So this was mostly a play on the concept of “street photography”. The street is the literal subject, but everything about it - the absence of people or any depiction of street life, the use of a heavy, tripod-laden camera, the compositional formality - defies the conventions of that genre.

This is a high resolution stitch of three captures with the Rodenstock 32mm/4.0 HR Digaron lens, yielding a 230 MP image with roughly the angle of view of a 14mm “full frame” rectilinear lens. The high resolution invites you to look closely for signs of life, but they remain elusive.

While this is literally a photo of the street, it’s not a “street photo” at all. The empty nocturnal streetscape is completely devoid of life and human activity, though it hints at sometimes being a bustling place.

The metadata for this image claims it was shot at f/16. That’s wrong; it was more like f/2.5 or so. This was an artifact of the too-clever-by-half way Leica M cameras estimate the f stop. There’s no mechanical link between the aperture ring and the camera body, so instead they estimate the f-stop with a separate light sensor that’s compared with the brightness of the recorded image. This works reasonably well, except when you use an ND filter (as here), which confuses it to no end.

Captured with a small full-frame camera and 21mm lens. A three second exposure smoothed waves and surf.

This was an exercise in tone, perspective, and convergence. The four major boundaries of the scene converge (approximately) near the center of the frame, forming a flattened X.

I moved around and composed this both with and without the driftwood in foreground, which interrupts the composition but, I decided, is helpful to anchor the frame.

One of the challenges of very long lenses is that they tempt you to compose images of subjects that are very far away. But the farther away something is, the more the atmosphere can distort the image. The effects of heat distortion, pollution, humidity, and weather are amplified across longer distances, no matter how sharp the lens is or how high resolution the sensor.

Very long lenses like the 400mm, with their narrow field of view, are essential for some compositions (such as this one), but I find I only rarely actually use them. In fact, the longest lens I have for my main medium format camera system is 180mm (which yields the 35mm equivalent view of about a 120mm), and I hardly ever use even that for the most of the photography I do.

For wildlife photographers, on the other hand, 400mm is practically a wide angle.

This was captured with a DSLR and a 400mm lens, which contributed to the compressed perspective. The conductor boarding the leftmost train is essential to the composition, I think.

Ewing, NJ (“West Trenton”) is the last stop on SEPTA’s commuter trains from Philadelphia on the former Reading Railroad’s line to northern NJ. CSX freight trains still use the tracks north of the station, beyond the end of the overhead electrified wiring used for passenger service.

The glass curtain grid and distorted reflection of midtown reminded me of Saul Bass’s iconic title sequence for North By Northwest (imitated in Mad Men), though this is across town. Hitchcock’s film also employed a somewhat different perspective, looking downward, and at a sharper angle. Here, our focus is on the impressionistically rendered Times Square skyline rather than the street below.

Captured with the Rodenstock 138mm/6.5 HR Digaron-SW lens (@ f/8), Phase One IQ4-150 back (@ ISO 50, 1/30 sec), vertically shifted 15mm.

The Rodenstock 138mm/6.5 has a floating internal element that has to move as it’s focused. It has to be focused with a helical ring (like an SLR lens) that moves the focus and the internal element together, rather than simply by moving it back and forth with a bellows. This makes the lens big, heavy, and cumbersome (not to mention spendy), but it’s very sharp.

Here it is from a higher angle (just now, got a window seat for a change)

@lobingera@chaos.social Rodenstock is, unfortunately, pretty much the only game in town left for high resolution medium format view camera lenses (eg, with enough coverage to support movements). Schneider and Nikon both left that market a while back. Fortunately, the lenses are quite good, but it would be great if they had some competition.

Captured with the Rodenstock 70mm/5.6 Digaron lens and a bit of vertical shift. The afternoon light highlights the basic arched form of the bridge structure against the background and foreground foliage. A polarizer darkened the clear winter sky.

The Taft Bridge, named for the famously portly US president and SCOTUS chief justice, is the largest unreinforced concrete bridge in the world. Comprising seven major arches over Rock Creek Park, it links the Kalorama and Woodly Park neighborhoods.

This was an opportunistic capture from a hotel balcony, made with a small camera and 90mm lens. I made several exposures, waiting for good light, which came out briefly for this one.

The wrong gear is definitely better than nothing, but still not as good as the right gear. This is a perfectly acceptable image, but I can’t look at it without wishing I had used a view camera, a higher resolution sensor, and a slightly longer lens. But if I had insisted on that, I’d have no image at all.

@hexamander@infosec.exchange Thank you!

This photo really pushes the limits of what you can do with 35mm format lenses, but I leaned in to the limitations and it worked out OK. I ended up switching to the Phase One system a few months later, which is much more flexible when you need view camera movements.

The Inquirer building also housed (until a few years before they moved) their printing plant, making it one of the last major dailies where it was at least theoretically possible for an editor to run downstairs and yell “stop the presses!” if a major story came in. But I’ll bet that didn’t actually happen very often.

This was captured with a DSLR and a 19mm shifting lens. There’s a bit of barrel distortion from the lens, but I decided this image looked better uncorrected.

The Inquirer building, completed in 1924, to me evokes a cigar-chomping editor who calls everyone “kid” and who says things like “bring me back a scoop”.

The building had been vacant for a few years when this photo was made, the paper having moved to cheaper and leaner facilities. It has since been repurposed as police headquarters.

Captured with the Rodenstock 23mm/5.6 HR-Digaron-S lens and Phase One IQ4-150 Achromatic Back, polarizer+590nm (red) filter.

Washington DC is not a city of many notable inclines, and so lacks the proliferation of “step streets” found in places like Pittsburgh, San Francisco, and The Bronx. Most famous are Georgetown’s Exorcist Steps (so named for the fatal effect they have on members of that profession), and, shown here, Kalorama’s Spanish Steps, which occupy 22nd St NW between S and Decatur.

Precisionism, a roughly century-old modernist American art movement related to cubism, is a strong influence here. Its practitioners included Joseph Stella, Georgia O’Keeffe, and Charles Demuth. Paul Strand was probably the most prominent precisionist photographer.

Precisionism is concerned with structure and geometry as well as the relationship between humans, machines, and the industrial landscape.

I’m interested in how the precisionists might interpret the world as it’s become today.

These (de-electrified) catenary wires were captured with a Sinar P camera and a 240mm lens on Polaroid 55 film (scanned) along the former Pennsylvania Railroad’s “high line” in west Philadelphia near the university.

This abstract composition references a 1936 painting, “Electrification”, by precisionist artist Ralston Crawford; see https://hirshhorn.si.edu//collection/artwork/?edanUrl=edanmdm%3Ahmsg_72.75