"The Selectmen of the Town of Tremont, upon the application of William H. Ward of said Tremont for license to extend his wharf into the tide-waters of S.W. Harbor, within his limit of said Town, having given lawful notices of their meeting to examine the premises and give a hearing to all parties interested therein, and having met at this time and place appointed and for the purposes named in said notice, and having decided that the extension asked for would not be an obstruction to navigation nor an injury to the rights of others, in accordance with the Statutes of this State, do hereby issue this license unto the said William H. Ward authorizing him to extend his wharf into the tide-waters of said SouthWest Harbor; said extension not to exceed one hundred feet in width and three hundred feet in length, in a northeasterly direction from the pier now standing on said Ward's Shore, on the southwesterly side of said S.W. Harbor. Given under our hands at said Tremont this 29th of Sept. A. D. 1884" Signed: William Heath Perry W. Richardson Caleb H. Sawyer Selectmen of Tremont
Description: "The Selectmen of the Town of Tremont, upon the application of William H. Ward of said Tremont for license to extend his wharf into the tide-waters of S.W. Harbor, within his limit of said Town, having given lawful notices of their meeting to examine the premises and give a hearing to all parties interested therein, and having met at this time and place appointed and for the purposes named in said notice, and having decided that the extension asked for would not be an obstruction to navigation nor an injury to the rights of others, in accordance with the Statutes of this State, do hereby issue this license unto the said William H. Ward authorizing him to extend his wharf into the tide-waters of said SouthWest Harbor; said extension not to exceed one hundred feet in width and three hundred feet in length, in a northeasterly direction from the pier now standing on said Ward's Shore, on the southwesterly side of said S.W. Harbor. Given under our hands at said Tremont this 29th of Sept. A. D. 1884" Signed: William Heath Perry W. Richardson Caleb H. Sawyer Selectmen of Tremont [show more]
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]
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.
In July 2012, Seal Harbor, Maine photographer Howie Motenko conceived of a community art project utilizing the photographic technique of light painting on the historic stone bridges of Acadia National Park. His idea was to assemble a team of volunteers who, wielding flashlights, would “paint” a bridge with light while he creates a long-exposure photograph. For the next nine months, a growing cohort of co-artists journeyed at twilight to each bridge on Acadia’s 45-mile carriage road system. The project grew organically, with most of the volunteers hearing about it by word of mouth. By spring of 2013, stunning photographs of all 16 of Acadia’s historic bridges along with the two gatehouses had been completed with the help of 150 volunteers. An image gallery and blog about the project can be seen at www.paintingbridges.com.
Description: In July 2012, Seal Harbor, Maine photographer Howie Motenko conceived of a community art project utilizing the photographic technique of light painting on the historic stone bridges of Acadia National Park. His idea was to assemble a team of volunteers who, wielding flashlights, would “paint” a bridge with light while he creates a long-exposure photograph. For the next nine months, a growing cohort of co-artists journeyed at twilight to each bridge on Acadia’s 45-mile carriage road system. The project grew organically, with most of the volunteers hearing about it by word of mouth. By spring of 2013, stunning photographs of all 16 of Acadia’s historic bridges along with the two gatehouses had been completed with the help of 150 volunteers. An image gallery and blog about the project can be seen at www.paintingbridges.com. [show more]