NEW YORK NEW YORK – Back home. Our flight back was as bad as our flight going. Delayed five hours in Milan. A hassling arrival at JFK as we struggled to master the new Global Entry system. Ugh. Back home we unpacked in the midst of a major heat wave. Cowering in air conditioning. There was a really weird sunset. Captured with my Leica M9 and 24mm Summilux.
Out my window
On this day one year ago: another sick day. Both of my July 7th shots, this year and last, feature out my window views.
Out my window
NEW YORK NEW YORK – I collect Vinini, a Venitian glassmaker. This piece was advertised on eBay a Venini. It clearly isn’t but it was priced accordingly so I bought it anyway. Taken with my Fuji-X-Pro 1 and 17mm lens.
On this day one year ago: Spring sucks. Urban version.
Rooftops in the fog
NEW YORK NEW YORK – Busy day with no time for photography. But as I was cleaning up after making dinner for myself (Maria is in London) I spotted an amazing sunset out the window. I grabbed the nearest camera – my Sony NEX-7 – and clamped a 50mm Summilux onto it. It would have taken too long to set up the big guy. I used a beanbag to steady the camera, and took a lot exposures hoping to get a good one. I got exactly one. Here it is:
Sunset out my window
On this day one year ago: On the Bund, Shanghai.
Sunny day on the Bund
NEW YORK NEW YORK – I periodically go back to school on photography. It’s a great way keep to technical skills fresh, to get work critiqued and to meet new friends. Today I started a ten week class on landscape at the International Center for Photography taught by Benjamin Dimmitt, a landscape photographer who does a variety of subjects and has a particularly lovely body of work on primitive Florida. The first assignment was to shoot “out your window”, literally or figuratively, in a comfort zone, at various times and in various lights. Of course I shot out my window, something that I’ve done frequently here, at various times over a 24-hour period. You’ll be seeing more of these over the next few weeks.
So . . . I put my Alpa Max on a tripod, selected a 72 Schneider lens (the “normal” formal length for this format) and fired away. The results where ok, but the most interesting thing going on seemed to be the sky so I switched to a wide lens (the 32mm Rodenstock) to get more of it. Because of accidents of meteorology the night images came out as the most interesting.
Out my window
On this day one year ago: Citcorp. I photograph the Citicorp building and its neighbors a lot: Citicorp Center images. I love their bulk and the surprising angles and reflections. It’s also convenient for me. My advice to urban landscape artists: Look up!
NEW YORK NEW YORK – We got home from Connecticut and had a quiet dinner with our daughter, Francesca, who is pictured in context here. Sony Nex-7 and 24mm Leica Summilux.
On this day one year ago: out my window with a 135mm Leica APO tele-elmarit.
Out my window
NNEW YORK NEW YORK – A busy day of meetings. II got home and still hadn’t taken my picture (except one iPhone image from a meeting but I decided that it would be unprofessional to post it to the web. So I set up my Sony Nex-7 on a tripod in the dark with a wide lens (the 15mm Voigtlander) and did an image of out living room, draped with drop cloths, illuminated only by the light coming through the windows.
On this day last year: sunrise out my window.
Sunrise out my window
NEW YORK NEW YORK – I’ve operated for a few days on the theory that the point of this exercise (a daily photo blog) is to document my daily life. A visual diary. Ok. So here’s a picture taken with my Panasonic while waiting for a red light. I may have to give this a bit more thought. Maybe it’s a Friday the 13th effect.
Driving to Connecticut
On this day one year ago: Hell’s Kitchen.
WARREN CONNECTICUT – Boxing Day. Curiously I shot the same subject one year ago. This time I selected a different angle and camera, my Alpa Max with a short-mount 120 mm Schneider lens and a tilt adapter. Tilting is a view camera feature that is available for longer Alpa lenses. It permits tilting the lens and thus the focus plane, to either extend or shorten apparent depth of field. Here I have used it to keep the top of the sundial and the wall and the trees in the background in focus. It can be a tedious iterative process to get focus right with this technique; there are rules of thumb that help; there’s also an iPhone app that gives you a very good starting point. What I don’t like about this image is a mental mistake on my part: cutting off the bottom of the sundial.
On this day last year: Sundial.
