Well, I’m not normally very judgmental (of people) but I will be judging Focus On The Story – 72 Hour Photo Challenge. To participate and get your work judged by me and my colleagues at Photoworks, just create an account at EyeEm.com (its free!), upload your images from around DC shot this weekend, and tag them #EyeEmDC. Get it done by 9:00 AM on Sunday, then come down to the Johns Hopkins SAIS Campus at 3:50 PM to see the live judging!
Today this is a marina for pleasure boats. In 1848 it was a working dock that admitted directly onto the Potomac River, and was the site of the largest non-violent slave escape attempt in US history, the “Pearl Incident”, when 77 individuals attempted to flee down the Potomac river and through the Chesapeake Bay with the intended destination of New Jersey, a free state. Their efforts were thwarted by contrary winds on the Potomac and betrayal by a fellow slave who did not join them.
These warehouses in Georgetown today house businesses, a tavern and boutiques, but at the time of the Pearl Incident were tobacco and grain warehouses owned by Mr. Dodge, the man who owned the leaders of the escapee contingent.
The net outcome of the Pearl Incident was the ending of the slave trade in Washington DC in 1850, but full abolition of slavery and legal emancipation would have to wait until 1862. Along the way, the captain and first mate of the Pearl spent four years in prison because they could not afford to pay the fines ($10,000 in 1848 currency, or about $250,000 in today’s currency).
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.
I decided to treat myself to a lens toy – I got a Mamiya RZ Fisheye lens for my RZ67. It arrived this weekend and I took it on a walkabout in my neighborhood to put it through its paces. I especially wanted to try and do some shots that did not scream “shot with a fisheye” to see if it could be versatile enough to keep in my camera kit, or was it really a one-trick pony.
In this shot, it shows that you CAN use it for street documentary if you want. It’s still a challenge, though, with the distortion it brings to background subjects. And it forces you to get right up on top of your subjects – They were maybe five feet away from me.
Applied sensibly to architecture, it works. You do have to be extra careful that your horizons are level and square, or you will get wild distortion.
This is perhaps my favorite image of the shoot. Leading lines abound and the backlit subject with the sun in the frame create drama.
Selfie with the fisheye – with the sun behind me, it’s impossible to keep yourself out of the photo (or at least your shadow).
I was downtown DC the day of the March For Our Lives gun control protest. I wasn’t actually there to document the march – I was there to see it and experience it, but not even as my primary goal for the day, so I didn’t shoot a ton of film. Regardless, when I arrived at the parade route, the students and parents from Marjorie Stoneman Douglass High School in Florida were passing the intersection where I crossed Pennsylvania Avenue. It was truly moving to be there amongst them as they marched past. I’ll let the images speak for themselves, and just add that the closing image of the series says it all – Don’t just march, VOTE.
For those interested, I shot the entire series on my Mamiya RZ67 with the 65mm lens, which was really the perfect lens to use for this – I had enough room to get groups and action, but I could still get close up and isolate individual people. Film of choice was the classic documentary film, Kodak Tri-X.
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.