Category Archives: Medium Format Cameras

DC Inaugurates Streetcar Service (50 years after removing it)

I’m a big public transportation junkie, so when I heard they were finally launching the DC Streetcar on H Street Northeast (a public works project over a decade in the making and long overdue – the tracks have been in place for two or three years now), I was so excited I ran over after work last Friday to see it and ride it only to find out I was a day early! So I satisfied my urge and photographed the streetcar at the Union Station end of the line, catching it at sunset. The shiny new car reflected not only the setting sun but the buildings across the street, bringing the surrounding urbanscape out of frame back into the picture.

DC Streetcar, Union Station, Sunset
DC Streetcar, Union Station, Sunset

Here is a different view of the streetcar, waiting at the Union Station end of the line, looking down H Street. H Street was, fifty or so years ago, a thriving business district catering mostly to a middle-class African-American clientele. Then along came the riots after the assassination of Martin Luther King Jr., and then with the 1980s, the cocaine and crack epidemics. H Street was devastated.

Westbound Oklahoma Avenue Streetcar
Westbound Oklahoma Avenue Streetcar

Obviously now, not so much. It has transformed starting in the early 2000s with the real estate boom. Perhaps the turning point was the creation of a large condominium complex, Senate Square, on the grounds of what was originally a Catholic school and later the Capitol Children’s Museum. Now, pawn shops and lake trout joints are being replaced by artisanal coffee roasters, fancy pubs serving British-Indian fusion cuisine, and cultural outlets like the Atlas Theater and the Rock n’ Roll Hotel (which is not a hotel, but a bar and concert venue). Instead of a Murry’s, the neighborhood is now sporting a Whole Foods.

When finally fully operational (at the moment, the streetcar only runs less than half the length of installed track), the streetcar will connect Union Station and the governmental core of the city to east of the Anacostia River, a long-suffering neighborhood where good jobs and access to quality goods and services have been sorely lacking.

Forlorn Orange, Abandoned in the Gutter

It’s been a while since I’ve posted any of my own images. I was out on a lunch break walkabout near my office and saw this poor little orange (or is it a tangelo?) someone had dropped in the gutter. It cried out to be photographed, so here it is…

Forlorn Orange
Forlorn Orange

Natural Light Portraits – Mom, at ABC Carpet & Home

There’s something to be said for natural light portraiture. I love studio portraits for the creative control you have- there is no light in a studio portrait but what you put there – if you don’t want it, don’t add it. Working with natural, available light, though, can help you be a better studio photographer as well because it teaches you to really see the light in the scene and understand what you’re looking at. To make a great natural light portrait, you need to look at where the light is coming from, how to position your subject in the scene to maximize the light you have, and where is the best quality of light.

Mom at ABC Home, New York
Mom at ABC Home, New York

Here I was with my mother at ABC Home, a giant (and I do mean giant- seven floors in two buildings on opposite sides of the block on Broadway, including two restaurants) interior decor store in Manhattan. We were on one of the upper floors of the main store (carpets are in the other building across the street), and there was this beautiful diffuse afternoon light pouring through the giant windows. I positioned her so she was bathed in this light. It’s a very flattering light for anyone, especially for women. The light may have been soft and flattering, but even though we were on the 4th floor, we were indoors and buried in the canyons of Manhattan buildings, so the light was quite dim, forcing me to shoot wide open with my Rolleiflex.

One of the great benefits to the Rolleiflex is that since there is no mirror to get out of the way when taking the exposure, you can easily hand-hold exposures that would otherwise be a challenge – this was maybe 1/30th or even 1/15th of a second. Another trick that’s easy on the Rolleiflex is placing focus at the edge of your depth of field, especially useful when you’ve got a busy background that would be distracting if it were sharp. The reason it’ easy on the Rollei is that when you’re looking through the waist-level finder, you can look to the side at the depth of field scale on the top of the focusing knob and quickly roll the focus point to the far end of the depth of field without having to take your eye away from what’s going on in the viewfinder. You can’t do that easily with an SLR which has the DoF indicator on the top of the lens barrel.

