Saint of Circumstance
d2t01-Banter d2t02-Shakedown Street d2t03-Passenger d2t04-Ramble on Rose d2t05-Estimated Prophet >> d2t06-Eyes of the World >> d2t07-Jam >> d3t01-Drums >> (*) d3t02-Space >> (*) d3t03-Wharf Rat >> (SBD/AUD patch) (*)(+) d3t04-Truckin’ (+)
d3t05-Johnny B. Goode (+)
Digitally remastered using a custom built, Dual-DAW, nicknamed Bertha, by firstname.lastname@example.org on April 3, 2003.
The first sounds like it was from a different source than the second set. The channels were reversed on the first set, as well. The channels were corrected prior to processing.
Because of the difference in sound quality between the first and second sets, they were processed separately. The objective, as well as improving the sonic quality, was to match the sound from set to set, as close as possible.
The last 20 minutes of the show is patched from a Soundboard/Audience source and was also processed separately.
The patches on d1t01 and d3t03 were done by others prior to receiving the show.
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