NEW YORK, NEW YORK – Park Avenue is sprouting giant roses installed by sculpture Will Ryman. Here I’m using one as a backdrop for a solitary, struggling tulip. This was captured early evening with my Leica and a 24mm Summilux lens.
Post Park Avenue I had dinner with John Novogrod, an old friend, at an Argentinian restaurant in Alphabet City.
NEW YORK NEW YORK – Back in my comfort zone. A clear, cold sunny day in Manhattan with really good light and reflections.
One of the things that I like about this is the way the the building mimics Manhattan’s grid.
On this day one year ago: Barrego badlands.
NEW YORK, NEW YORK – My second day shooting film. I’ve put a Linhof 120 film magazine on my Arca TC body. It makes an 6 cm x 7 cm negative. The film magazine is heavy and quirky – the film advance leaver is two stroke and there’s no interlock to prevent double exposures, so I made a fair number of double exposures. Here’s one shooting straight up from the Park Avenue island: Another view of the Seagrams building.
On this day one year ago: Blizzard.
NEW YORK NEW YORK – Â Here’s a surprise for you. One of the reasons that I’ve gotten behind in writing these – I’m actually writing this on February 18 – is that I’m experimenting with . . . . film. You read that correctly. The F*** word. My plan was to shoot film for three or four days. There’s a couple of days turn around on processing, and then whatever time it takes to edit and scan. Taken with my Alpa TC and a 36mm Alpa APO Switar lens. Shot on 120 size Ilford XP-2 film, a “chromogenic” black and white film that is processed with the normal C-41 color negative process.
And . . . here’s FILM:
On this day last year: Racquet and Tennis Club.
NEW YORK NEW YORK – Weird. You take a month’s break from visiting a place, you come back, and it’s entirely changed.  Tom Sachs’s sculpture, Hello Kitty, has been in the courtyard of Lever House for longer than I’ve been photographing for this blog. Now it’s gone, so it’s “bye bye Hollo Kitty”. Here are some links to some earlier Hello Kitty photographs: July 6, 2010, May 11, 2010, April 20, 2010, and March 19, 2010
I guess I really like Hello Kitty. The little gold doodad that replaced Hello Kitty appears to be a part of a much larger installation by Rachel Feinstein entitled “The Snow Queen”. Photographed with my Leica M9 and a 28mm Summicron lens.
On this day last year: an infrared image including the Racquet and Tennis Club, the Seagrams Building and One Park Avenue Plaza.
NEW YORK, HEW YORK – Â An SUV that had the misfortune to be parked on the street during the three snowstorms that hit New York while we were away. Â The snow quickly passes from a beautiful white blanket hiding the City’s flaws to a dirty eyesore. Taken with my Leica.
On this date last year: An infrared image from Connecticut, stitched from four images.
NEW YORK, NEW YORK – So today’s post is a tale of a lens. I’m a gear head, perhaps even a gear whore, but I don’t often talk about cameras and lenses here because it’s politically correct to downplay the gear one uses – after all a great photographer can take great pictures with anything. The later statement isn’t actually true – many luminaries in the photo world have selected their gear with great care – often finding the best technical solution for the types of images they take: Ansel Adams and his 8×10 Deardorff, Cartier-Bresson and his Leica and Lee Friedlander (in his later years) and the Hasselblad Superwide. I’ve proven on these pages that I can’t take a decent picture with an iPhone.
Leica has issued a new version of it’s 35mm f1.4 Summilux. It replaces a lens that I owned but sold when the rumor of a replacement circulated – essentially to raise cash to pay for the new lens, which is bizarrely expensive. The lens it replaces is famous for being bitingly sharp and having remarkable contrast corner to corner at all apertures. The former Summicron had “bokeh”, the character of it’s out of focus image, that made it unique. Unfortunately it also had a tendency for the focus point to shift as it was stopped down, resulting in very slightly out of focus images in the range f4.0 to f5.6 or so. This trait, which was not visible with film but is visible in the more demanding digital realm, drove me nuts. The new lens retains the character of the original but has solved to focus shift issue. Here are some links to reviews: Irwin Puts reviews the 35mm Summicron. Steve Huff on focus shift. The new 35mm Summilux has been back ordered for about a year. My copy finally arrived today.
Today I’m posting a picture of a pair of Venini vases (I collect Venini) drying in our kitchen, together with a close up crop to illustrate the character of the out of focus image. This was shot at f1.4. I’m also including a picture of the building that houses the Synod of the Russian Orthodox Church Outside Russia and a crop, to demonstrate the biting sharpness and contrast. This building was originally built as a residence for George F. Baker Jr. by Delano & Aldrich, the firm that became the ‘society architects” in New York after Stanford White’s murder in 1906. The Russian Orthodox Church Outside of Russia is a splinter of the Russian Orthodox Church formed after the Bolshevik Revolution – it is now reconciled with the main body of the Russian Church.
The vases:
A crop from the vases illustrating the characteristic “bokeh” of this lens (note the circular highlights):
Here’s the Synod:
A crop of the Synod – again illustrating this lens’s special character, but also the Leica’s tendency to blow saturated yellow highlights:
On this date one year ago: The day before Thanksgiving near Harlem Fairway.
