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Washington DC, 13 August 2022   No picture this week, just a place holder paragraph... I have been working on the sidewalk photos, but the press of other business and the complexity of Photoshop continue to bedevil me.


Computer Workspace, Big Monitor, Photoshop with Two Images on Screen.
Work in Progress

Washington DC, 6 August 2022   This new project of working with my old negatives is going a bit slowly. In small part because I'm in Washington and my negatives and transparency scanner are in Gloucester, but mostly because the rest of my life is so busy. Running the yacht club, which should be a light, gentlemanly job, is a full time slog. No details to be given, because that would get into personalities, but oi!

But I brought my two scans with me, and have been working on them periodically. I've always thought of these photos as a pair, in good part because I've never been able to decide which one I like better. So, I thought it best to process these two as a pair, so they'd match if they were hung together. Straightforward, eh? After all they were taken within seconds of each other, same exposure, similar composition, so the tonal range of the pictures should match...

Well, first, I had to make the pictures the same size. Exactly the same size, pixel by pixel. When I scanned them I worked hard to align them in the scanner so than I wouldn't have to rotate them in software to straighten them out. I did a pretty good (though not perfect) job. The crop of a few pixels doesn't really signify, though it did mean that that I needed to crop a tiny bit closer. More of an issue is the fact that the corners of the photos are not square, because the corners of the film gate in the camera are not square. I don't know if this is an artifact of manufacturing or a design feature to keep the metal from cracking from a truly sharp corner, like the windows on an airplane. In any case, I lose a few more pixels cropping to within those radiused corners. And then, making the two pictures exactly the same size, 6772  X 4455 pixels, achieved by much twiddly work moving the edge around by hand to where I got as much of the photos in the frames as possible while equalizing their footprints. Is there an easier way to do it? Photoshop is a hugely complex program and baroque in it's approach, but I'm frankly embarrassed by how basic my skills still are.

And... I didn't notice this until I looked at my scan of the proof sheet I made in 1980, but the picture I posted last week is flipped, the mirror image of the original. Obvious, but not, as there's no writing in the photo and the composition is very close to abstract. But there's no doubt now that I've come to notice. How could that be? It took me a bit of puzzled thought. In chemical photography the camera turns the image upside down and backwards, a function of the lens projecting the image onto the film. Same in digital photography, except there's a sensor instead of film. But, in chemical photography there's a second flip when you enlarge the photo, the enlarger being a kind of inside-out camera, also with a lens. But scanners, at least the kind of flatbed scanner I'm using, don't have those sorts of lenses and they don't do the second flip, back to right way around. One has to do it in software, which I've done.

More processing next week, and I'll post the results!


Strongly Backlit Black and White Photo of Concrete Sidewalk With Shadow of Walking Person.
Untitled

In Transit, 29 July 2022   I took this picture in 1980 when I was 23. Classic camera work of the day, shooting in the streets of San Francisco with a 35mm Canon F-1, the workhourse journalist and sports camera of the day. As solid as a brick and a completely flexible system camera, so also a good camera for an artist. Then there was the film, Kodak Tri-X, one of the best emulsions ever made. I printed on Agfa Brovira photo paper, almost always on grade 3 (a little more than normally contrasty, but good for my work). Very strong tools, and a moment of peak in the history of photography.

This photo was shot in San Francisco on one of my visits from Santa Cruz, 70 miles to the south, a fast drive in my twelve year old MGB, a British sports car that was as decrepit and fragile as my camera was new and strong. I'd bought the camera with my parent's wedding gift to me earlier in the year. No way that I could have afforded it on my own! This is one of two good pictures from that roll of 35 frames. (I shot short rolls by a frame or two so that I could do a contact proof sheet on a single sheet of 8X10 photo paper.) That was a good return for any photographer and remains pretty good today, though I no longer count my photos in rolls of film to a pre-determined number of frames.

Showing this now, because I'm beginning to scan my old film, and this photo and the companion good frame from that roll, very similar to this one, is where I started. My scanner is old, the driver software provided by Epson, the manufacturer, won't work with my upgraded Mac operating system, so I've had to beat a generic program into working, which I finally did last week. Then, it seemed the scans were a bit out of focus, but switching to an aftermarket film holder appears to have fixed that. Scan to .tif files, then the new issue of processing such files, removing any color from the scanning process (Tri-X is black and white film!) and bumping up brightness and contrast. Is it as good as my prints at the time? I'm not sure... Probably not, but this is a first effort. Do I need a better scanner, better software, better skills for this? Maybe!


