Smaug the Magnificent

July 5, 2021
1 min read

“Well thief! I smell you and I feel your air. I hear your breath.”

—the dragon Smaug, J. R. R. Tolkein, The Hobbit

Smaug is the final image to be presented on The All Worlds Traveller from designer Erin Gallagher’s October 2020 photo session, which also included her costumes for Morla the Ancient One, Thor, and Loki

Erin conceptualized Smaug as an ‘80s corporate exec, drawing parallels between the dragon’s hoard of gold and the ‘80s Wall Street mantra, “Greed is good.”

Smoke and shadows were the key compositional components of the Smaug images, so we created the first Smaug shots using a directional light, which grazed Smaug’s form while leaving the rest in shadow. The idea was to bring out one of Smaug’s bright eyes, staring through the darkness. We captured a few of these images before the prosthetic teeth ceased to cooperate. Then we went outside to release a smoke bomb and hide Smaug in its cloud. 

The smoke bomb images would ideally follow a similar concept to the studio shots, with smoke obscuring most of Smaug’s form, revealing only the dragon’s eye. Among the smoke bomb images, we were fortunate to capture some that met those specifications. We shot the red smoke bomb against a green metal background, and the clash of those colors made for some nice contrast in the final image.

Smaug has always been near and dear to Erin’s heart, ever since her father gave her The Hobbit as a child. On behalf of Distant Era, it has been an honor to chronicle Erin’s costume experiments on this shoot and the previous ones. In a year where photography work paused, this exceptional day reconnected all of us with our art and purpose. After a selection period and editing and careful color grading, I sent the images to the printer, and they arrived as prints of exceptional quality, which I presented to Erin on the first session of our post-COVID lives. Erin in turn presented the Smaug images to her father as a present, honoring the gift of wizards, hobbits, dwarves, and dragons that he had given her long ago.

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Steven Townshend is a fine art/portrait photographer and writer with a background in theatre, written narrative, and award-winning game design. As a young artist, Steven toured the US and Canada performing in Shakespeare companies while journaling their moments on paper and film. In his transition from stage to page, Steven continued to work as a theatre photographer, capturing dramatic scenes while incorporating elements of costume, makeup, and theatrical lighting in his work. Drawn to stories set in other times and places, Steven creates works through which fellow dreamers and time travelers might examine their own humanity or find familiar comfort in the reflections of the people and places of a distant era.

The All Worlds Traveller

Welcome to The All Worlds Traveller, an eclectic collection of thoughts, pictures, and stories from a Distant Era. Illustrated with Distant Era art and photographs, these pages explore the stories and worlds of people beyond the here and now, and the people and creative processes behind such stories. This is a blog about photography and narrative; history and myth; fantasy, science-fiction, and the weird; creation and experience. This is a blog about stories.

Steven Townshend

I’m Steven Townshend—your guide, scribe, editor, and humble narrator. The All Worlds Traveller is my personal publication, an exploratory conversation about stories and how we interact with them, from photographs to narratives to games—a kind of variety show in print. It is a conversation with other artists who explore the past, the future, and the fantastical in their work. Not one world—but all worlds. Where Distant Era shows stories in images, The All Worlds Traveller is all about the words.

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About a Distant Era

Distant Era creates fine art and portrait photographs of people and places from imagined pasts, possible futures, and magical realities. In collaboration with other artists, we evoke these distant eras with theatrical costume and makeup, evocative scenery, and deliberate lighting, and we enhance them with contemporary tools to cast these captured moments in the light of long ago or far away. We long to walk the lion-decorated streets of Babylon, to visit alien worlds aboard an interstellar vessel, and to observe the native dances of elves. Our images are windows to speculative realities and postcards from the past. They are consolation for fellow time travelers who long to look beyond the familiar scenery of the present and gaze upon the people and places of a distant era.

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