Soul Stealing in the Modern Middle Ages: Photography in the SCA

As a recent immigrant to the Knowne World of the Society for Creative Anachronism and a fairly new convert to LARPing one of the potential issues I’ve encountered is taking pictures at costumed events. While many can disregard a camera pointing at them (and in fact, want their pictures taken), some participants at LARPs and SCA events find the mere presence of a camera to be jarring and a disruption. If Alexandre Franchi and Mark Krupa had to disguise their movie camera at the Bicolline site in Canada for The Wild Hunt, what might be expected of me at an SCA war? Fortunately there is an eBook on the subject, Soul Stealing in the Modern Middle Ages: A Quick Guide to Photography within the Society of Creative Anachronism, available for Kindle readers on Amazon.com

That is, once the reader successfully makes it through the number of glaring spelling errors and typos that riddle Soul Stealing. Perhaps author Carl Trinkle, or as he is known in the SCA, William “Cookie” Barfoot, will be able to edit the multitude of errors out. One early sentence reads, “There are probably thousands deferent types, models and formats of cameras out there.” Another reads, “That lens has limited zoom capabilities and you there is no option for you if you want to improve your lens.” There is the misspelling of the birthplace of the SCA as “Berkley” instead of Berkeley, and then “out” for “our”, “cleaver” for “clever”, “grantee” for “guarantee”, and so on. Not to belabor the point, but, “There is hundreds of photo sharing website out there.” is just one of the many dozens of errors that permeate this 44-page work and speak to the lack of editing. Even the title differs from the Amazon store to within the eBook: Soul Stealing in the Current Middle Ages versus Soul Stealing in the Modern Middle Ages.

Getting past the myriad typos and grammatical errors, Trinkle has a breezy, conversational tone with the occasional humorous aside. For the most part it works, but in reality, the “book” could really better be considered several in-depth blog posts or the sort of how-to that tends to appear pinned to the top of a board in online forums. From what I can see in the 22 photographs accompanying the text, Carl Trinkle is a talented SCA photographer, but the pictures are too tiny (generally around 320 by 200 pixels) and too few in number. The digital medium of Kindle would seem to be perfect for reproducing full color pictures that might be costly to print in a traditional book. There are also no comparisons between two similar pictures diagramming what is good about one picture’s lighting or composition and what is wrong with another. Even at only $2.99 for its 44 pages, this is just too little.

Small SCA pictures of children fighting and text from eBook Soul Stealing

Relative Size of Tiny Pictures to Text in Soul Stealing in the Modern Middle Ages

Sections in Soul Stealing

What Trinkle does include are sections on cameras, light/aperture/ISO, equipment, and etiquette. Trinkle admits to being an anachronism himself because despite owning an iPad and advocating having a smart phone, he still shoots in 35mm and 120mm film. After going over his own cameras (including plastic disposable cameras which Trinkle employs for their ability to occasionally get surprisingly great shots), Trinkle leaps into exposure, f-stops, aperture, and ISO. Here he uses a truly SCAdian analogy to explain “how aperture, shutter speed, and ISO work together” that goes on for pages using terms like “ISO War Band”, “House of Aperture’s shield wall”, and “Autocrat Meter”. I found it bewildering, but his love of the SCA is always apparent.

The Kit: Equipment

Linen three-buttoned Jas Townsend and Sons haversack from 1800s

The Jas Townsend and Sons Linen Haversack

Trinkle’s section on equipment is where he really shines, though he worries aloud about advertising specific products, writing that he does not “mean to sound like a commercial”. He shoots with a 28mm-75mm zoom lens and a 75mm-300mm telephoto lens. He keeps these lenses, his film, iPad, and snacks in a “natural linen harvest sack” from Jas Townsend and Sons “that passes for a pilgrim’s bag or whatever you want to call it. Yes, it is strictly not period for the SCA timeline, but it is close enough for most people besides Laurels to not take notice.”


He also suggests a note pad to record subjects’ contact information and photographic settings, an 18% grey card to find the right exposure setting, and UV filters to protect the expensive lens in the event of a camera fall. There is the humorous suggestion of a dagger (“What if you are attacked by barbarians or corsairs or a bear or something?”) as well as many other mundane objects like Ziploc bags, duct tape, and a flashlight. He covers the basics, but then suggests possibly bringing the intriguingly-named “slave lights” without explaining just what slave lights are. Trinkle does wax poetic though about the flexible JOBY GorillaPod and points out that “the knock offs of the GorillaPod are not worth wasting your money on.”