Panoramic Photo of the Capital Yacht Club, Washinton DC.
Home

Washington DC, 15 July 2022   Not a very original photo, but what I'm working on at the moment. It's a color version of one of the panoramas from the end of May I posted a few weeks ago. A portrait of the Capital Yacht Club with InterCon hotel the and the Vio apartments behind the clubhouse. Called "Home" because this scene in Young Frankenstein really wormed its way into my brain way back then and remains there.

I need to take this kind of picture from the other side, from the top of one of those buildings looking down on the docks. And for that I need to talk to building managers and convince 'em that I'm a Real Live Photographer and that they should give me access to their roofs so that I can ply my art from up there... So, I started working my way through this kind of photo on my computer, working from the most recent and going back, completing and formating a variety of these kinds of photos for the iPad. My ancient iPad 4 has a resoluton of 2046 X 1436. Which is, interestingly, quite a bit better than the resolution of my ancient MacBook Pro. I'm resizing the pictures to match that screen. And processing pics I hadn't yet processed... I spent a happy hour or two working on the pics. Felt the reconnection with my art, which was very sweet, even if the photos aren't terribly original.


Marina with a Row of Ducks.
Ducks

Washington DC, 9 July 2022   Well, I felt like I had them in a row. I took this serendipidous photo of the local ducks about four months ago. It's a color photo from my phone, rendered to black and white.


Felt Tip Drawing of a Small Raptor.
Hawk, by Richard Kent Jones

Washington DC, 1 July 2022   Not one of my photographs, but is is art. In this case a doodle by my father from the early 70's. He was a fine painter and draftsman, but, like most artists, had a day job. In his case he was an international civil servant working for UNESCO, one of the specialized agencies of the United Nations. He doodled during meetings, and, being an artist, the doodles could be quite special. On occasion, fellow attendees asked if they could have the results. In most cases the doodles were abstract, but sometimes, like this one, figurative. The medium is marker on office paper, not at all intended to be archival. He mounted it on a piece of artist's board for me, and I recently ran across it while looking for something else in my papers. I think I'll frame it and hang it next to my desk in Gloucester.

Original photography is going quite slow for me right now. A lot of my brain is taken up by the troubles of being the leader of a fractious little club, and while I have some big photos shoots planned they're time and weather dependant. But, I have a huge back catalogue to play with, both the last twenty years of digital and the thousands of film negatives and slides from before that, so I'm not distressed by the pause in creative energy right now. I've been trying to scan a couple of my favorites black and white shots from the '80s, but find my old scanneer is not up to talking with my updated computer operating system. So, time for a new scanner... But how high end do I need to go? One could spend quite a lot!


Infrared Photo of Water, Lighthouse and Sky.
Edgarton Harbor Light

Gloucester, Massachusetts, 24 June 2022   Up north again! We've been visiting dear friends in Falmouth, and taking a little side trip to Martha's Vinyard. Julee and I had never been before, and we hung the day of tourism on the locations used for the movie Jaws, which was shot on the island in 1974. We watched the film, which definitely holds up, and then went to some of the locations on our day trip. This photo is not one of those places, at least not conciously one of those places. It's just a shot of a picturesque lighthouse in a picturesque location, handled in a picturesque way.

It's infrared, of course, a straight photo otherwise, a little vignette corrected (which I learned how to do in Photoshop Camera Raw for this) picture), a little straighted, and little cropped. Interestingly, I didn't need to do the tone corrections (often the large tone corrections) that are frequently required in infrared.


Diagonal Shadows and a Leaf on Concrete Sidewalk.
Crescent Place Sidewalk

Washington DC, 17 June 2022   Washington has some surprising corners. Crescent Place off of 16th Street NW (North West) is one of them, a little neighborhood of circular streets in Kalorama following the conture of a hill rather than the grid and diagonal pattern of the rest of the city. I took this infrared shot three weeks ago when Julee and I were picking up a friend of a friend for a retirement get together. I like moody diagonals!


