Tag Archives: Kodak Ektar 100

Jaleo, In and Out

I’ve walked past the giant red JALEO letters in the window of Jaleo, a Spanish tapas restaurant downtown DC, for years, wanting to photograph them but never really getting it the way I want. The first shot comes the closest. To get what I’d like to get, I’d have to stand in the street, in the winter, and cut down the trees out front as well. So this will have to do.

Jaleo Outside
Jaleo Outside

A view into the restaurant. Photographically, what interests me in taking an image like this is the visual layering that happens – there’s reflections in the glass, the big red J, the people at the table, the pendant lights leading you away deep inside the restaurant, the other patrons at tables in the rear. Sociologically, this is another indictment of the modern life – two people at dinner staring at their phones instead of interacting with each other.

Jaleo Inside
Jaleo Inside

It’s a sad commentary on how inward-focused we as a society have become that it is socially acceptable for two people (or more!) to go to dinner together and interact more with their digital devices than with the other human beings at the same table. We’re there to do one of the most basic and most pleasurable things two or more humans can do – share a meal. Put down the damn phone at the dinner table!

Commuter Diary, Part 11

More in my Commuter Diary series. These are more about the people on the train and in the station than they are about the stations and trains.

The man in the suit stands out not only from his attire but also from his posture and from actually standing apart from the other riders on the platform waiting for a train.

Man in Suit
Man in Suit

This was a visual experiment for me, to see what it would look like to follow a moving subject. This man was talking furiously on his phone, pacing back and forth in an erratic elliptical orbit of a spot on the platform.

Man, Pacing with Phone
Man, Pacing with Phone

The flow of people is remarkably sharp given the length of time I had the shutter open for (several seconds). The repetition of people’s shapes going down the escalator is from the escalator being turned off and them walking down, so they pause just long enough between strides that they register over and over again. I’m going to re-try this experiment and see how many repetitions I can capture.

Down Escalator Flow
Down Escalator Flow

Another typical experience in the daily life of a commuter – watching the person in front of you as you ride up the escalator.

View, Up the Escalator
View, Up the Escalator

Street Style

I’m still learning how to shoot candid street scenes. This is a relative success story. I got on film what I imagined when I composed and shot this image – shallow depth of field emphasizing the boy with the red sneakers and mirror sunglasses. I saw him coming toward me, guesstimate focused a distance, then clicked the shutter when he hit that point. There was another shot I took on the same walkabout of a little boy clowning around on one of the bikeshare bikes that I had to guess the focus, and I missed, which was very disappointing because it was a cute composition.

Street Style
Street Style

I’m on the fence about the crop, though. Does it draw too much attention away from the boy in the red sneakers?

World Health Organization Recap

A recap of the World Health Organization images I’ve made. There are more coming, but they’re on several rolls I haven’t had a chance to process yet (I’ve got to get a couple more shot to run a batch).

This first one is in some ways the most graphic of the bunch, if not the most abstract. In winter, near sundown, you can see this bare tree in front of the white marble wall on the end of the building. There’s the contrast between the black organic shape of the tree against the white rectilinear grid of the wall.

Tree, Stone Wall
Tree, Stone Wall
The rest of these don’t bear commentary because you’ve seen them before here on my blog. Go back and re-read the posts ( here, here, here, here, here, and here) for the details of my thoughts and ideas about the images.

Underneath the WHO
Underneath the WHO

Columns
Columns

Handrail
Handrail

Flagpoles
Flagpoles

WHO Column, Angle
WHO Column, Angle

World Health Organization Curves
World Health Organization Curves

Eaves, World Health Organization
Eaves, World Health Organization

World Health Organization, Thirds
World Health Organization, Thirds

World Health Organization, Cylinder
World Health Organization, Cylinder

PAHO/WHO Building
PAHO/WHO Building

WHO building
WHO building

WHO building
WHO building

Pavers, Reflection, Grass
Pavers, Reflection, Grass

Cherry Blossoms, 2015

As a Washingtonian, I normally avoid the Jefferson Memorial and the Tidal Basin area at Cherry Blossom time like it was ground zero for the Zombie Apocalypse. The cherry blossoms may be beautiful, but the groves are so overrun with tourists with necks snapped back in positions normally reserved for car wreck victims as they stagger mindlessly about, blocking traffic, walking into your camera’s frame of view and not moving while THEY compose a shot, and pointing with arms at full length like the walking dead in the general direction of everything and nothing at the same time. Most of my photographer friends who want to shoot the blossoms do so at the crack of dawn when most tourists can’t be arsed to get out of bed to go see them. At which time I, too, can’t be arsed to get out of bed to go photograph them because I have a day job.

Cherry Blossoms, 2015
Cherry Blossoms, 2015

That said, there are other places to see cherry blossoms around DC that aren’t completely overrun. There happens to be this tree, for example, on the George Washington University campus in the front yard of a fraternity house no less. I caught this one on one of my lunchtime walkabouts. This was also with the Tele-Rolleiflex, shot basically straight up into the tree from a standing position (the tree is in a yard several feet above the sidewalk, so it was easy to stand beneath it and shoot up into the blossoms).

