Steve Alexander & Karen Douglas Homepage

THE STORY SO FAR…
INTRODUCTION

To many of those visiting the Crop Circle Connector web site our names will be familiar to you. Steve Alexander has been photographing the crop circles since the early nineties, and began photographing the formations from the air in 1994. Already a dedicated advocate of the circles phenomenon, Steve combined his interest in the circles with a love of photography and has now become on of the most renowned crop circle photographers in the world. He teamed up with circles writer Karen Douglas (then editor of the Circular Review magazine) in 1994 in both a personal and professional capacity and since then both have gone on to combine their efforts to spread knowledge about this wonderful mystery.

A BETTER MEDIUM IN WHICH TO RECORD THE PHENOMENON
The first Year Book was one of the largest projects that we had ever undertaken. During 1998 we had collected together some of the most stunning formations for a 1999 crop circle calendar. But it was painfully obvious at that point, that even though the calendar was a time honoured way of showcasing some of the best formations of any given year, it was in reality hopelessly inadequate medium in which to record the phenomenon. There was never enough room so show the breadth and depth of the formations that appeared in what essentially amounted to 12 pages plus calendar grids.

The more we thought about it, the more we realised that we had to find a better medium in which to present the crop circle season in a more comprehensive way. It was at this point that the concept of a Yearbook was born. If we could somehow produce a book that would cover more of each season, then this would be an evolution for our work and for the way people could access images and information.

We could still use the familiar A4 size, with the same number of pages that we had used in the Calendar, but suddenly with out the calendar grids, the potential for including many more formations was now there. Nowhere in the crop circle world was there a yearly publication which provided a round-up of the years events in a compact format and it was obvious that it was needed. With the extra scope we could include landscapes – something we felt was an integral part of the magic of the phenomenon and we could show, aerial views, interior shots and the details of each formation, as each one demanded.

QUALITY & VALUE FOR MONEY
Although many of you view the images we submit to the connector each season. These pictures are no substitute

for the high quality, medium format images that we use in the books. At present the Connector can only handle our 35mm work, so the book is a real opportunity to see how the circles can be recorded in a high quality way. It has always been our aim to offer crop circle enthusiasts the best possible coverage, quality and price – to make the crop circles as accessible as possible to everyone. We hope that the idea of the Yearbook will do just that by offering approximately 100 images per book for around Ł12.00 (UK), you will also be able to add to the collection each year and follow the series as it progresses.

SO, THIS THEN IS THE STORY OF HOW IT ALL HAPPENED…

THE CONCEPT - PHOTOGRAPHY.
The concept of producing, what would essentially be a photographic book, was a daunting one. The quality of images required would have to be of the highest calibre. We knew that if this was the way we were to proceed then we would have to seriously consider upgrading the photographic work from 35mm transparency work into the world of medium format photography. Beginning the project with brand new cameras and a new remit for them, was formidable indeed, Steve had a few short months to get used to working with the new equipment and to get as good a coverage of the season as possible!

The question of how to photographically cover the seasons was not as straight forward a decision as you may think. Of course, the aerial photography was going to be important, but so would be interior shots,

landscape shots and details. Some of you may know that we feel the landscape, in which the crop circles appear, to be of as much importance as the phenomenon itself. To that end we also wanted to cover the locations, and special sites of the crop circles, as they appeared in the belief that the two are intimately connected. The more we developed our ideas, the more it became apparent, that what we had set ourselves here was a task of huge proportions, which would take a great deal of time, money and commitment to fulfill. In many ways it has become our labour of love.

DURING THE SEASON
As the formations began to appear each year, we find that a constant battle with the weather and the shear amount of travelling involved to get the images is immense. The travelling to and from the airfield, and then onto the sites, from there to the photo labs is a full time job! Checking at every stage that the images we have are of the quality we need and that we had the angles and coverage also contributes to the workload! We have to produce enough material, so that we can sit at the end of each year and choose the best. We also have to make sure we have a good variety of images to choose from.

The idea of using more than aerial images to record the year, was something we had first started to look into for the 1999 calendar. We had included smaller images on the calendar grid pages themselves, to show pole-shots, interiors and a whole array of other views. We spend hours during the season photographing a huge range of images that would be relevant to the formations as they are happening; ancient sites, landmarks and fine details, all could be important in the finished selection. Capturing all of these things, in an original and appropriate fashion is sometimes a difficult process.