Portraits of Ordinary Objects

A couple more in the Ordinary Objects series.

Trashcan, Columbia Plaza
Trashcan, Columbia Plaza

I’ve noticed that as the series continues, my style of shooting it has evolved, which is a good thing. The photos are becoming more consistent, especially in terms of composition. The camera is placed on a level with the object, which usually means much lower than eye or even sometimes waist level, and more frontally square to the object.

Fire Hydrant, Vero Beach
Fire Hydrant, Vero Beach

The hydrant is in a suburban Florida cul-de-sac where the tallest things around it are date palms, and they’re not massed together to form a giant wall, so the lighting is direct sun, not a diffused sky. I’ve been looking at it and trying to decide how well it fits the series – I think it does on the subject matter and the compositional level, but until I shoot more objects in suburban or rural environments it feels weird because the background isn’t walls or windows or passing traffic, but grass and trees.

Portraits and Studio Lighting

Back in November I taught a studio lighting class at Photoworks. This was my first time offering this class, so the curriculum was a bit of a gamble – I started with foundations of studio lighting, working from hot lights on still life setups and a single light source, and built my way up to electronic flash systems with multiple lights. In this case, my students had the burning itch to jump straight to portraiture, as that was their primary interest. I had a wonderful bunch of students in the class and everyone brought something to the table.

The portraits here are taken by me of my students. The portrait of Joe was done to demonstrate side light with a large diffuse light source, and a reflector. For demonstration purposes I moved the reflector in and out to lighten and darken the shadows, and shot it with both high and low contrast. This is my favorite of the bunch – there’s three-dimensional modeling of his face with the light, but the shadowed side of his face is not lost.

Joe P.
Joe P.

Geraldine was lit to show soft, flattering light. This was the classic “butterfly light” with a large diffuse light directly above and in front of the subject, a reflector below to open up the shadows a bit, and then hair light and background light applied to create separation of the subject from the background.

Geraldine W.
Geraldine W.

The shot of Matthew was done to demonstrate that “edge lighting” look you often see in sports photos of young athletes in shoe commercials. Obviously Matthew is no longer a high-school football player, but the look is very masculine and rugged and it works well on him. This was accomplished with two equal-powered heads in soft boxes, placed behind the sitter, at 45 degree angles to the subject-camera axis, and then adding in a little fill in the front so his face wouldn’t get lost.

Matthew F.
Matthew F.

The final photo of the day is our group shot. That’s me in the center, if you’re wondering. My fourth student in the class was Leslie, who is the one hiding behind Matthew’s shoulder.

Studio Lighting Class
Studio Lighting Class

All individual portraits were done with a Tele-Rolleiflex and the Rolleinar 0.35 close-up adapter, on Kodak Ektar 100 color film. The two black-and-white images were converted from Photoshop. Ektar is a good portrait film in natural light, I’ve decided, but for studio portraiture, Portra 160 is better.

Panoramas of the Colosseum, Rome

Photographing the Colosseum was one of the primary reasons I brought the Belair X/6-12. I knew already that I wanted to take panoramic shots of the building, as just about anything else aspect ratio-wise was not going to do the place justice. I think (I hope, anyway) that these give you somewhat of a sense of the scale of the building – it sits in a large open plaza and is every bit as large as a modern American Football stadium, seating somewhere in excess of 50,000 people. A testament to its architectural genius is that the entire stadium could be emptied in a matter of minutes.

Colosseum Panorama
Colosseum Panorama

These views depict the outer curtain wall, of which only a fraction remains. In fact, almost 2/3 of the original stadium and its decorations are gone – the columns, marble seats, wooden flooring and doors and bronze and gold decorations are all lost to the ravages of earthquakes, vandals, fires, and architectural re-purposing.

Colosseum Panorama
Colosseum Panorama

An astounding fact about the outer curtain wall – there is NO mortar used in its construction. The entire edifice was assembled and held together by iron bow-tie shaped clamps interconnecting each block.

