Ready or not we got the prints suspended from 150 daN Dacron, got the Par 64 lights wired up and filtered down. 30 invited guests got to view the show with glass in hand.
The effect of lighting the boards was as if the images floated along the nave of the church. The black line suspension was invisible making the pictures at once bright and almost liquid in the air. These are aerial images and it was my wish to present them as if flying!
Doing this kind of thing isn’t easy: in an histoirc building you can’t just drill and fix; the weight of the display boards was critical and I didn’t get the numbers from the printers until the day before we opened. 2.7Kg per board was much more than I’d hoped for. With 4 contact points carrying 6 boards it was a worry to find a 4kg load imposed on each point. The dispersal of the moment with 4 brace ties helped and the friction points were fitted with steel clips and links.The Dacron line has a fair anount of stretch so a self levelling method devised by Jonathan Turner for fixing the boards was used, this was a big time saver.
David Andrews picture above gives a good idea of the effect. It was a pleasure to share the photos printed at full size for the first time. It was great to meet old friends and chat about the fun we had getting the shots on show. I was able to thank those that have helped me along the way. It was a huge relief to know it was all I expected it to be, especially after Anglia News had run a piece on the show on local TV, I had to deliver! Until the photos were were printed I was never absoloutely sure they were ok.
My brother Richard ( on Norfolk Dulcimer) and I got a nice shimmering tone going as background, I got to shuffle my 3 and a bit chords on the Tele and Felix got the lights figured out so we had sound and light in just the right balance.
The prints are fine, the mounts are fine, the lighting is ok, the suspension method tetsted, re-desgined, tested and re-designed again. The anxiety in getting the stuff on display was awful especialy as the first ideas I had failed. Without the willing help from Clive Hollins the idea of getting the KAP photos in public would not have come together in the end.
I am asked by those thet visit: ‘Why are you doing this?’ the best answer I can give is that I never took the photos to hide them : as a photographer I want the world to see what I see!