Categories
Aging Living San Francisco/California Street Photography

The Zone

I have been alive for nearly a third of the time this country has existed. It arrived the way facts do at a certain age, sideways, while I was thinking about something else, and it sat me down. Two hundred and fifty years, and my own decades take up a third of it — whether I meant to claim that much room or not.

I used to think the road was where I went to escape the smallness of a life. Now the road doesn’t call the way it once did. Some of that is willingness. More of it, if I’m honest, is a body that’s less steady, a bladder with a mind of its own. The body files its objections. I used to override them. I no longer do — not because I’ve grown wise, but because the overriding costs more than it used to and buys less.

But I want to tell you about what I got instead, most Fridays, for not quite a decade, because it isn’t nothing.

Doug came across on the ferry from Larkspur, and I’d meet him at the Ferry Building — watching the boat come in, watching him pick his way down the gangway with his camera bag, before either of us had said a word or made a single decision about where to walk. Then we’d head out along the Embarcadero, sometimes up into the financial district, and for the first ten minutes my mind would do what minds do. It would analyze. It would compose. There, the light coming off that glass tower, wait for the man in the overcoat to cross into it, no — too late, gone. Appraising and timing, the way I’d once weighed a stock, or a runway, or a route.

And then, without my choosing it, something released. There’s no threshold you feel yourself cross. But sometime after the tenth minute, the appraising stopped, and seeing took over. Not looking for. Not looking at. The street would stop being a set of problems to solve and become only itself: a longshoreman on a break outside a pier, a gull working the same patch of pavement three times, fog sliding under the Bay Bridge like it had somewhere to be. Doug, a few yards off, would go quiet the same way, and we’d shoot for an hour or two and then find each other again at the end of the block.

By then we’d have worked up an appetite for something other than pictures. Tadich Grill, if we could get in — the linen and the old wood and the waiters who’d been there longer than some of our careers. We’d order something plain and good, and that’s when the talking would start. Not small talk. The real kind. Work, kids, the state of things, whatever had lodged itself in each of us that week. The seeing on the street and the talking over lunch were not two different activities. They were the same hour, extended. One was attention paid to the world. The other was attention paid to each other.

I have flown airplanes and driven through weather I shouldn’t have, and I loved both for the demand they made on me — the total, narrowing attention that leaves no room for the self that worries. What I didn’t understand then was that a boat crossing from Larkspur, and a Friday, and an old friend across a table at Tadich, could ask the same thing of me, for free, without a single mile of my own driving.

Covid stopped it. Not gradually — the way most rituals fade, through scheduling and distance and the slow drift of people’s lives — but all at once, the way everything stopped that spring. The ferry didn’t run. The restaurants closed. We never quite picked it back up, not the way it was. I don’t think either of us decided to let it go. It just didn’t survive being interrupted.

A third of the country’s whole life, and it took me most of my own to learn what those Fridays were teaching me — and then to lose them before I’d finished learning it. I still see the ferry pulling in. I still see Doug on the gangway with his camera bag, in no hurry, already half in the zone before his feet touch the dock.

Categories
Black and White iPhone 6 Monochrome Photography Photography Photography - Black & White San Francisco/California Street Photography

That Discussion at San Francisco’s Ferry Building

Discussion - San Francisco - 2014

As I was leaving San Francisco’s Ferry Building, I came across this scene – in the bright sunshine and dark shadows I shot this image with my iPhone 6. The advertising posters provide curious backdrops to an intense discussion underway between this couple. And the guy off to the right is clearly wondering what I’m doing – as he’s looking right at me.

Jaime Ibarra told me one time that fingers in an image are all important. His background as a flamenco guitar artist influenced his view – but he’s right. Most of the best gestures in an image include fingers – including this one.

What makes a great image? Not sure I know – but I find the multiple areas of interest in this one capture my eyes. The contrast, the posters, the curves of the shadows – and the people.

Categories
Black and White Fujifilm X100S Lightroom Monochrome Photography Photography Photography - Black & White Photography - Fujifilm X100S Photoshop CC San Francisco/California

Along the Waterfront in San Francisco

Bikes - San Francisco - 2014

Here’s a quick shot taken earlier today in the gentle rain along San Francisco’s waterfront at the Ferry Building. The rain brings reflections – and a whole new treat for the eyes!

Shot with my Fujifilm X100S as we were heading into the Slanted Door for lunch! Monochrome straight out of the camera, adjusted in Lightroom 5 and a bit of platinum toning applied in Photoshop CC.

Categories
Fujifilm X-E2 Lighthouse Photography Photography - Fujifilm X-E2 Photoshop CC Street Photography VSCO Film

A Look Down San Francisco’s Market Street

Market Street - San Francisco - 2014

Doug Kaye and I were photowalking in downtown San Francisco on Friday – exploring some old familiar areas as well as a few new ones. At one point we crossed Market Street and I snapped this view heading to the Ferry Building. I was shooting on this particular day with my Fujifilm X-E2 with the 55-200mm Fujinon zoom lens.

This image was processed in Lightroom and VSCO Film before being touched a bit in Photoshop CC with the oil paint filter. I like how the oil paint filter (as well as Topaz Simplify) help remove some detail – decluttering the image just a bit.

Categories
Black and White Monochrome Photography Photography Photography - Canon PowerShot S95

Water Jugs Revisited

Water Jugs 2 - San Francisco - 2011

Back in September, I posted a black and white image of three water jugs that I took earlier at one of the restaurants at the Ferry Building in San Francisco using my tiny Canon PowerShot S95. I loved the black and white treatment I was able to create with Nik’s Silver Efex Pro 2.

This afternoon I played around a bit more with this image – basing my new treatment on that earlier post-processed black and white. I wanted to try some selective color enhancements to add some glow and depth to the image. Above is the result. Not sure why this image came to mind – but there’s something about it that I particularly enjoy and it drew me back to post-processing it again using some new techniques and new tools that I’ve been learning this fall.

This afternoon’s image certainly isn’t perfect – for example, I don’t like the subtle glow around the jugs or the bright lines on the bottle edges – but you get the idea of what’s possible from this version. In particular, the filters I used to enhance the image included Nik’s Color Efex Pro 4 – especially detail enhancer to pull up the details of the condensation on the jugs – along with two Solid Color adjustment layers to add the tonality to the image and a final Selective Color adjustment layer to tweak the final colors.

For easy reference, below is the earlier black and white version. Click on either image to see the large version. Which do you prefer?

Water Jugs - San Francisco - 2011