Colosseum Panorama
Colosseum Panorama

Roman Panoramas – Pines of Rome

So I was busy and didn’t get around to developing the last few rolls from my Italian adventure until a couple days ago. I’m working through them now – they’re all panoramic shots taken with my Lomo Belair X/6-12. I’m still on the fence about whether and how much I like it.

Umbrella Pine, Via Fori Imperiali
Umbrella Pine, Via Fori Imperiali

In this case, it worked. Quite well in fact. This is one of the famous “Pines of Rome” – the umbrella pine – that are ubiquitous throughout the city and the region. They’re the source of the pine nuts used in making pesto. The umbrella pine is such a signature emblem of Rome I needed to take a photo of it by itself because now having been there, I can’t think of the city without thinking of the pines.

More Memories of Summer

This trio of Lotus seed pods might look a little odd to those in the know- they’re not exactly in their native habitat. I was wandering the trails at Kenilworth, saw these three had fallen while still full of seeds, and picked them up to make a still-life. I re-planted them in the muddy bank of a lily pond to create this grouping.

Lotus Pod Trio
Lotus Pod Trio

This cat-o-nine-tails at full fluff presented itself to me at the edge of another one of the ponds.

Cat-o-Nine-Tails
Cat-o-Nine-Tails

Reminder of Summers Past and Future

I finally got around to scanning and uploading these shots from Kenilworth Aquatic Gardens I took back in the waning days of summer. Now’s the perfect time to bring them out as it’s descending into freezing temperatures here, as a reminder of the golden light and radiant heat that we love to complain about while we’re in the middle of it, but deeply miss when it’s gone.

Lotus Leaf
Lotus Leaf
African Lilies
African Lilies

If you’ve been reading my blog for any length of time, you’ve seen me post other photos (and the odd video!) from Kenilworth. If you’re at all a fan of aquatic plants, Kenilworth is well worth the visit, as they have acres of lily ponds, lotus plants, cat-o-nine-tails and other species that grow in wet and marshy environments. In addition to the flowering plants, Kenilworth is a great place to go for wildlife – everything from dragonflies to frogs to turtles to herons and even supposedly a beaver family can be found there. And the amazing thing is that it’s not only in the middle of a city, but in the middle of a rough part of the city. Enter the gardens and you think you’re in some vast national park riverine oasis, not three miles as the crow flies from the United States Capitol building.

Santa Cecilia in Trastevere

The Piazza Santa Cecilia is one of the focal points of my part of Trastevere. It is named after the eponymous church and convent that borders its west side. The lantern on #21 Piazza Santa Cecilia casts a long shadow in the light of dawn:

21 Piazza Santa Cecilia
21 Piazza Santa Cecilia

The Piazza dei Mercanti abuts the Piazza Santa Cecilia. In this view as the sun sets and the street lamps come on, there’s not much to see of the piazza itself from all the cars parked in it, but a very large restaurant faces it that does a bustling business on a warm fall evening. A neighborhood resident is out for a stroll, perhaps on their way to the coffee bar up the street.

Piazza dei Mercanti, Evening, from the Piazza Santa Cecilia
Piazza dei Mercanti, Evening, from the Piazza Santa Cecilia

Santa Cecilia’s courtyard remains open quite late into the evening, and the public can come and go through the gates. There has been a church on the site since the 3rd Century AD, when it was built over the location of St. Cecilia’s house. The main body of the church dates to the 13th Century, and some 9th century mosaics are preserved within. The facade and the courtyard are 18th century renovations, however.

Exterior, Gates to Santa Cecilia, Night
Exterior, Gates to Santa Cecilia, Night

This cherub keystones the arch over the main gate to the courtyard.

Cherub, Santa Cecilia Courtyard
Cherub, Santa Cecilia Courtyard

Inside the courtyard you can view the 18th century facade of the church, ancient mosaics and an ancient cantharus or water urn that now is the centerpiece to a fountain. The bell tower dates to the 12th Century, and looms over pretty much the entire neighborhood. Here young couples sit on the edge of the fountain to canoodle while admiring the church before wandering off to dinner or perhaps a more appropriate intimate location.

Santa Cecilia Courtyard, Twilight
Santa Cecilia Courtyard, Twilight