Pictures from Noreascon on Wednesday are going up. Click on Christian B. McGuire to see them.
Wednesday, a full day of set-up for the Worldcon. I got up in the morning and headed over to the Hynes Convention Center, while library_lynn and Maria headed off on a tour of the city. I got my badge and their badges quickly enough, and headed upstairs to see if the Fan Gallery cases and pegboard were ready to go. The Fan and Pro Photo Galleries were set up on the third floor of the Hynes, in the Boylston Street Corridor -- that is, in this long corridor running the length of the Hynes overlooking Boylston. There were a bunch of programming rooms here, and also the Art Show, and the entrance to the auditorium's balcony, so it was definitely going to get some traffic. There were two sets of escalators -- one near the art show, coming up from the Concourse area, and another that came up from near the Dealers Room. So both ends of the hall were going to get foot traffic.
During the pre-convention discussion of the Concourse (which was on a different floor from the Fan Gallery exhibit) and Exhibits, the news that the convention had acquired a wide-format HP color plotter, and that they'd have some jumbo blow-up photos in the concourse area of the guests of honor, gave me an idea. Suppose we took some of the photos in the Fan Gallery and printed them really big - say about 2-ft by 3-ft? I asked Jim Hudson, the Exhibits head, if I could get extra art show fixtures. He agreed, and instead of having a 3-unit space, he gave me four units. (Or in other words, eight 8'wide by 4'deep bays, back to back, instead of six of them.) This meant I could put gaps in the display of small photos, and put the blowups there. I would alternate 2-ft wide blowups with 4-ft wide groups of photos.
I went through the Fan Gallery's online collection of digital photos before the convention, and picked out several that I thought would look striking as a jumbo enlargement. Sandra Childress printed up a few of the jumbo photos -- she works in HP's test department for that very product line, so she just used some of our pictures as her test images. When I got to the convention I learned that Pam Fremon was running the convention's printer (and was running behind, buried in sign requests), but they told me I could come in after she was done for the night.
The diagrams that had been distributed to the committee before the con had shown the Fan Gallery taking up one clump of art show panels in the middle of the hall, and the Pro Gallery taking up two arrangements, one each at either end. But the map that went into the pocket Program (such as it was -- it wasn't called the Pocket Program and didn't fit in a pocket) showed the Fan Gallery at the end of the hall, closer to the Art Show, with the Pro Gallery not listed at all (but presumably taking up the two art show clumps further down the hall). Becky Thomson, Tom Veal, myself, and the convention department heads responsible for us decided that we'd put the Fan Gallery at the spot indicated on the printed map, even though it didn't match the pre-con plans. I volunteered to also put a sign on the end of the Fan Gallery pointing the way to the Pro Gallery.
The doesn't-fit-in-your-pocket program had maps of all of the floors of the exhibit. They'd made the decision to turn some of the maps 90 degrees, because they'd fit better, but somehow neglected to put a notice (like an arrow pointing North, or something) to explain how the maps related to each other. Since Boylston Street was such a conspicuous landmark (for me, anyway -- the Fan Gallery's location meant I was looking over the street all the time) I took my copy and wrote "BOYLSTON STREET" in the appropriate margin on all of the maps. I did this for a couple of other people, too (on one of them I also wrote in "Trader Joe's" because that was a landmark you could see from the windows).