A poor lonely plastic Frappuccino, tucked away in the empty would-be dining area of a Starbucks. The emptiness is wrought by COVID, and the plastic liquid dessert in a cup shelters alone, unwanted and unloved, lurking in the shadows for another time when it can come back out and challenge the insulin production of thousands, once more.
This is all about using selective focus to emphasize a subject, and use of exaggerated perspective to draw the eye into and through the image. This is one of the things I like extreme wide-angles for – the exaggerated foreground-background relationships that happen when you put them very close to something give you a new non-eye-like point of view on your subject that really forces you to consider it formally, abstractly and within its context.
A street find while walking around with the LC-A 120. This is under the railroad tracks that cross the South Bank pier of London Bridge, just across the street from Southwark Cathedral.
I happened to look down, and then saw this admonition to “Look Right ->”. I found it mildly amusing that traffic flow was considered so confusing that it was necessary to tell people which direction to look before crossing the street. And I love the crunchy texture of the pavement and sidewalk. This is at the corner of Finsbury Square where it abuts City Road in central London.
This is another image from the Lomo LC-A 120. The only real reason I ever mention the cameras I use nowadays is to prove a point about there being little to no correlation between the “quality” of camera you use and the quality of the images you make. I have very little control over the LC-A beyond what I point it at, when I choose to trip the shutter, the film I load in it, and the rough guesstimate of the distance between me and the subject. Everything else is really out of my control. But the decisions that are most important are the ones I do have control over – what to point it at and when to trip the shutter.
Knowing my camera and how it records images is also helpful to getting what I want out of the image, of course. But this image above would have not been any more successful if I shot it with a Hasselblad Superwide, a Rolleiflex TLR, or my Fuji XT-1, each of which offer far more control and precision than the LC-A.
I’ve walked past this mural for years, and they re-do it every so often. The primary change from visit to visit is the color palette, but over time, major compositional elements change as well. I’m showing the previous version (circa 2013) and now both in black and white just to keep the comparison visually fair.
The bird’s head on the right is a mosaic, originally including mirror fragments, now painted. I think the fisheye treatment in the first image works well because the mural already has a bit of a fisheye perspective to begin with.
Double-exposures, especially accidental ones, can be so much fun! You never know what you’re going to get, and how it will work out. Here I have two very different images layered one atop the other, both with my Mamiya RZ Fisheye lens. Had they been done with different lenses I don’t think this would have worked out so well.
Given the polarizing nature of the current president’s personality and demeanor, it should be no surprise that he attracts a LOT of protestors. There are always protestors outside the White House – for as long as I can remember, there was a 24/7 anti-nuclear weapons vigil in Lafayette Square, going back to at least the Reagan administration. The woman who spearheaded that protest has since died, so now the round-the-clock vigil encampment is immigration themed, if I recall correctly.
I don’t usually attend protest rallies or photograph them, given that they can be very sensitive events and I don’t want to be associated with anything that might go wrong when two opposing groups confront each other. Fortunately this is a rare thing in DC, but it does happen.
I was out playing tourist/tourguide with some out-of-town friends over the Martin Luther King Birthday holiday. We walked from the Air and Space Museum up Pennsylvania Avenue past the White House, then on to the Washington and Lincoln Memorials before finishing at the MLK Memorial. Outside the Renwick Gallery there was this character:
Inside his white box, he was playing the harmonica through a portable amplifier. There was no discernible connection between his song choices and the overall theme of his demonstration, so I don’t know to what extent he was consciously protesting, making social commentary, or just serendipitously expressing the zeitgeist because his meds were wearing off.
Outside the White House was a different matter, and a much more pointed display of discontent. This was right after the president had made his “shithole countries” comment, so much of the signage centered around that.
I chose this image because of the profoundly ironic juxtaposition of the happy tourists posing for a family photo in front of the White House with the protesting woman in front. This is something you will experience here in Washington that I don’t think you see many other places – the cognitive dissonance of “oh look, we’re jazzed to be here!” immediately adjacent to “I’m righteously indignant and I’m not going to take it any more!” expressed over the exact same subject.