Infrared Panorama of Washington Waterfront.
Opposite the Capital Yacht Club

Washington DC, 10 June 2022   A companion piece to last week's photo, taken on the same day from a different vantage point, just opposite the yacht club where Julee and I live. Our boat is just visible in this shot at this resolution but I'm not going to point it out.

This is a seven frame panorama stitched up from infrared originals.


Large Infred Panoramic Phote of the Washington Waterfront.
The Wharf, Phase 1.9

Washington DC, 3 June 2022   We had a bright day with clear clouds, so I've taken another series of panoramas of my home Waterfront from the across the Washington Channel. It's not terribly original, but I make the plea that I'm also documenting the final stage of construction of the Wharf development. The buildings in this shot are substantially further along than they were since the last time I posted a version of this shot. By the end of summer the development will be done and our little neighborhood will be complete. It's been quite the ride... In a couple of months or so I'll be back across the Channel making the final record of the finished construction. The part still under construction is the Wharf's "Phase Two" hence the title hinting at ongoing work.

The photo is stitched up out of nine individual infrared images. It went together remarkably easily, given how much movement there is in the view. I had to mask out one of the two versions of the white motorboat to the left to avoid (fairly subtle) ghosting, that is to say, duplicated or incomplete objects, very much the bane of this kind of photography. I do like the fact that I've captured all kinds of water traffic, including the paddle boarders and the electric shuttle approaching the dock I'm standing on.


Color Photo Showing Golden Evening Light and Full Arc Rainbow over Boats.
Wharf Rainbow

Washington DC, 29 May 2022   A day late on my post again, but things remain pretty busy in the little yacht club I'm running. But, I do think -- and hope -- things are getting better... At the moment the emergencies are dealt with, and while there is an amazing ammount of stuff to do, it can be planned for.

The photo is a full rainbow I shot from the dock a couple of weeks ago. I panned with my iPhone, stitched the frames up (which fixed the distortion of the very short lens I was using) then cropped it down to focus on the rainbow. It was a beautiful evening!


Color Photograph of Bedroom with Cityscape Projected On It.
Morell's Bedroom

Washington DC, 20 May 2022   A photograph from Hong Kong, eight years ago. It's a picture made from inside a large camera with a small camera. No, really! I turned our bedroom into a camera obscura by completely covering the windows with blackout plastic and making a small hole in the plastic to project the outside scene onto the walls of the room and then taking a photo of that with my regular color camera on a tripod. Cameras actually predate photography by a couple of thousand years and they outdate the invention of ground glass lenses by a thousand years or so.

I was reminded of this photo by an interaction with my dear friend Sarah Stone who posted a piece on some egregious plagiarism on the part of the beloved Western U.S. author Wallace Stegner. It got me thinking about the use of other people's work and techniques. The idea, the technique, isn't mine. I copied it from the wonderful photographer Abelardo Morell who has published whole books of this kind of photography. Hence, "Morell's Bedroom" thought it's really Julee's and my bedroom. But I wanted to be upfront about the inspiration, and from where I copied the technique. I don't think he'd mind (I've never met him, though he is, interestingly, only one degree of separation from me) as he's actually posted precise instructions on how to do this. We all learn from our predecessors, play with their techniques, emulate them, build on their work. But of course the honest acknowledge the debt, as I acknowledge Morell and other greats like Berenice Abbott and Minor White, just to name two from the bookshelves of photographers who have inspired and taught me. The greats don't mind sharing their skills. Both Abbott and White wrote and published on how to do photography in their way. I think that being upfront about the sharing and then doing more than slavishly coping the masters is what makes it interesting and ethical.

P.S. (Written on 2 June...) A couple of things have come up for me in my thinking on this. First, a week or so ago I listened to The Sistine Chapel episode of the BBC Podcast In Our Time by Melvyn Bragg. It turns out that Michelangelo and Raffael weren't good friends and peaceful rivals. They were both working in different parts of the Vatican at the same time, and Michelangelo accused Raffael of copying his work and technique. Well, artists do copy their predecessors, but in this case some of the copying appears to have happened before Michelangelo painted his version, which means that Raffael must have - fair means or foul - gotten a look at Michelangelo's studies and sketches, perhaps even his cartoons (the full sized drawings that artists used as the final models for frescos and tapestries) which does seem a bit thick. Second, the New Yorker just ran a short, thoughtful piece on Wallace Stegner and Angle of Repose by Roxana Robinson, outlining the issues in the Sands Hall article that started this all off, and adding her own thoughts on using existing material in a novel, fictional, semi- or otherwise.