Etiquette, Camera Disguises, and More

Trinkle next weighs the merits of the perfect photo versus ruining the moment for others at a event by the use of flash photography. Curiously he doesn’t touch upon blocking other photographers’ shots or the views of the attending populace, but he does point out possible legal issues for some members’ photos being taken including professional performers and those in law enforcement. Trinkle advises, “if you have to take that picture because every photographic fiber in your body says this is the picture of all pictures, I say take it. Then learn how to grovel really fast.”

Picture divided into nine sections to illustrate rule of thirds

Trinkle’s Example of the Rule of Thirds

Trinkle briefly mentions that other photographers use disguises for their cameras, but eschews the practice himself. Detailing that some people dress up their cameras and tripod as very skinny women is entertaining, but there is no photographic evidence of the practice and besides suggesting hollowing out a book to use as camouflage, Trinkle disappointingly has little to offer in this area. He moves on to actually taking pictures, making the most of early light near dawn, and gives an example of the Rule of Thirds using some household banners or personal devices. If Soul Stealing stuck closer to such examples, it would be much more useful.

Trinkle rounds out the book with an admonition to practice and experiment, as well as the suggestion that would-be photographers learn the rules of Heavy Combat to be able to take the best pictures (and avoid danger). Rapier combat should not be neglected though, Trinkle warns, as well as Arts and Sciences projects. Night time photography and portrait photography are also touched upon as well as photo-editing software. His parting advice is worth repeating: “Take pictures of all your events, we love to see them. Just remember not to ruin the dream for anyone by your picture taking. Sometimes it is better to miss the picture, but keep the memory.”

Final Thoughts on Soul Stealing

As it stands, Soul Stealing is an incomplete and error-laden work. Actual members of the SCA will benefit more from collegium classes on photography if available or by joining a photographers’ guild than by purchasing Trinkle’s work. Even an experienced photographer with a detachable lens spotted at an event will probably yield just as much valuable information. This is, after all, the SCA; members are generally friendly, courteous, and love to help others. However if none of those resources are available or you are the photographer in a LARP group struggling with how to take better pictures, Soul Stealing may prove to be helpful. At only $2.99, it will be one of the lowest costs you will incur in the SCA (or in LARPing for that matter).

Ultimately the most important question for any informational book or video has to be asked: has Soul Stealing in the Modern Middle Ages increased my understanding or knowledge of photography in the SCA? No, not significantly. It is a $2.99 reminder of what I learned in an hour-long SCA photography class, but it did point me towards several useful pieces of equipment that I might soon acquire.

Photographs and text from Soul Stealing in the Modern Middle Ages are copyright Carl Trinkle and used without permission under Fair Use doctrines of criticism and commentary.

Drakmar: A Vassal’s Journey

14-year old Colin Taylor with longbow on cover of Drakmar A Vassal's JourneyDrakmar: A Vassal’s Journey is a heartwarming documentary from 2006 about 14-year old Colin Taylor. Colin loves dragons and plays Halo, Sonic, and D&D. Recorded in 2004-2005, the film follows the bright but alienated Colin at school, home, and at Adrian Empire events. Though much of the documentary revolves around Colin’s vassal relationship as the squire Drakmar to his knight Sir Cledwyn, the film shifts focus to the possible renewal of Colin’s relationship with his biological father in Arizona. Film students Lowell Frank and Destin Daniel Cretton shot Drakmar on the cheap, but it doesn’t impact their storytelling at all. Within the first few minutes Colin will endear himself to the viewer who will later share in Colin’s nervousness at the prospects of reunion with his father. If Colin and older brother Corwin fail to tug at your heartstrings, there’s also Colin’s grandfather, an inveterate ham, who provides occasional comic relief. These human elements are Drakmar’s strengths and should be compelling to any person on the fence about the possibility of putting on armor and pretending to live in another time, whether it be the Adrian Empire, the SCA, or a LARP.

