I recently had the invite and honor of going on a photo workshop, with Rich Lewis into 4 different areas of the Pinelands. Many who know my background of having grown up in Browns Mills, raising a family in Chatsworth and recently moving to Southampton, might scratch their heads and ask why I would go with someone into “my backyard”. There is a pretty simple answer. As photographers we sometimes isolate ourselves from those who shoot around us. I have always been very open to new perspectives even in an area I am very familiar. Rich, besides being a very good friend, has a unique and really personal take on the Pinelands, so I couldn’t pass that up. I have grown immensely in both vision, technique and camaraderie because when I opened myself up to the visions of others… besides the saying “keep your enemies close” really fits… LOL.
We started at sunrise, at the Franklin Parker Preserve with a 25 degree morning which kept everyone moving right along. There is nothing like watching the sunrise over a long stretch of bogs. First the sky gradually changes, then the light plays with the foreground until finally it dances and highlights the many open spaces. This is serenity for me, sharing a home space and talking about our craft to one another I felt very blessed. It still surprises me after shooting countless times in and around my home that I always can find something new.
Next location was a cedar swamp, where just the mention of the word swamp is enough to turn most adventurers off. Rich guided us to a place just off the main road, one I had driven past countless times but always took for granted… big mistake. Lucky for us there was a raised path, so there was no mucking around. The light created many shadows and presented a challenge to create a picture from the chaos that was all around. For me, the reflections in a frozen puddle made it all worthwhile.
Further down the road was an abandoned brick factory which had been transformed into a “graffiti and paintball haven”. Talk about really stretching your shooting and composition skill-set, well this is the place. With so many bright colors in the middle of the forest, it almost seemed surreal.
Last on our list was my actual backyard… Lebanon Lakes. Finding a “not to familiar shot” here was challenging, but as before, if you just open up and drink in the ambience, it will appear. What also awakened in me were many happy memories of walking my dogs here as well as showing my daughters the many wonders that could be found… their favorite… frogs ! As I closed my eyes I could hear my wife’s laugh, it was unmistakable, in both vibrance and warmth… I knew I was truly HOME.
When people hear that I am from New Jersey they automatically presume that I am very familiar with travel in the big cities, namely NYC. Growing up in the rural areas of south Jersey, I can not even tell people an exit off the Garden State Parkway, as is a common form of location indicator for north and east coast residents. So hearing that Princeton Photo Workshop was conducting a Subway shoot, I was all in. I knew I could find the NY Penn station by traveling from a Hamilton NJ train stop, which in the end, would lead me to our tour leader Alan Kesselhaut and his wife Barbra. The plan was to shoot the old subway line going north one weekend and then on the next one, go south to the WTC transportation hub, which is commonly called “The Oculus”.
Traveling with a group was perfect for me as navigating underground proved very challenging for someone who finds exploring in the Pines more familiar. Not seeing the sun only compounded my lack of sense of direction but having our teachers easily guide us on and off trains, made shooting underground a lot more calming to me. The sounds, smells, murals and performers stood out at each stop. Even the everyday commuters were not bothered by our group of snap happy photogs. Finding compositions could be challenging at times, with all the movement of people and trains. I perceived darkness and tight spaces to be a challenging factor when shooting, but was relieved to find many areas with enough light, as long as you remembered to change your camera settings to adjust for your surroundings.
I found talking and comparing notes on settings, with members of our group very enlightening. It was Alan’s positive outlook that pushed us to try new settings, compositions and the telling of stories, that made this event much more than a “shoot and go home” venture.
No there were no flying monkeys or evil witches down there, even though it felt like I was relocated from Kansas to a world filled with characters from OZ. From the underground performers to the otherworldly serene world of the Oculus, I would not have passed this trip up, but… there is still “No place like home”!
My use of photography to document, enlighten or just to visually interpret what is placed before me, has taken me on many journeys, with just as many side paths. The photographs below represent a creative vision that both revealed its beauty and exposed the art which was created by the decay.
An invitation to shoot a once state of the art lab that had been left abandoned and for the most part almost unrecognizable as its former self, was an offer not to be missed. The day was cold, but not unbearable, with a bright sun overhead. Snow covered many of the exposed areas surrounding the buildings, giving it an almost peaceful setting. A large opening in the front of the main building was the starting point of my exploration inside. The layout felt just like city streets, pretty much straight hallways with lab rooms and other halls branching off. I stayed in the first room and just took it all in, the light and geometric lines would guide both my eye and imagination. I quickly became enlightened by what the decomposed walls and floors offered my compositions. Colors and patterns would emerge so that I could isolate an image and bring a different twist to what was before me. This alternative view would be expanded upon later in the digital darkroom. Corridor, and room after room revealed just how the elements could break down a seemingly sound structure. The weakest part to this demise was the ceilings, and whatever they were made of, which just seemed to melt and opened up this place to the weather.
The decayed, deteriorated and degraded interior of this site enhanced the twist I alluded to earlier. With the many holes, came the opportunity of light to play a big part of what I could manipulate into my artistic vision of this place. To accentuate this raw ruin into an artistic photograph, I would have to take up to seven shots of the same scene in order to bring enough light into the shadows and tame the really bright areas.
The decay is like an ever-changing canvas upon which time will either enhance or remove its form till all that is left is a witness to its existence… a photograph. My hope is that you can see into and past the rot, corrosion and eventual collapse of this site while becoming entertained, even engaged by its art.
ps… for detailed background and another photographer’s vision on this place, please follow this link to Rich Lewis’ blog.