Infrared Photo of a Headstone.
Wagner

Gloucester, Massachusetts, 13 May 2022   Another walk around the cemetery... Last day that Julee's parents were with us, and a little walk around the local green space seemed just the thing in the lovely sunny, clear, late afternoon. Of course I lag, because I'm taking pictures. This one is from the infrared camera.

It does seem a bit apropos this week. A dear old friend of mine died last weekend, somebody I'd been close neighbors with when I had my boat on the old D Dock of the old Capital Yacht Club. She and her husband were raising their son on the water. He was young then, and now twenty five, so it was a while ago. We were beginning to reconnect. I hate to let go...


Photograph of an Old Door and Knob with Strong Diagonal Morning Light.
Glosta Morning

Gloucester, Massachusetts, 6 May 2022   So, here I am at the north end of my commute. I missed last week's blog post because things got so busy (and a bit fraught) at the Capital Yacht Club. Sunday was the first Sunday in May, when the Club has a ceremonial Flag Raising to mark the beginning of our official yachting season. A big deal! The day after, Julee and I escaped to New England.

I took the photo the day before yesterday, in the very few minutes the sun had risen above the house next door and was laying this dramatic diagonal across the door. A few minutes later the sun was on the floor, and today it's overcast. Gotta seize the moment, even if it's not decisive! I straightened the photo a little and burned in (darkened) the shadowy, but slightly distracting, bookshelf behind and to the right of the door.


Infrared Photo of Dry Weeds in Wetland.
Wetland

Washington DC, 22 April 2022   Last Sunday Julee and I went to the Aquatic Gardens in Kenilworth Park up in the Northeast quadrant of Washington. It's a little early in the year for this venue, but there can still be photo opportunities. This is one... It's infrared (of course!) and a two frame stitched panorama, but that doesn't signify, as for me it's just easier doing a stitch than to carry a wide angle lens and swap it out as I work.

It's a simple post. I'd thought of something from my photographic history that addressed the philosphy of artistic originality, but that post will require a certain amount of research, some serious writing, and learning something new in coding a website if I realize my vision for it. Perhaps next week! I am happy that even with all the time and energy required to being the elected head of my yacht club I'm still able to post original work on a regular basis.


City Square Redolent With Live Oak and Spanish Moss.
Madison Square

Washington DC, 15 Apri 2022   More Savannah, this time a five frame stitched infrared panorama (a double techical photograph!) of the first square we usually came to when we walked from our rooms on East Jones Lane.


Infrared Photo of Square with Live Oaks, Spanish Moss and Statue in Deep Relief.
Oglethorpe

Washington DC, 8 April 2022   Savannah was laid out on these parklike squares. This is Chippewa Square, and the swashbuckling gentleman in dark relief is James Oglethorpe the founder of Georgia and of Savannah itself. Interesting gentleman... I had not read anything about his story or the founding of the colony since my autodidactic survey of American history in preparation for my O Levels in my little British high school in Mexico City. I'd quite forgotten that Georgia was a utopian experiment and not originally slave territory. Here's an article about the monument itself. It's the first picture I processed from the trip, because I sent it to Julee's parents, who are graduates of Oglethorpe University just outside of Atlanta.


Backlit Infrared Photo of Street With Live Oaks and Spanish Moss.
East Jones Street

Washington DC, 1 April 2022   Back to Savannah for this week's blog post and photo. This is a pretty straight infrared picture of East Jones Street. I pushed the shadows a little towards the lighter end to make the photo a bit more readable, and that's about it. We stayed in an AirBnB space on East Jones Lane, the alley behind this broad street. This was taken exactly a month ago. It seems like a very long time has passed...


