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’m entranced by the range of things happening in this photo. The geometry of the space (especially the grid on the floor) leading your eye back toward a vanishing point, the contrast between the stark modernity of the room structure and the gnarled, organic forms of the ancient Greek temple, the static, permanent nature of the architecture (all the moreso thanks to the twenty-five hundred year old temple in the room) providing backdrop for the hustle-bustle of people circulating the room, and the movement around the people stopped stock still to contemplate the temple. This was probably another 1/2 second exposure, maybe 1/4, hand-held with the Lomo LC-A.
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).
Part of the reason for my trip to Mexico City was to see Victor. It’s a developing thing – we haven’t placed a label on it but whatever it is, it’s good. And he’s a willing subject for the camera, which is a nice change of pace from my ex.
It was also an opportunity to test out the portrait lens on my Mamiya RZ67 (the camera is new to me, but the lens’ quality is known far and wide – I just needed to see for myself what it would do and if I liked it. I do).
We spent an afternoon wandering around the UNAM (National Autonomous University of Mexico) campus when I shot these.
This last one was taken with the 110mm f2.8 lens. It’s an equally good lens for portraits when you need something that gives a bit more background and/or a closer working distance, like this shot.
All images made on Kodak Tri-X 400. I really like Tri-X for the tonality it has, and the just-a-little-bit of tooth.
This very last image was made with the 50mm lens as an example of environmental portraiture. The film was Kodak Ektar 100, which I love for the color saturation and sharpness.
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.
I keep shooting this building and the surrounding intersection because the architecture provides all kinds of graphical possibilities. Here, today, the drum in front of the tower looks almost like polished metal, whereas in reality, it’s coarse concrete. And a 25-second daylight exposure eliminates all but traces of traffic and the most immobile of pedestrians.
The 6×18 pinhole, when kept plumb, level and square, is virtually distortionless. I’m going to try shooting this scene again but from a low angle, pointing up, to see how curved it gets.
Now, with working with the pinhole, Kodak Tri-X has really turned into my go-to film because I really need the extra speed even in daylight. And the grain of Tri-X, in 120, and in contact prints/scans, really is a non-issue.
H Street Northeast is a neighborhood in major transition. It was in the 1950s and 60s an important retail and entertainment corridor for the African-American community in DC, along with the U Street corridor in Northwest. Along came the 1968 Martin Luther King riots, and then in the 1970s and 80s the rise of the drug epidemics, and H Street turned into pawn shops, liquor stores, and abandoned buildings. In the early 2000s, property developers turned their eyes toward the area for the relative abundance of cheap real estate as the next new place they could revitalize and get rich in the process.
These first four shots here represent the old side of the neighborhood – liquor stores, barred windows and businesses that clung to life through the lean years.
This set are the changing face of H Street – fresh paint, new entertainment venues, coffee shops and chic pubs.
The not-so-visible dark underside to this is that the past residents (lower and middle income African-Americans) and the businesses they used to operate are being pushed out not only by the housing redevelopment that is driving real estate prices up by several hundred percent over the span of a decade or less, but by the changing retail landscape – when enough businesses on your street have gone from selling fifty-cent cups of coffee and five dollar lunch deals to six dollar cappuccinos and thirty dollar tasting menus, your old clientele aren’t coming around anymore. If you were already operating on a shoestring, it can be cost-prohibitive to reinvent yourself.
On the same day I went to Fort Foote, I kept on driving south into Maryland until I got to Fort Washington, proper. Fort Washington the fort is located in Fort Washington, the town, and to arrive there you drive through some rambling suburban tracts. Like Fort Foote, Fort Washington sits on the banks of the Potomac River atop a peninsula formed by Piscataway Creek’s entrance into the Potomac River. It, however, was not intended to be a temporary site but rather has been occupied and fortified since before the War of 1812. Its use as an active military base ended after World War II, but most of the structures you see were built between 1800 and 1918.
These first two images are of the gate in the early 19th century fortifications. This was the entrance that connects the hilltop fortifications to the water battery at river level.
The water battery structures date to the first decades of the 20th century. You can see they are much lower, made of steel and concrete. The front side is protected by an earthen berm. The bunkers would have held the troops manning the now-dismounted cannon and communications equipment to control the batteries from within the fort.
There is something both ominous and at the same time hopeful about these structures, viewed from the land side. The bunker doorway looks like an entrance to the underworld.
The stairs, however, now stripped of their weaponry, point to an upward journey, facing the unknown. They’re the prow of a ship, a pathway to adventure, or perhaps a Mayan temple at whose top great mysteries will be revealed.
The clouds above tease the possibility of rain, but it will be a gentle rain, not a thundering downpour. They’re the gateway to the horizon.