A Night on the Playa, Part 1

Life highlights are those you can list on a single hand.  They are indelible events that exceed the normal range of our experience.  They may include a first kiss, the birth of a child, recognition of a career accomplishment, or the challenging hike to reach a beautiful mountain pass.  This is the story of adding one more of those outlier life experiences to my list.

Years ago, I had read about the geologic mystery of the “sailing stones” on the Racetrack Playa in Death Valley.  Death Valley is an intriguing place and not just because of its ominous (and deserved) name.  It is a geology and biology classroom, displaying the impacts of volcanoes intruding on sedimentary layers that have been shape-shifted into ribbons of colorful escarpments with water and wind-eroded features.  Somehow, the valley has fallen below sea level, and the water, when there is water, dissolves minerals from the mountains and finds its way to the bottom, where it evaporates and leaves the residue behind as a salt flat.

In the spring, the water also nourishes an intense flowering of desert plants, desperate to reproduce. For a few brief weeks, colorful plants and flowers adorn the roadsides and cover the otherwise barren hills.  I have been to Death Valley during this season, during a “superbloom” following an unusually wet winter.  It was a stunning display of flowers in this otherwise arid and nonviable setting, something I had never expected to see.  As impressive as this floral show was, I had really hoped to visit the famous sailing stones on the playa.

Flowers during the 2005 superbloom, in front of the Sierra Nevada mountains to the west of Death Valley.
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Stonehenge and Solitaire

My visit to Stonehenge in 1994

When Management Graphics adapted their film recording technology to support motion picture film formats, it was quickly adopted by movie studios to bring special effects from their computer memory images on to film.  There were some problems however, and one of the most serious was the difficulty in obtaining the full brightness range found in typical scenes, especially when they included lights—candle light, desk lamps, car headlights, streetlights.  Any light source, even a glimpse through a window to the bright outdoors, would cause a large flare in the final film frames, washing out detail in the scene.  Our customers complained, and we started down a path to research and solve the problem.

We understood what the fundamental issue was: halation, an effect caused by the glass faceplate of the cathode ray tube used for creating the image.  The bright spot on the phosphor screen was internally reflected at the glass surface which then illuminated the phosphor coating.  If phosphor were black, this would not be a problem, but phosphor coatings are white, as are most materials made of fine powder, and it resulted in this internal reflected light overexposing the film.  In the absence of a black phosphor, there were few other ways to mitigate the halation effect.

An example of halation on a photographic film plate.  The circular haloes and flare are apparent around the street lights in this 1910 image.

One of our customers was incorporating our film recorder into a full workstation system.  Quantel, a company in Newberry, England, had become successful in the early years of digital video and was looking for a way to expand its editing tool offerings into the motion picture market.  Quantel’s engineers understood the halation problem as well, but they didn’t want to rely on our figuring out a solution: they had an aggressive development schedule. 

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The Wall of Books

This is adapted from a tribute that my father made at the memorial of his father, Theodore Olson, after whom we are both named, who died in 2002 at the age of 97.  I post it here for the online access of posterity, and to provide a portrayal of the scientific mindset of a family patriarch that influenced not only his students, but his entire family and several generations beyond.  Here is my father’s rendition of our family history.


The start of this story goes back almost 150 years. In about 1860 in Norway, Hans Opjörden left home and went to Oslo. Hans had the misfortune to be the second son in his family, and that meant that his older brother would inherit the family farm. Hans left home and headed off to Oslo, where he went to work in a shipyard building boats. After a while he decided he really wanted to sail on the boats instead of just building them. At this time Norway was a province of Sweden.  Shrewdly, Hans changed his name from Opjörden to Olson (with a Swedish spelling) and got Swedish sailing papers.

He went on several voyages and along the way befriended a shipmate named Peter Magnus Peterson.  We can imagine a conversation between them based on what subsequently happened.  Hans confided that he’d really wanted to be a farmer but had no prospects of getting land—and that being a sailor was not his “dream job”, but was good paying employment. 

