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This winch is used on the crane barge to handle the post that are used to anchor it in the river after it is in place. I loved the color and shapes so I looked for a way to use it in a composition that shows the mid river job sites and the equipment that is needed out there.
Three frame handheld HDR image using NIK HDR Efex Pro 2 to merge and tone map the image before returning it to Aperture 3 for final adjustments.
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Each morning after the crew meets to go over the day’s activities and assignments many of them are transported to their worksites by Lee the crew boat operator. I have learned that Lee has a good handle on what is taking place at all the pier locations on the river, he know when something significant is going to happen and often directs me to interesting activities throughout the day.
I chose this image to show Lee’s boat arriving to carry the workers to their jobs for the day. I liked the way the boat’s wake smoothly rippled across the river and the contrast of the safety vests on the workers with the deep shades of blue and green in the sky and river. Seeing the scale of the project is always difficult but whenever there are people in the scene it becomes clear what a monumental undertaking this is.
I shot this in HDR and processed it using NIK HDR Efex Pro 2 and Aperture 3.
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The image above is of some construction fasteners used in the heavy construction concrete forms on the Ohio River Bridges Project that Walsh Construction is doing in Louisville KY. I liked the contrasts of the colors and textures and the randomness of the various items. I processed it using Topaz Clarity and Aperture 3.
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This image shows the sediment that settled on the rock drill being used to drill the piers for the Ohio River Bridges Project. I really liked the topographical feel that the sediment left on the metal surface as the water evaporated and dried while the tool was not in use. I shot it as a three frame bracket set and processed it using NIK HDR Eex Pro 2 and Aperture 3.
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This image shows the concrete pump boom transferring concrete to a pier pour in the middle of the river. The concrete is first transferred from the delivery trucks to the concrete pump which is sitting on shore. The concrete pump then pushes the wet concrete through the large pipe on the boom to the concrete placement workers who direct it’s placement in the concrete form in the river.
I chose this composition to emphasize the length that the material must be transported in order to make the piers in the river. I shot a three frame bracket set of -2, o and +2 EV and then processed the final image by merging them in NIK HDR Efex Pro 2. After merging them and applying some basic tone-mapping adjustments I returned the image to Aperture 3 for final processing.
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In this image the vibrator operator is using a control box he is wearing around his waist to vibrate the wet concrete and eliminate any air pockets that may have formed as the concrete was placed in the form. The metal rebar that he is standing inside will connect the next pice of concrete to this base after additional forms are attached as the tower base rises out of the river. This particular concrete pour required 53 truck loads of concrete, 537 cubic yards of material, and took nearly an entire workday to complete.
This image is also a three frame bracket set processed with NIK HDR Efex Pro 2 and Aperture 3.
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This HDR image shows the 60 foot long caisson as it is being guided, by the Ironworkers and Carpenters, into place inside the pier casing. After placing the caisson the next step will be to fill the pier with concrete. The steel casing sits on the river bottom and then the caisson fits into a rock socket has been bored 30 feet below the casing into the bedrock of the river bottom. This makes the total length on the pier nearly 60 feet from the surface to the base. The iron cylinder is there to both guide the drill during drilling and to form a protective shell for the pier once the bridge is built.
This image is from a three frame bracket set using -2, 0 and +2 EV settings. I merged the bracket set in NIK HDR Efex Pro 2 and because the workers were moving quite a bit I had to apply 80% anti-ghosting to isolate them and remove the ghosts of their arm movement. After merging and some mild tone-mapping in NIK HDR Efex Pro 2 I returned the merged file to Aperture 3 where I completed my processing by adjusting contrast, alignment, sharpening and the individual color channels to achieve the look I wanted for the final image.
