post your urban landscapes

[jcoldslabs]

Thanks, Harley. Here's one more from that night.

Pacemaker Speed Graphic, 210mm f/5.5 Hugo Meyer Doppel Anastigmat, Fuji Acros 100.




Jonathan

[austin granger]

I was expecting more out of this. Right when I packed to head back home the sun came out and I had one of those feelings "God is telling me to quit photography" again.

I saw that Jonathan mentioned my name in regards to this and I just wanted to tell you it's true that I quit photography at least once a week. I'm writing from retirement right now as a matter of fact. Never picking up a camera again. Instead I'm going to finally learn how to play that dusty guitar in the corner. I'm serious. At least at this moment...

And I think everyone here will tell you that the weather and packing up one's gear are as connected as anything in the universe can be. Camera in the bag=sun comes out/Camera out of the bag=sun goes away. Or vice-versa if you're wanting the opposite.

[Andrew O'Neill]

The Palace Theater Swansea a very old theater thats been on the buildings at risk register for years yet nowt is done.

Stone, incase you were wondering, nowt means "nothing".

And I think everyone here will tell you that the weather and packing up one's gear are as connected as anything in the universe can be. Camera in the bag=sun comes out/Camera out of the bag=sun goes away. Or vice-versa if you're wanting the opposite.

Austin, you're bang on! That's why I quit landscape photography!

[Ramiro Elena]

That was exactly my thought as I was leaving the place. How do landscape photographers deal with this? For what is worth I just drove 30 minutes to the location and didn't have to hike and walk for hours. The weather was actually good. I did want it to be cloudy but that faint ray of light hitting the sign was just perfect.
I later drove into a pumpkin field, couldn't I just have brought the digital camera? Was that TOO MUCH weight?!

[Thomas Greutmann]

Thomas,

I read your comment about your concerns when the delivery truck pulled up on the right, so I took another look at the Hamburg image with that in mind. I think you were very fortunate that it was a DHL truck. In black and white, the tone of the truck blends closely with the tone of the building. At the same time, the truck adds just enough mass to the right side of the image that if greatly increases the feeling of depth on the left side. You used good seeing and good judgment in going ahead and releasing the shutter. Excellent image!

Keith

Keith,
thank you.

I agree the truck adds positively to the composition, when you löök at the picture. It just felt different on location because I had planned the shot otherwise. But planning isn't everything, obviously.

Greetings, Thomas

[austin granger]

How do landscape photographers deal with this?

I curse and plead a lot, and if that doesn't work, I try and embrace the drabness and make the picture anyway. Flat grey light doesn't get nearly enough love.

[jcoldslabs]

How do landscape photographers deal with this?

Well, urban photographers don't always have it easy, either. Earlier in the week I was out at midnight (making the photos posted above) and came across a motel with a fantastic neon sign that I'd never seen before. I had the 4x5 all set up when a van full of rowdy young people drove slowly past me as it exited the parking lot. I got a bit nervous so I kept an eye on the vehicle, watching as it drove down the street, made two U-turns and then re-entered the parking lot. I quickly packed up and headed to the car before being able to make the exposure. The saving grace is I can go back sometime and try again since it was a question of safety and not changing light that undermined my effort. I think this is the first time I aborted an exposure due to an uneasy feeling about the environment I was in.

Jonathan

[StoneNYC]

Well, urban photographers don't always have it easy, either. Earlier in the week I was out at midnight (making the photos posted above) and came across a motel with a fantastic neon sign that I'd never seen before. I had the 4x5 all set up when a van full of rowdy young people drove slowly past me as it exited the parking lot. I got a bit nervous so I kept an eye on the vehicle, watching as it drove down the street, made two U-turns and then re-entered the parking lot. I quickly packed up and headed to the car before being able to make the exposure. The saving grace is I can go back sometime and try again since it was a question of safety and not changing light that undermined my effort. I think this is the first time I aborted an exposure due to an uneasy feeling about the environment I was in.

Jonathan

Better safe than sorry

[cpercy]

Well, urban photographers don't always have it easy, either. Earlier in the week I was out at midnight (making the photos posted above) and came across a motel with a fantastic neon sign that I'd never seen before. I had the 4x5 all set up when a van full of rowdy young people drove slowly past me as it exited the parking lot. I got a bit nervous so I kept an eye on the vehicle, watching as it drove down the street, made two U-turns and then re-entered the parking lot. I quickly packed up and headed to the car before being able to make the exposure. The saving grace is I can go back sometime and try again since it was a question of safety and not changing light that undermined my effort. I think this is the first time I aborted an exposure due to an uneasy feeling about the environment I was in.

Jonathan

Had a bit of a run in with some drunk homeless fellows late one night when shooting under some bridges. I took their suggestion to leave, and decided when shooting late at night in questionable areas it might be a good idea to bring at least one friend along, safety in numbers and all that. Been run off in nicer areas by property owners and security guards, but most are okay when I explain my motives.

[cpercy]

The details about last night's photo shoot are a bit foggy....

Pacemaker Speed Graphic, 210mm f/5.5 Hugo Meyer Doppel Anastigmat, Fuji Acros 100.



Jonathan

Went out into the neighborhood at dusk again.

Pacemaker Speed Graphic, 6.5" B&L Cinephor projection Petzval, Kodak Aerographic Duplicating Film (2421).





Jonathan

All good but these two are my favorites of the recent night work Jonathan. I've been out at dusk a couple of times in the last three weeks trying to capture that elusive balance of light between the ambient light and the Christmas bulbs. Not sure I got it but I'll post something over in the tiny section if I find one I like.