Public Sculpture, Federal Reserve Building

The Federal Reserve Board of Governors buildings in Washington DC have an incredible art collection inside. Most of it is not accessible to the public, as it is displayed throughout the working areas of the facilities. There is, however, an exhibition space inside one of the buildings that can be viewed by appointment – The Federal Reserve Art Collection. There are some pieces, however, that are on permanent public display. There is a gorgeous fountain that operates from April to November-ish (depending on weather) and on the north side of the Martin building, there is the baseball sculpture and the Italian bronze Discus Thrower sculpture. It’s not entirely clear from my reading that the baseball sculpture, entitled Full Count, is part of the Federal Reserve collection, but I believe it to be so from this article. The Discus Thrower, however, is not. It is a replica of the Discobolos of Myrmon, an ancient Roman bronze, given to the people of the United States by the nation of Italy in commemoration of the United States’ assistance in returning Nazi looted art after World War II.

Here is the discus thrower statue. He stands atop a marble column head carved to mimic an ancient Corinthian capital. The discus thrower is located in a city park which also houses a tennis court.

Discus Thrower, Kelley Park
Discus Thrower, Kelley Park

I have two different takes on Full Count – one in color and one in b/w, each from a different perspective. The color image is viewing the sculptural group from over the pitcher’s shoulder. The white marble building in the background is the Martin building of the Federal Reserve.

Full Count, from the Pitcher's View
Full Count, from the Pitcher’s View

The black-and-white image is my take on just the pitcher, from a profile view. Both were shot on the same rainy, overcast day.

Pitcher, Full Count
Pitcher, Full Count

I think the two images side-by-side really brings out what I was talking about yesterday regarding emotional impact of an image in one medium vs the other. There’s no judgment value being placed on that difference – each one has its own equally valid resonance, and there’s no need to prefer one medium over the other, just as joy and sadness are equal emotional partners.

All three images were shot with my Tele-Rolleiflex. As I’m getting used to shooting with it, I’m really liking the images it makes. It just takes a bit of practice to get to know when to use it and how best to use it to take advantage of its strengths.

World Health Organization

I previously posted some b/w abstracts of this building, taken on a cloudy, rainy day. Here it is on a glorious, cloudless sunny day. Yes, that actually is the color of the sky; no Photoshop trickery was used to create that.

PAHO/WHO Building
PAHO/WHO Building

I love the dramatic contrast between the clear, textureless blue sky and the geometric dynamism of the brick latticework over the building facade.

Commuter Diary – part 6

Looking down on the platform from the top of the escalator feels like you’re about to plunge over a precipice into an unknown below – will it be a deep pool, or full of jagged rocks? Will there be minnows, or will there be sharks?

Over The Precipice
Over The Precipice

Perhaps the most interpretive, impressionistic image of my commuter diary so far. Another long exposure where I panned the camera along with the train as it pulled in to the station. The panning along with the motion blur and the different lengths of time moving vs still give a uniquely layered image that requires you to engage and investigate to understand. I’m getting more and more intrigued by this style of exposure – the truly non-literal photograph.

Arriving Train, Friendship Heights
Arriving Train, Friendship Heights

Riding the down escalator with the shutter held open leaves nothing constant except the passenger in front of me. The changing perspective of the descending escalator puts the station entrance above where you would expect it to be.

Riding The Escalator Down
Riding The Escalator Down

a far more literal, sharp, precise image of a departing train. This is the first image in this series I’ve done with a tripod, because I wanted to catch the back of the train with some clarity before it departed. I’ll try it again later handheld and see which I like more. This has its charms even with the sharpness because the lights moving in a straight line are in some ways more forceful and direct.

Departing Blue Line
Departing Blue Line

Changing Light- Glass Cubes

this is a brand new office/retail/residential complex here in DC. I pass it all the time on my way to and from work, social outings and various and sundry obligations. I’ve seen it in all kinds of light, at different times of day. I particularly like watching it come to life as the sun goes down.

Glass Cubes, Evening Light
Glass Cubes, Evening Light

The color changes as the sun goes down and the lights go on. At any time, the abstract geometry of the place makes it highly clinical, but the mood shifts. It actually looks more alive at night.

Glass Cubes, Night, Face
Glass Cubes, Night, Face

A different take on abstracting the geometry of the space. The glowing red exit sign adds a tiny touch of humanity in what could otherwise look like a set from Tron, the movie about a virtual world inside a computer. 

Glass Cubes, Exit Sign
Glass Cubes, Exit Sign

Commuter Diary – Part 5

Just a one-off from the series. This is looking out from the canopy over the McPherson Square Metro station at the intersection of 14th and I Streets NW. It was raining, and the cars and buses looked especially festive with their lights and signal indicators and illuminated signs.

McPherson In The Rain
McPherson In The Rain

This is a rare one I cropped because the ceiling and floor didn’t add to the composition, and being able to crop so the curving lines of the floor and ceiling led to the edges of the frame made it a much more dynamic image.