Life in the Factory

As the war raged on at the front, Lady Susan made certain to relocate Professor Hammond's workshop to a derelict factory in Slough. The latter, while unimpressed with his new surroundings, continued his efforts, hoping that upon its completion, the Chekhov I.S.G. mk 1 would turn the tide for England.

She regarded him ominously. "Do think you'll succeed?" Lady Susan asked, a faint smile playing at her lips.

"What are your orders should I fail?" He made a motion across his neck with his forefinger.

"Oh, don't be silly. Of course not."  She was disdainful.

"And that's the will of your masters? That I should be... preserved?"

She stood now, raising herself to her full height. "I am my own master," she said evenly. There was pride in her voice. "And yes. You should be -- preserved." The word fell awkwardly from her lips.

He turned back to the things on his desk, hunting for something.  "It sounds awful, doesn't it?" he asked, looking furtively over the mess. "Preserved. Like a specimen - a rare flower to be dissected and studied."

"Indeed," she smiled. "Like a flower. I am to dry you and press you in one of your darling books."  And with that she giggled.  It was something she didn't do often, betray her femininity, but it happened from time to time.  In that instant, Hammond relaxed and joined her in raucous laughter.

Director's Notes

"Our House, in the Middle of the Street."

We decided that there should be some photographic evidence of who our protagonists were and that to do that would require creating living space for them somewhere in the factory. Initially we'd considered a single image of each of them, but the idea of a panoramic image and multiple exposures of them was so alluring that we tried it anyway. Everyone was thrilled with the preliminary results and I think this final speaks volumes. The details in the HDR background here are almost like a hide and seek game for the eye.

~ Scott


In this shot, we balanced the ambient with the strobes. When I say strobes, I mean hot shoe flashes. Old Nikon SB-28s that I purchased used. A single reflective umbrella was used for each shot, above the subject and angled down at roughly 45 degrees. The shutter speed was set one stop below the ambient, to darken the shadows and provide some separation from the background. Every exposure was identical as we swept the camera through a 100 degree arc -- in 20 degree increments -- to achieve the panorama. The SB-28 was set manually using a flash meter and triggered wirelessly.

~ Richard