ENDING THE SEASON
By the end of each season we know we have not been able to cover all the formations which have appeared in the UK, but felt we do our best to get as good a coverage of the most important formations of the season as we can. So while each yearbook is by no way a complete and comprehensive record of all the crop circles that appeared during that year, it is as near to it as we could humanly manage! Using Wiltshire as our centre (as it is the centre of activity for this phenomenon) we then try to branch out in neighbouring counties as time and energy permits.

OTHER CONCEPTS – WRITING THE BOOK

Selling the finished book is of course a consideration! After investing all this time, care, money and commitment, we do have to sell it. Here, we have had to think carefully about what was desirable. In producing a yearbook it would, of course, be necessary to give information about locations, dates, measurements and crop types. General commentary would also be needed to cover the basic themes and patterns occurring during each season. But, we also need the book to be relevant to both the established enthusiast as well as the newcomer, as we want the phenomenon to be accessible to as wider audience as possible.

To this aim, we include all the locations, dates and dimensions, accompany the photographs, together with a rolling commentary that guides you through the patterns, themes and evolutions in the circles themselves.

In our 1999 edition (now sadly out of print) we included a map of the Wiltshire area, information on books, periodicals, conferences and other essential material - to enable the newcomer to navigate their way around what is currently on offer.

In our 2000 edition we have moved into a more advanced stage of information, with a written piece by Karen Douglas about the importance of shape, harmony and proportions with in the crop circles. We also have a great foreword by John Michell, veteran crop circle researcher and best selling author, renowned for his book The New View Over Atlantis and his expertise on ancient measure and geometry.

We will evolve the format yet again for our 2001 edition. Keep checking our homepage for updates.

PRODUCTION
Around September time each year we enter into the wonderful world of production. The first stage of the project had been to choose a design and print company who we thought would be able to translate our ideas for this book into reality. We had already worked with Studio 6 Design & Print when putting together publicity materials for our photo sales and for the calendar last year. They are a local company, which was important to us, as we wanted to be able to work closely with them at every stage.

The first part of the process is to scan the 100 or so images that will appear each book. Usually a selection of high quality 35mm & 6x4.5 medium format transparencies. This takes several days, after which, time is spent fine-tuning the images to ensure the highest possible calibre of clarity. A colour proof is then produced so that we can check the clarity, contrast and colour of the scanned images. Seeing the scans each year is an uncanny experience, you suddenly see in front of you a whole summer’s work condensed onto a few pages! It also it raises the question of how do you turn all these images into a great book?

Happy that all the images are as we want them, we can begin the huge task of designing & planning the layout for the book. The contents are arranged by locations, each page or section including formations and other appropriate images which illustrate each season. Background images are also chosen which help to add the relevant atmosphere to each section.

We always have a great time working with the Studio 6 design team, we have some really great laughs, their work on the books has been outstanding and their patience with us, admirable. They have proved very skilful in the

way they have translated our ideas accurately into the finished product.

Further colour proofs are then produced so that we can gauge colour balance and composition more accurately. These gave us an idea of how the pages would eventually look for the first time.

The arduous task of proof reading then ensues. Checking and re-checking are the order of the day. It’s usually at this point that you get sick to death of seeing your creation! Making sure all the photos are the right way up and the right way round, checking photo titles, dates, locations and crops are all part of the job. At the end of the day any publication, with your name on it, is a reflection of you and your professionalism. The crop circle subject demands accurate as well as artistic portrayal, especially when you are the photographer. Upside down or back to front images are almost unforgivable!

When as much checking as possible has been done, the finished files are sent to the print room to be proofed for the final time. This time, the type of proofs made, allows us to see the true clarity of the images. One more check is then made before the proofs are signed, and sent away to be made into films for printing. These proofs are the nearest thing to the way the final production will look, so it’s a nail biting moment! We are very proud of the finished books. All we can hope now is that you will like them too.

LENDING YOUR SUPPORT & THANK-YOU
We could not continue to record this phenomenon with out your help. It is though the sale of our books and pictures that we raise enough funds for aerial photography. Steve’s pictures are invaluable as research tools as well as being an important part of being able to bring the circles to a wider audience. We would like to thank all of you who buy our yearbooks; you will helping to continue the task of aerial surveillance of the crop circles and the spread of information about this unique phenomenon.