One good thing about photographing protestors is that if you want to get better at “street” photography, they’re a great subject to practice on, because they absolutely want their pictures taken to get their message out to the larger world.
All of these were taken around the Plaza de San Jacinto Artist’s Market.
This was a return trip, just a quick three-day weekend over the Veterans’ Day holiday, so I only shot four rolls of black-and-white and six rolls of color (to be processed today). Here are some highlights.
I took a trip to the UNAM (Autonomous National University of Mexico) campus, which is famous for its 1960s architecture (it’s the site of the 1968 Olympics, and the Olympic stadium which seats some 80,000 (if I recall correctly) is across Insurgentes Boulevard from the campus). My partner is in law school at UNAM, so we met up after class and wandered around a bit. These images are from the Architecture school buildings, another program that UNAM is famous for.
You may be wondering- what’s with the rectangular images? He almost always shows us square photos! Well, I traded in some gear I wasn’t using and got a Mamiya RZ67 and a trio of lenses for it. The RZ67 is effectively a Hasselblad on steroids – unlike my Rolleiflex, which is a TLR (Twin Lens Reflex), the RZ is an SLR (Single Lens Reflex). The advantage is that with an SLR, interchangeable lenses make a lot more sense, since you only have to have one of them per focal length. The RZ also shoots 6x7cm negatives on 120 film (NOT 120mm!!! Pet Peeve alert – 120 is the film size, not 120mm. 120 was a Kodak internal designation for the format that became universal, kind of like Kleenex). The RZ solves the problem of having to rotate the entire camera when switching from horizontal to vertical by instituting rotating backs. This of course makes the camera bigger and heavier. It’s an additional challenge when traveling, but I think the images speak for themselves.
Back in the city center, I was wandering around on the street where my hotel is located, Calle Londres. Down the block are a pair of markets – the Mercado del Angel, which specializes in antiques, and the Mercado de Artesanias which specializes in modern handicrafts of all varieties from wood carvings to ceramics to sterling silver jewelry. The Mercado de Artesanias had a Day of the Dead altar still up in their entryway.
You can’t tell it in black and white, but those pumpkins on the ground were fluorescent purple and pink. I like them better in b/w, don’t you?
Also on Calle Londres, these bronze doors can be found. I’m still not sure what they belong to, but they’re quite impressive.
Another aspect of the trip was to take in some of the exhibits of FotoMexico, a nation-wide, three month long photography festival that covers some 600 exhibits around the nation. The headquarters for the program is the Centro de la Imagén, located inside the Biblioteca México (I’ll have more to say about FotoMexico in another post). The Biblioteca México is located in an 18th century tobacco factory-cum-military facility that was used as a prison during the waning days of Spanish colonial rule. This monument is in the park in front of the Biblioteca, commemorating Jose Maria Morelos, a Mexican general who led a valiant 40 day resistance against colonial authorities at Cuautla, after which he was taken prisoner, held in the jail in the Ciutadela (now the Biblioteca) and then executed for treason.
The cart and broom of one of the caretakers of the park.
Another view of the Morelos monument. It was erected in 1912, as part of the centenary commemorations of Mexican independence from Spain, and coincidentally the Mexican Revolution of 1911 which overthrew the dictatorship of Porfirio Diaz.
Last but not least, the advertising billboard structure in the Glorieta Insurgentes. The Glorieta is a major traffic circle on Avenida Insurgentes Norte, and is a transportation hub – the subway and express buses have stops in and around the Glorieta. I photographed the billboard structure because it has a look to it reminiscent of a Bernd and Hilla Becher photograph of industrial structures.
This is a case of where the mechanics of photographing lead to something emotionally resonant in a powerful way – the blurred moving man under other circumstances could be considered a flaw, but here becomes a metaphor.