Description: The photographer and date are unknown, but judging from the gasoline pumps at the end of the wharf, the photo could be as early as the 1920s.
One of the photos is a Christmas card from H. R. Beal and Sons, Inc. signed Harvard & Elva. Another shows what appears to be construction of the wharf during the early 1900s judging by the pickup truck in the background.
Description: One of the photos is a Christmas card from H. R. Beal and Sons, Inc. signed Harvard & Elva. Another shows what appears to be construction of the wharf during the early 1900s judging by the pickup truck in the background.
Automobiles Left to Right: Unknown Unknown truck 1949-1950 Ford wood panelled station wagon 1950-1951 Pontiac sedan Unknown truck 1950 Plymouth 4-door sedan
Description: Automobiles Left to Right: Unknown Unknown truck 1949-1950 Ford wood panelled station wagon 1950-1951 Pontiac sedan Unknown truck 1950 Plymouth 4-door sedan
The photos belonged to my father. He had them at the time of the construction and when the bridge was finished. I do not know who took them. I put them on the computer a long time ago. I believe I scanned them. Some belonged to my sister so I don't have those originals in my possession. -- Therese Klotz Marshall, October 2016
Description: The photos belonged to my father. He had them at the time of the construction and when the bridge was finished. I do not know who took them. I put them on the computer a long time ago. I believe I scanned them. Some belonged to my sister so I don't have those originals in my possession. -- Therese Klotz Marshall, October 2016
These images are part of the Historic American Engineering Record, National Park Service. See the attached PDF file titled "Index to Black & White Photographs" for a description of each image.
Library of Congress www.loc.gov/pictures/item/me0254
Description: These images are part of the Historic American Engineering Record, National Park Service. See the attached PDF file titled "Index to Black & White Photographs" for a description of each image.
To get this photo, I waited until late fall after the leaves were gone. I parked at the Holiday Inn which was closed for the season and walked across Route 3 to the metal guard rail along the section of road that crosses Duck Brook. Once in the ravine, I located a spot at the edge of the water that I thought had the clearest view of the bridge, and even from there I could only see two of the three arches. The left and right arches each span 89', but in the photo, the left arch is completely obscured by evergreens. I set up a tripod with a Canon 5D Mark III camera and a Canon 24mm tilt/shift lens. With the camera mounted in landscape orientation, I shifted the lens all the way down to capture the lower part of the scene and all the way up to catch the top of the bridge. Because the ravine was deep in shadow while the inner part of the center arch was in full sunlight, I had to take multiple exposures ranging from a half second to 125th second, which is seven full stops, at f/11 with ISO set to 50. Later in Lightroom and Photoshop, I stitched the lower and upper halves and manually blended the exposures. Note also that I focused on the bridge, but also took a shot focused on the large rock in the foreground and blended-in parts of that image to get more depth of field. - George Soules
Description: To get this photo, I waited until late fall after the leaves were gone. I parked at the Holiday Inn which was closed for the season and walked across Route 3 to the metal guard rail along the section of road that crosses Duck Brook. Once in the ravine, I located a spot at the edge of the water that I thought had the clearest view of the bridge, and even from there I could only see two of the three arches. The left and right arches each span 89', but in the photo, the left arch is completely obscured by evergreens. I set up a tripod with a Canon 5D Mark III camera and a Canon 24mm tilt/shift lens. With the camera mounted in landscape orientation, I shifted the lens all the way down to capture the lower part of the scene and all the way up to catch the top of the bridge. Because the ravine was deep in shadow while the inner part of the center arch was in full sunlight, I had to take multiple exposures ranging from a half second to 125th second, which is seven full stops, at f/11 with ISO set to 50. Later in Lightroom and Photoshop, I stitched the lower and upper halves and manually blended the exposures. Note also that I focused on the bridge, but also took a shot focused on the large rock in the foreground and blended-in parts of that image to get more depth of field. - George Soules [show more]