I’ve been having fun going back through some of my images from a year or two ago – including the images I shot in Paris last October.
Here are two examples – of the Paris skyline shot from the Pompidou Center – and processed a bit differently to get to monochrome.
Thanks to Valérie Jardin for her beautiful Paris workshop!
This image was most likely shot in 2009 by my good friend – the late Chris Gulker.
We recently came across a roll of unprocessed film in one of Chris’ Leicas from that era – and my friend Doug Kaye had it processed.
Twice a week Lily and I would go for a 1.5 mile walk with Chris around his neighborhood – and then we’d come back to his place, have coffee and solve the world’s problems. Chris made this image during one of our problem solving sessions! Linda Hubbard Gulker put up with us as we did our thing.
We all miss Lily and Chris a lot. Those were very special times!
Rebecca – New York – 2015
I took this image on the last morning of our Peter Turnley workshop in New York. Rebecca was looking out the window and the natural light was just perfect for a portrait.
Shot with my Fujifilm X100T.
Last Friday, in New York’s Central Park, we came across a father and his two sons singing hymns in this underground terrace. Their singing was majestic – and I captured a few images of them singing. This is one of my favorites – Abraham.
I’m just back from a beautiful week of street photography in New York City. Here’s the story about this remarkable week.
My friend Doug Kaye and I happened to learn about photographer Peter Turnley during a visit last fall to the new Leica Store in San Francisco. Their first exhibition was of Peter’s work – and we were truly struck by his wonderful work, all displayed in black and white prints.
After that visit to the Leica Store gallery, we began learning more about Peter and his work – and about his workshops. Sometime late last year we both decided to sign up for Peter’s New York City workshop to be held in June 2015. Doug and I had thought we were pretty much done with workshops – but we both really appreciated Peter’s work so we signed up. We weren’t disappointed – this was a beautiful workshop, one which I would highly recommend.
I’m still thinking about the teachings Peter shared with us during the week – and will post more about that soon. Meanwhile, here are a few of the images that resulted from Peter’s encouragement – all shot with my Fujifilm X100T.
I wasn’t able to do much photography this week – and felt a need to both get out to shoot – and just to exercise! I love walking with my camera in my hand – looking for the light, beautiful backgrounds, and great people. My muse today was the recently published book “See San Francisco” by Victoria Smith. She lives in San Francisco’s Noe Valley – and the first chapter in her book is based there.
24th Street was my playground. I was lucky and found a close by parking spot on Jersey Street, just south of 24th. It was a beautiful early afternoon in San Francisco – and I had a great time exploring this new territory for me with my Fujifilm X100T.
Hope you enjoy these images!
Here’s an image from a recent San Francisco photo walk along Market Street with my friend Doug Kaye. This particular image, while interesting in color, actually needed to be processed in black and white. Why? Sometimes the colors in an image just add “noise” – in the sense that they’re distracting. By processing the image in monochrome, that color “noise” falls away and you can focus on the lights and shadows – and, more importantly, on the actual subject of the composition.
This is a great example where monochrome was just right.
For street photography, the genre is perhaps best known for black and white images. But, for me – perhaps as a result of the strong influence that Jay Maisel had on me last year – I often choose color. But not exclusively. Jay’s mantra is “light, gesture, color” – and for a lot of images that combination is very powerful and products the best result.
But, there are many images where the monochrome treatment of black and white yield a more “powerful” image. I’m not one to prefer one over the other – each image I take provides me with the option to choose either monochrome or color. I shoot my Fujifilm X100T in RAW+JPEG mode – with the JPEG style often being one of the monochrome styles. But, sometimes, I opt for my JPEGs to be processed in the X100T using one of the color modes – with Classic Chrome and its subtle color treatment increasingly being my favorite.
This image is an example. I opted to leave it in color – Classic Chrome – as I love the rose color in both the signage and the bricks on the sidewalk along San Francisco’s Market Street.
Each image has its own personality – treat each image that way and decide which is best: color or monochrome. Today’s digital cameras give us that option!
2014 has been an amazing photographic journey for me. For example, my Lightroom catalog currently has almost 68,000 images in it – spanning the years 2000-2014 – with over 25,000 of those (37%) shot just in 2014. It’s almost crazy how many images I’ve taken this year!
Something I regularly revisit is the split between my earlier work on landscape photography and my more recent interest in street photography. They’re very different – but, in some sense, both deliver very satisfying feelings as I look back on my work.
Another always interesting insight is the color vs monochrome difference – how color can really enhance an image and how monochrome can to – by reducing the distractions of color. It’s a dichotomy – one that’s always fun to explore.
I recently watched a brief series of videos by John Sexton – and he inspired me to look back and explore more fully some of the landscape shots I’ve taken this year. This is one example – an image shot with my Fujifilm X-E2 at early morning at the Klamath River Overlook in far northern California as part of Michael Frye‘s Mystic Forest workshop. The color image is quite beautiful – shot as the sun was rising in early June. But I think this monochrome treatment is especially good – with its drama, composition and mood. This is an image I need to print and frame – I think it’s one of those special ones!
I love the light this time of year – and, for those of us who live in northern California, we also might even get some clouds in the skies! The combination of low angle light and great clouds – when we get them – is magical. This morning was one of those mornings – the skies were in “clearing winter storm” mode with lots of low clouds beginning to break up, swirl around, mixing with the sunlight in dancing patterns.
I headed up to San Francisco – originally thinking I was just going to visit the galleries at 49 Geary St. where a new Group F.64 exhibition has opened at the Scott Nichols Gallery and a new retrospective show – “The Plot Thickens” – has just been put up at the Fraenkel Gallery. My plan was to drive to Daly City BART and then BART in to the Montgomery Street station and walk to the galleries at 49 Geary.
But, as I was driving north up 280, the skies were just magnificent. I kept resisting the urge to find a place to pull over to shoot the clouds hanging along the skyline of the coastal ridge – and just let me eyes enjoy the magnificent play between cloud and light. As I got closer to Daly City, I could see that this cloud activity continued further north over the western beach of San Francisco and, perhaps, even up to the Marin Headlands and the Golden Gate. I waved off my plan for Daly City BART and, instead, headed over Brotherhood Way to Sunset, then Sloat and up the Great Highway to the Cliff House.
That’s where this image was taken – shot handheld with my iPhone 6 and post-processed in Lightroom. What a beautiful morning!