NEW YOEK NEW YORK – I spent some time this afternoon at Yancey Richardson looking at photographs, primarily by Andrew Moore. The experience was energizing. When I started this daily photo effort over two years ago I expected that a number of longer term projects would emerge. Looking at Andrew’s work and paging back through mine I’ve decided to push on the churches of Litchfield County project. I see a couple of phases, starting with taking an inventory of facades, making high quality prints as a means to get closer to the ministers/rectors/priests, doing more in depth studies (which I’ve only done at the Washington Congregational Church at this point), teasing out the narrative (which I have some ideas on but need further work to refine) and then more follow through studies.
But today I’m not in Litchfield County so I point my Alpa Max out our window into good light. I’m working to achieve technical mastery with this tool – it’s the key to creating the kinds of images that I’m looking for in Litchfield County. By “technical mastery” I mean that my hands do the right things without an need to think about anything but composition.
Out my window in good light
On this date one year ago: Urban landscape.
NEW YORK NEW YORK – More fussing around with my new iPhone 4S. I tried my classic out my window brick wall torture test, shooting with the phone braced against a window sill to approximate the effect of being on a tripod. I used the “HDR” (high dynamic range) mode given the phone’s tendency to blow highlights and the long dynamic range of the scene. It turns out that this was a mistake – on close inspection there are ugly white bands where the buildings meet the sky. After a bit of digging online I came to the conclusion that Apple dramatically over sharpens in HDR mode – so for future reference I’ll be avoiding it. Later in the evening I shot a Martini at the Monkey Bar – odd that this famous bar serves a Martini in a sherry glass. Whatever . . .
Out my window
The next installment in my 1999 24-houe self portrait project – this one from 12:08 AM on February 14, 1999. As always taken with an Arca Swiss 8×10 inch view camera.
12:08 AM February 14, 1999
NEW YORK NEW YORK – Francesca has a new hat. This and the Triborough Bridge shot at the golden hour (which is particularly golden this time of year) were shot with my Panasonic GH-2. This is my kit for snapshots and for long lenses.
Francesca has a new hat
On this day one year ago: kitchen reorganization.
WASHINGTON CONNECTICUT – We spent the day on Lake Waramaug. Here is a friend’s Nash Metropolitan, a cottage on the lake that we’ve rented for the summer, and three friends in our boat, all taken with my Alpa TC, 35mm Schneider XL lens and Phase One IQ 180 back,
Cottage on the lake
On this day last year: The David Sheldrick animal orphanage outside of Nairobi.
NEW YORK, NEW YORK – A long day in the office. I caught this out the window in a moment of lovely light with my Leica M9 and 24mm Summilux lens.
On this day one year ago: Porto Seguro, Brazil. This isn’t bad for a travel day. Maybe I should just stop whining about travel days make the most of them.
Porto Seguro Airport
NEW YORK, NEW YORK – While I was in Africa Phase One released a firmware update to the IQ 180 back that enables “live view”, the ability to view on the back’s lcd screen what the camera is seeing in real time. Live view is commonplace in consumer cameras, which use CMOS technology, but is difficult to implement in medium format cameras which use CCD technology. I downloaded the update and installed it and voila it worked. Live view is a boon to technical camera users because it permits composition on the back’s lcd monitor while using shifts. I set the back up on my Alpa Max with my 72mm Schneider Digitar and took the following out my window (with the back shifted up 15mm and to the right 17mm),
New York Rooftop
On this day last year: Trancoso at night.
NEW YORK, NEW YORK – Back to New York – that was a genuinely quick trip to attend a wedding. Still a bit under the weather. Francesca noticed a quite cruddy looking rash on my legs and had nagged me to see a doctor, which I’ll do tomorrow morning.
I installed new firmware in my Hasselblad back. I did an out-my-window test, stitching two frames shifted to the left and the right on my Alpa Max, to see if the firmware cures the “centerfolding” issue that’s apparent when this back is used shifted on a technical camera. It didn’t – note the vertical line in the sky on the right side of the image:
On this day one year ago: fundraiser at the Litchfield Community Center.
NEW YORK NEW YORK – Out my window, taken with my Panasonic GR2 and 14 – 140 zoom lens. Two exposures, one for the skyline and one for the moon. I hand tipped the correct moon exposure in Photoshop. Still feeling poorly so I’m resorting to out my window stuff to meet my one photo every day objectiive.
Moonrise over Manhattan
On this day one year ago: Boston public art.