The Adrian Empire: Kingdom of Terre Neuve

Less famous than the SCA, the Adrian Empire has a narrower time frame for its personas, from 1066-1603 compared to the SCA’s generally accepted 600-1600. Geographically the Adrian Empire is exclusively Western Europe in its historical focus, whereas the SCA is global. Perhaps more importantly, the heavy end of Adrian Empire fighting is done with real steel instead of the SCA’s rattan. Colin Taylor is not old enough for these real steel battles, instead fighting with a shinai, a bamboo sword. But he boasts, “I’m actually a better archer than I am a shinai combatant. You give me a bow and I can shoot a penny off of your head.” Both Colin’s mother Kathy Taylor and his brother Corwin Taylor participate in Adria, respectively known as Mistress Aileen Bristow and Corrwyn Ardwulf. Living in San Diego, their Adrian region is the Kingdom of Terre Neuve. In the SCA, knights wear white belts with no other colors restricted to other fighters, but in Adria, knights like Sir Cledwyn wear blue belts, pages like Colin wear yellow belts, and men at arms wear green. Colin desperately wants his green belt.

Chivalry: Alive and Well in the Adrian Empire

Known mundanely as the jewelry store owner Scott Mallory, Sir Cledwyn is much more than a lord to his vassal Drakmar, also serving as Colin’s father figure (as well as Corwin’s). Mallory’s feudal ideals run deep. Speaking about Colin, Mallory says, “He does something wrong, it’s my responsibility to fix it. It’s my responsibility to equip him and to make sure that he’s not lacking for anything.” It’s not hard to imagine that Mallory is speaking both in game and out of game. In fact, the Taylor brothers recount Cledwyn’s very physical defense of his vassal’s honor owing to a belt-pulling incident that happened in the Adrian Empire. That the perpetrator of the dishonor was himself a knight says something, but in general other Adrian members captured in Drakmar seem to echo Mallory’s fondness for chivalry. “We are Adrian; that means we do things for honor,” one official reminds the Adrian populace before battle.

Belly dancers flank a knight in armor from the Adrian Empire at San Diego Comic-Con 2012

Kingdom of Terre Neuve Members at San Diego Comic Con 2012:

The Rush of Battle, Being Who You Want to Be, and History Re-Imagined

The documentary captures several fighter practices, including one involving rapiers at night near tennis courts. For Corwin, fighting in Adria is “a total complete adrenaline rush.” Others are attracted by the desire to recreate a different time, complete with wooden stocks and a wooden gaol. For Colin, each fighter practice and weekend trip to Adria, is “a break from reality” and far preferred to the complexities of our modern world. For another Adrian, it’s more about the freedom. Stan says:

“Out here, where these guys are finding themselves out and beating themselves silly, you can be a knight, you can be a lord, you can be a king (if you get elected). Anything you want and you can imagine, you can sit there and be in Adria. We call it mundane out there. This, for some people, is the real world. They get to come out here and do what they really want to do and be who they really want to be. I think that’s really what it’s all about.”

The Crown War for Terre Neuve

The climax of Drakmar: A Vassal’s Journey as far as the Adrian Empire goes is the Crown War, fought in March at the Potrero County Park. Because progress towards knighthood in the Adrian Empire depends on a combination of skill at arms, artisanal skill, service to others (ministry), and archery, Colin finishes a belt pouch in order to get his green belt but must also supply documentation about its crafting and historical accuracy, before facing an oral panel who grill him about its construction. Fantasy gaming is only hinted at in Drakmar. Colin reveals around the Crown War campfire that he “had seven draconic items: the Draconic Orb of Doom, the Draconic Lance of Greatness, the Draconic Greatsword of Light, I had a Shield of Dragon Might, and the Boots of Dragon Speed, just to name a few. ” Yes, Colin loves dragons. The Crown War seems to be fought with 30 armored men or less on each side, but the action is intense as one warrior bashes his gauntleted fist over and over into another’s helm, following him down to the ground.

Hope is Here: The Real Vassal’s Journey

The real climax of Drakmar is much more touching than knights battling or even an oath of fealty. The knightly virtues of mercy, generosity, and courage come alive on screen, embodied in the form of a scrawny 14-year old. Role-playing can be about much more than identifying four-armed greater demon-dragons as Colin does at one point. Occasionally in a tabletop RPG, a player can so identify with his paladin PC or another character’s high morals as to transform his interactions in the real world. Drakmar presents evidence of fighters who learn the meaning of honor and courtesy on the fields of Adria. Many other participants though, like Colin Taylor and Scotty Mallory, already possess those virtues and the Adrian Empire merely refines them and lets them share them with the rest of the world.