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Checking the Mail

John checks for mail at Rural Route 2, Box 619, later to become 292 Heather Lane.

In 1965 we moved into a newly-built house on the outskirts of the town of Long Lake Minnesota.  Today considered an “exurb” of Minneapolis, at that time it was a rural community at the very edge of urban influence.  I turned twelve on the day we moved in and was starting to explore the possibilities presented to a teenager in those years. 

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Full House

Eight years later, we re-create a photo given as a Christmas gift to our parents in 2011.

Growing up in a home headed by a “ham” (an amateur radio operator), we often would hear my dad’s radio conversations with remote, distorted, and static-filled voices.  In one such contact, the usual exchange of technical banter was augmented by a personal one.  Dad mentioned that he had a “full house”, the poker hand, in describing his children: three boys, and a pair of girls.  

We all overheard such over-the-air dialogs, as well as evenings filled with the clicks and beeps of Morse code.  Such are the experiences of the children of a zealous radio amateur.

But it has been a very long time since we were all together for any extended time under the same roof.  My dad’s Morse code telegraph key went silent a few years ago, and it is the second passing of a parent that now brings us together to figure out the final disposition of their possessions.

The last time we spent this much time in such proximity we were on a family backpacking trip in 1972.  It was a wonderful and new shared experience, but as teenagers there was always plenty to bicker about.  Some things never change.

And although we still sometimes act like squabbling siblings, the things we argue about are no longer the outrages of personal space violations (“Mo-om, he’s looking at me funny”).  Instead, they are the banalities of politics.  On the things that matter, we all seem to agree!

Over the course of four days we came together under the roof of the house our parents enjoyed at the end of their lives and we applied our individual strengths and skills to the task at hand.  We unearthed familiar artifacts, discovered old photos, revived faded memories, and re-told family stories as the contents of a very full house were processed by the “full house” of siblings.

Csuri Exhibit Poster

“Gossip”, by Charles A Csuri, 1990.

When we consider the impact of computer graphics we usually think of Hollywood motion picture special-effects, or beautifully crafted images and commercials from high-end marketing firms, which both seem like products of the east and west coasts.  We don’t think of midwestern artists or public university departments as being part of that world.  Yet this is exactly where much of the pioneering work in computer graphics was done and its commercialization was born.

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Third Tail

Third Tail
Lake Zumbra (Victoria MN), 9:00 pm 8 April 97. 
Kiev-88 80mm, 5 minutes at f/4 on PMC400.

Notes from Thor’s astrophoto journal:

On April 8, a friend joined me to observe Hale-Bopp at my nearby and nearly-dark site at Lake Zumbra.  We enjoyed watching the very young moon set, then went about preparing to take some pictures. I was hoping to get a shot taken at a smaller lens aperture so the stars would have less distortion than in my earlier photos.

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City Cometscape

City Cometscape
Lake Calhoun looking at Minneapolis, 4:00 am 23 March 97. 
Kiev-88, 80mm , 20 seconds at f/4 on PMC400.

Notes from Thor’s astrophoto journal:

I thought that the view of comet Hale-Bopp over a cityscape would make a striking photograph.  There were only certain view angles and observing times that worked however.  To get the comet to hang over downtown Minneapolis in March, the time worked out to be around 3:00 am along a northeast line of sight.  Surprisingly few vantage points existed; the streets headed off in the wrong direction, or the view was obscured by trees,  buildings or streetlights. 

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Hale-Bopp over Hyland Tower

Hale-Bopp over Hyland Tower
Bloomington MN, 4:00 am 15 March 97. 
Kiev-88 80mm f/2.8, 30 second exposure on Tech Pan 120 film.

Notes from Thor’s astrophoto journal:

This picture was taken with a Kiev-88, which is a Russian-made clone of  a Hasselblad (a high quality  camera that was taken to the moon).  It uses the larger size 120 format film.  A colleague suggested that this unused camera should be stored in my office  instead of his.  And since I had no use for it there, I decided I should try it out on one of my comet photo outings.

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