Infrared Photo of the Jefferson Memorial and the Tidal Basin.
During Cherry Blossom Time

Washington DC, 25 March 2022   Well, 'tis the season, so Julee and I have more than once walked down to the Tidal Basin (only about fifteen minutes walk from the boat) to view the Cherry Blossoms. Of course I take my cameras... It's a little perverse shooting the cherry trees in bloom in infrared, since in infrared the foliage and the blossoms are the same white. But, I do think these photos are a little more original, more mine than anything I could shoot in color of this much photographed environment.


Wide Photo Panorama of Washington DC at Sunset.
Penn Av, SE, at Sunset

Washington DC, 18 March 2022   I thought I was going to continue posting with Savannah pictures, or, perhaps, a commentary about travel, tourism, and crowding. But I took the pictures that make up the photo above (a five frame stitched panorama) yesterday evening, and it seemed the right photo for today.

It's very Washington DC, the view down Pennsylvania Avenue towards the Capitol, but from the SouthEast quadrant rather than NorthEast. That is, opposite the White House. A vibrant neighborhood, but much more Washington's Main Street rather than "America's Main Street" as the other side is sometimes called. I was on the terrace roof of a corner building after the rain, so it was a little damp, but not wet. I took the photos with my phone, so they're a bit noisy. Not the sharpest photos I've taken, but far from the fuzziest. A good shot of the moment, and it will do...


Infrared Photo of Tree Branch and Shadow on Stone Building.
Branch Shadow, Savannah

Washington DC, 11 March 2022   Not, perhaps, as typically Savannah as most of my photos from that four day visit, but I like it and it's processed and ready to go. I have a lot of processing to do on the pictures I took, cleaning up the infrared RAW files into clean display photos and stitching together panorama sets. All good! I think I will end up with enough good photos to compose a new gallery for this web site. It's been a long time since I've done a new gallery, and I'm looking forward to it. But, it will be some weeks work to get through all the images...


Description.
Mercer Plot, Bonaventure

Savannah, 4 March 2022   Savannah does not disappoint... This is an infrared three frame vertical panoramic photo of the iconic American lyricist and songwriter Johnny Mercer's grave in the Bonaventure Cemetery here in Savannah. He was born and raised in this Small Southern City before heading to the Big City where he found (probably more accurately hunted down) the most amazing success and helping to define American music in the Twentieth Century.

Bonaventure is not what I expected. It's as amazing as my expectation, as photogenic, but not the way I expected. That expectation came straight out of John Barendt's Midnight in the Garden of Good and Evil, which is an amazing and wonderful book. But... It's not as completely non-fictional as true crime account it purports to be. In Savannah it's described as a novel. Much of it is true, I am quite sure. Historic (central, just inland from the riverfront downtown) Savannah really is the most amazing, well preserved, antebellum, town, redolent with stunning old homes and gnarly live oaks dripping with spanish moss. And, at least at the time of the writing of Barendt's book, home to wonderful excentricity. Jim Williams really did shoot and kill Danny Hansford in his Monterey Square home, The Lady Chablis really was a successful and amazing transexual vamp and performer. Joe Odom really was a beloved musical scamp... But, Odom had a darker side. And, he was gay, dying young of AIDS before the book was published. The character "Mandy", presented as Odam's lover and fianceé, was modeled on, but was not, Joe's real non-romantic companion and partner Nancy Hillis, who wrote a book of her own which I am now reading. The telling of Midnight was much skewed to hide how much of the background of the tale was the gay community, tolerated in the Savannah of the early '90s, but not so much in the broader America of the time.

As concerns Bonaventure Cemetery, I expected a grassier, more open place, particularly at the grave of Conrad Aiken, which is a long grace note in the book. The gravesite is alledged to have a view of the Wilmington River. Well you can see the water, but only in patches as you look through the scrubby mossy oaks. The cemetery isn't so much grassy as sandy, and it has a cluttered, gothic feel to it. Absolutely okay with me, but still very different from what I was expecting. And I wasn't really expecting how much a few minutes communion with Johnny Mercer would affect me. I'm still humming Skylark... All in all, it's been an wonderful visit, and I'm a bit in love with the real Savannah, cleaned up and tourist-friendly as it is. I've taken a lot of pictures, all in infrared, concentrating on the spanish moss-y live oaks that are everywhere, lining every street and filling every square in this city of squares. I expect I'll be posting a number of those pictures over the weeks to come.