Sakura, in Japanese culture, translates to ‘Cherry Blossom’. This festival was scheduled to happen at a special park in Philadelphia. With my interest and curiosity tweaked, I decided to try and capture it through my lens.
drums beating in time
maidens twirling and frozen
The atmosphere of a festival can be both intoxicating and informative, especially one from a different culture than what I grew up in. Suddenly all that is foreign, becomes a reality into which one can immerse their senses.
bright circular fans
smiles and rhythms flow with pride
a past brought to life
While walking from one end of the park to the other, trying to catch each event can become a challenge, but the subconscious snap of my mind and shutter revealed its own rewards.
the essence in a single pond
zen like images
The aura and satisfaction that a few hours away from home can bring to ones soul helped me develop a more trans-formative outlook on the world… lets pass it forward!!!
Dancing is something I only dream I could pull off, but when utilizing photography, it becomes a different story altogether. By combining inspiration from Lois Greenfield (dance photography), Frank Veronsky (portrait), Denise Ippolito (creative-motion) and some street cred from DC Fahsbender, this has become my second attempt at shooting dancers. To give you a small snippet of what this involves, I would like to break it down for you. The recipe… throw 6 professional dancers into a narrow but high ceiling bowl (room) is key, as they need room to breathe (jump). Next, set up lighting and camera… the camera is very old school, meaning you get only one click before you have to reset the shutter… this is where personal taste and timing come into play. Tether this camera to a computer with a screen to sample (view) the results. As you can see, there are a lot of ingredients that are needed, including the right combination of music, movement and intuition.
Magic seems to happen when you start to feel both the music and a dancer’s interpretation. Timing, and an awareness of what will happen next, is what turns an almost shot into a perfect capture. This capture is what is very hard to connect with, as it only appears in milliseconds. If you could see my out-takes, you would fully understand how fleeting this is. The joy I get, is interacting with the dancers to create that moment. With no background in dance, I have to rely on my quick finger and an eye for composition.
When finished, I am able to open up the captures in my digital darkroom and discover what a dancer’s movements have created. Their forms react to the environment, and with a leap, twist or spin, their human core emits a note that is just as perfect as when played on an instrument. That sound (moment) is caught and then processed to create my own composition. I hope my photographs help you both see and hear the beauty in LIFE’s dance.
Inspiration, whether it be stumbled upon, pushed toward or forced into, can be a powerful motivator. My ever-increasing thirst for improvement led me to discover a photographer named Mike Moats. I was instantly pulled in by his compositions, both found and created, which he called “Tiny Landscapes”. His laid back approach inspired me to look closer when shooting an event in the field and at home.
The next step in my learning how to walk, through this type of photography, came more like a big push… or ‘shove’ towards what was actually in front of me all along. This enlightenment came when I was privileged to attend a solo showing by fellow photographer Pat Worley. Her creative eye on what could be done with flowers, light and most of all one’s take on art, was electrifying, to say the least. Seeing prints blossom from the almost mystical to up close and personal, was the final nudge for me to explore what I had overlooked in the past.
I jumped in with both feet, and a couple of not so gentle hands, by taking a workshop with Denise Ippolito. Two things drew me to this choice… one being the venue, Longwood Gardens, which was a place I had never shot or even visited, and the second being Denise. I knew she had a strong vision of what she liked to create, but what took me by surprise was how impactful this vision would be on my photography. The many teachable moments and discussions she presented, were priceless, as it opened my mind and lens to endless compositions. Denise, Joe and Lou led by example and guidance throughout this venture for me into a secluded, but extensive living environment. Their familiarity with the place, was enriched by them also being outstanding creatives themselves, helped me to find not just the standard shot, but forced me to look further and to think outside of my self-imposed box. The true test of any teacher / leader is not just about their portfolio, but what they can share and inspire in others… Denise is a true teacher.
Having been tripped, pushed and forced to see what others already knew about flower photography… this softening of my ‘edges’ has truly reinforced my mantra of to always be willing to grow and learn, but most of all… create.
All aboard for a blast to the past, a “Trolley Graveyard”. Before embarking on this workshop shoot I had preconceived ideas of what I would encounter, as I had shot old trains in Connecticut about a year back. The venue in CT provided wide open spaces that showcased the trains, along with overgrowth that reached over 6 feet high in many places. After my initial eye-opener to the area, I slowly made my way to the back of the property. You might say it was literally the end of the line, in so many ways, as the tracks ended and the overgrowth was even harder to get through.
I approached this place in a backwards type of planning, for when hiking in and past the trolleys, I would take mental notes on what to shoot on my way back. This proved very rewarding as most of the group started in the front. I could line up wide and distant shots without human ‘ghosts’ walking in and out of my long exposures. The trolleys gave up their past, through patterns of decay and framed windowless panels of the fall, throughout the day. Exploring and creating, while trying not to trip on stumps, played out like a game of where not to step. The overcast day provided the perfect flat light I needed to expose the colors and decomposition found all around me.
When the time came to process these relics of a time well past, I was torn between color and black and white. The colors found at this time of year spotlighted and gave the trolleys an almost peaceful place to rest their rusting bones. When the right image was flipped to B/W, the past came alive… you could hear the sound of bells and metal screeching on tracks… the area seemed to come to life again. When turning back after my trek, I could truly feel that this was their last stop… castaways in the woods but comfortably paired with each other as if to say “we are home… just out of service.“