Infrared Photograph of Raised Cemetary in New Orleans.
Woods, Lafayette Cemetary

Washington DC, 25 February 2022   We're off to Savannah, where I'm hoping to take some wonderful pictures of Bonaventure Cemetary, among many other things and places in that picturesque city. Of course, I've no assurance I can take a better photo than the one on the cover of Midnight in the Garden of Good and Evil, where I first learned of Bonaventure, but hey, I have hopes, and (as I've said before) just 'cuz Caravaggio painted still lifes doesn't mean that Cezanne can't paint them too! There is literally no place left on the surface of this planet that some other photographer, some other good photographer, hasn't gotten to first.

The photo above is a shot of another famous Southern cemetary I took several years ago when I visited New Orleans. It's not in my gallery on the trip, but I processed it for today's post.


Infrared HDR Photograph of Weeds, Water, and Ice.
Untitled

Washington DC, 17 February 2022   Progress made, though not the way I expected. My first run was to layer a couple of the HDR images in Photoshop (there are three, one two stops over the normal exposure, one at, and one 2 stops under the normal exposure) and erase the image of the central plant in one of them, letting only the image of the plant in the other one remain, adjusting the exposure of that layer to match, flatten the layers into one image, and then to use that image as one of the trio in the final HDR sandwich.

Didn't work.

I still had the shadow of the moved leaves. How can that be? But it was... So, I loaded the darkest (the most "underexposed") of the camera raw images into the Aurora HDR program, and let it run HDR off of that, which one can do if starting with the raw image. Then found that one can do a lot of adjustment within Aurora, so I did some, and the result is visible above.

Does any of this make sense? Probably not unless you're pretty conversant with the structure and processing of digital images! Otherwise, take my word for it, it's pretty cool, and I've learned something in working with this picture... I do think it's a better, more interesting photo, though it's a little less abstract than last week's version. A bit beyond "Work in Progress", though I might still see how much further I can take it.


Infrared HDR Photograph of Weeds, Water, and Ice.
Work in Progress

Washington DC, 11 January 2022   Another photo from the walk in the woods in North Carolina. I have high hopes for this one. It's infrared HDR (High Dynamic Range) so double technical. The HDR aspect gives it a lot of textiure in places like the ice in the lower half, and gives the whole photo an abstract quality. My hostess said it reminded her of a Jackson Pollock, which I took as a high complement. Pollock's drip paintings inspired a lot of amusement in the middle of the 20th century but his painting was controlled and I think the results could be mesmerizing.

But, "Work in Progress"? Well, there is a rising white plant that is the focal point, and it's blurred, because it moved during sequence of three photos that make up the final combined HDR image. Fixable? Surely, but I think it's going to involve Photoshop work with layers and local adjustments in combining the high and low exposure images with the "correctly" exposed image. It's the kind of Photoshop work where I'm weakest, so I'll be learning (or relearning) as I go.


Infred Photo of Wild Standing Water With Reflection of Woods.
Winter Reflection

Washington DC, 4 February 2022   As you can see from last week's byline I was in North Carolina, somewhat to the south of Washington. I was visiting some dear old friends and catching up, which was really sweet. South it may have been, but it was still winter and the second morning there I woke up to see the pond behind their home frozen over.

They're hikers, so of course they took me for a walk in the woods behind the campus of Duke University, and of course I took my cameras. It was wonderful to be in new landscape far away from the intensity of yacht club administration and politics and be able to listen to the photographic muse, who sang sweetly that morning. I think I did well on that walk. This photo is one of the products, another infrared exploration of the woods, water, and reflection.

Back in the glory days of black and white film photography (some indeterminate number of decades on either side of 1940) there was a definite artistic distinction between photographs that were described as "high key", predominately lighter and whiter in tone, and those that were "low key", like this one, predominately darker and blacker in tone. It's not a distinction I've heard made for decades, and it was probably obselete when I first heard it in the Seventies. But I was learning photography from my mother, and she learned photography in the Forties when the terms were very current. I never paid it much mind in terms of intent but I do note that my photos tended very dark all during black and white film days of my well spent youth. This photo is definitely low key... It does give me an interesting techical problem. It looks great on my graphic arts monitor, dark, but you can see into the darkness of the water. On the actual laptop screen it's too dark, unless you look at it from an angle, a bug, not a feature, of the old twisted nematic display.


Black and White of Shadowy Hands Through Translucent Plastic.
Shrink Wrap

Chapel Hill, North Carolina, 28 January 2022   A winter photo from three years ago, when we were staying on Thom Hartmann's boat while shopping for our own boat. The boat was covered with winter shrink wrap, taut translucent white plastic to keep out the wet and weather. We paid the shrink wrapper to put in a window in it to make it less claustrophobic. Here I am on the inside taking pictures of him on the outside preparing to cut a square of the white shrink wrap out and fill the hole with transparent shrink wrap.

A color photograph, rendered to black and white in the Photoshop post process.


Black and White Photo of Abstract Patterns on Open River Ice.
Marbling

Washington DC, 23 January 2022   Two days late on my post... Apologies! It's getting colder still (well below freezing) and the ice between our docks and the seawall is thicker than skim ice. I liked the patterns and captured the shot with my cell phone. Rendered to black and white and much post processed in Photoshop to improve contrast.

Things continue to be the wrong kind of busy at the Capital Yacht Club. A couple of days ago we had real trouble ensuring that water was drained from a from the potable water systems of a couple of our docks (something we have to do in advance of any hard freeze) and had to go through the whole process twice. Yesterday the main water valve on the other side of the marina blew up, so no water there until after the industrial plumbers do their magic, hopefully first thing Monday morning!


Color Photo of Dockline Reflected in Skim Ice.
Skim Ice

Washington DC, 14 January 2022   Winter continues as the temperature continues to drop... The night before last was cold, and very still, and when that happens the cold air will freeze the very surface of the water in a very thin layer, even when the water itself is well above freezing (39° the morning I took this photo). This is the slip next to ours at the Capital Yacht Club.

Meanwhile, winter has our attention.


Description.
Christmas Decoration

Washington DC, 7 January 2022   We do, after all, have a winter. Eight inches of snow fell on Washington between the dark hours of the morning on the third and two o'clock that afternoon. This is the view out the front window of our boat with the snow piled on it on top of our Christmas lights, that now will have to wait until the snow is completely melted to come down. Maybe this weekend, or Monday, given that it's snowed again, and it's cold.


Black and White Photo of Reflection of a Sailboat in the Water with Raindrop Circles.
Marina Raindrops

Washington DC, 1 January 2022   Well, Happy New Year! It's raining in Washington, but a beautiful, warm, soft, cozy, rain, and there is the most picturesaque radiation fog on the Washington Channel in front of the yacht club that is Julee's and my home in DC. I think I have some nice very wide panoramas out of the morning, but they'll need some work, and that kind of wide is hard to show well on a computer screen (and harder on a phone!) so I've posted one of the photos I took while I was walking back to our boat after having gathered the component images for the panoramas from the dock T-heads. Originally color, though not very colorful, I desaturated it and messed with the exposure and contrast to make it more readable and (maybe) better.

And next year is now this year. There is a lot going on. As before, I'm taking over as Commodore of the Capital Yacht in a about a week and a half. That will be a lot of work, and I was actually worried that it would push photography quite out of my mind (and soul!) for a while. One reason that coming home with some good pictures this morning meant so much to me. I must make the Club (yes, I've always capitalized it) the top priority because some hundreds of members of the Club and the community are relying on me, and because the instituion means a lot to many, including me. But I do want to keep working in photography, capturing images, processing them into the most beautiful pictures possible, and getting them in front of people eyes.

I'd like to have a major show in the next year or so, but that's a lot of work, and not worth doing unless I feel I can make major splash with it. My audience is getting bigger. Around sixty visitors to this site last month, versus about thirty not so long ago. Not a big number in either case, but a doubling... If I could manage that on a regular basis it wouldn't be that many years before everyone on the planet was following me. Okay, get real, Laurence, but I do want more eyeballs on my work. Marketing must also be a push for me.

And, of course, taking care of Julee, taking care of the boat and house, taking care of myself. All in The Time of Covid, which is dragging on and on. I'd also like to be travelling a little further than up and down the Northeast Corridor again. Bit by bit...

Life is so full.


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