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.
Since growing up between two of the largest cities on the east coast, one being Philadelphia and the other New York, you would think I would be familiar or at the very least comfortable with them. Actually that is the furthest from the truth as I grew up in the pines of south jersey, so visiting anything with more than 2 stories was both illuminating and many times quite confusing. When traveling to the city of choice for this post, “NYC”, I relied on the calm but monotonous one and a half hour ride on a train which would deposit me at Penn Station in Manhattan. This put me right in the center of where my quest to document 4 visits to this urban oasis would be fulfilled.
My first trip took me to lower Manhattan’s financial district. The structures and how the light reflected on them truly fascinated me. Peering up and down the streets and trying to make a connection with my camera was a task that was made easier by one of my guides, meet-up planer/photographer Martin Joffe. He had made special arrangements to shoot inside the “Woolworth” building. When I stepped inside this place, I was immediately sent back in time, where money translated to some of the most opulent decor one could imagine. The juxtaposition of the old to more modern architecture, was eye-opening to say the least.
The next visit to NYC was to shoot in Chinatown and my guide would be street/portrait photographer DC Fahsbender. Imagine the street noise and traffic of a big city combined with the unknown elements of a different country. The signs, language and most of the people being of a different culture, brought my lens to a place, both old and new. While I walked up and down the narrow streets of the many shops, I felt swept along by a current of people. By inviting the culture of this place in, I was able to slow down and click away.
A little further over would take me to the East Village, with its mix of old and new, which was evident from its late 19th century architecture to the present. The hispanic flavor of this part of the city was apparent just by viewing the restaurants and hearing the rhythmic music that echoed down many of the small cross streets. My lens once again gravitated to the people, whether they were engaged in a pickup basketball game or played dominos on the sidewalk.
Last, but not least, would be my trip to the Williamsburg Bridge and its namesake on the other side. Walking across, while overlooking the traffic and parts of the city, was not a sight to be missed. The pace of the people riding bikes and driving over this bridge was perilous at times, unless you stayed on the right side of the yellow line. From the view up high, to the street art down below, this section of town had me using pan blurs and structural composition to express my take on a walk across a busy city bridge.
Upon looking back at my little adventures to the Big Apple, I would not have changed a thing. I met some wonderful people and had great knowledgeable guides to help point which way was uptown or downtown and… which way was home. Although I would not trade where I live, the experience of urban life certainly made my camera happy.
When visiting a place that has any history I always try to find the back story and related articles that can shed light on the subject. Letchworth Village is one such place. It is located in Rockland County, NY which for me was about a 2 and a half hour drive from my South Jersey home. While driving, I ran through some facts about my destination in my mind so I could better visualize the place, and try to figure out how to document it when I arrived. Opened in 1911 as a state of the art facility for the mentally ill, it closed in 1996 amid documented abuse of the patients and staff. Like many of the facilities from this time, the word asylum was to offer sanctuary and protection for its patients, but over time this shelter became a house of horrors for many. For me, growing up and reading the after effects of these places, the word “asylum” took on a whole other dark and menacing connotation.
After finally arriving, I had wanted the day to be gloomy and overcast, so to set the mood and background to what I perceived my experience would be. A little disappointed, I was greeted with a beautiful sunrise and bright skies. The initial look and feel of the place was anything other than beautiful. The buildings and grounds showed the decay and overgrowth that I had expected. What was unexpected was the way the ivy created a brilliant backdrop of different shades of red, yellow and orange. This impact of color, along with the decay, let my mind travel in a different direction. Suddenly the colors complemented the decay and changed the mood from melancholy to a more uplifting outlook on this place. Exploring, by myself and with other photographers, the many buildings and fall colors became a driving force in helping me find the beauty that existed in the exterior of this so-called sanctuary. Finding refuge from the bright outside light in a huge 3 story power plant, I began to feel its dark side only to be startled by the almost heavenly, broken and dirt stained windows. Again and again the light and colors blurred the lines between the past and the present.
This dichotomy of decay, sunlight,fall colors and disturbing history brought an almost uplifting shift to my compositions. I can’t thank Marty Joffee of AIP enough for making this available to us and also letting me shed a different light on the often horrendous side to the word “Asylum ”. Depending on our perspective, we can dwell on the “what was” or, as I hope my photos will help you, choose to view the beauty of life and “what is”.
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!!!
Long ago, man domesticated and trained horses for both work and pleasure. Although in time, their use in today’s economy has been diminished by machines, we still have the pleasure of viewing their grace and beauty in various sports. Along with their powerful size and fluid movement, one can’t help but be drawn in by their soul-searching eyes. With that kind of compelling ‘bait’, this year I eagerly attended three different horse events: Jumping (Saugerties, NY), Polo (Brandywine, PA), Racing (Wilmington, DE).
First up, horse jumping…. I have never before been exposed to the immense size of these horses. The grace and power of being able to lift their weight and also a rider, seemed effortless. In order to prepare shooting the actual event, I used the warm up ring to time and find the right angles. The light in the competition ring was overhead and very challenging, as was finding the right position to try and keep out background clutter. The movement from one jump to the other was like anticipating a quiet storm. The approach was slow and calm but then a blast of power was emitted only to ease back into a methodical trot.
Next up the sport of Polo… not knowing the sport was the first hurdle, but the hardest was yet to come. I set out to find an engaging spectator, one whom I could ask questions. The questions just spilled out from this rookie… how do they score, which way does each team go, are their time limits etc? All were answered with a great sense of knowledge and pride by a duo I had accosted who were also proud parents to two of the riders. I found out the teams came from all over, even as far as Argentina, and when in the US they play in a circuit that takes them from the east to the west coast. My quest began when I tried to find the right combination of action and develop a personal connection. The easy part was the side to side, back and forth movement of the teams. The hard part, as usual in team sports, is to isolate the subject to get a unique connection with the sport and its participants.
Last, but not least was horse racing… not a betting man myself, I was befriended by one who does on a regular basis. I found out about the weight of jockeys and how it plays a part in what the horse carries. The horses also raced on dirt and an inside grass course. Getting a shot of the inside of the track took a lot of ‘up, down and under’ rail maneuvering. The riders, owners and horses seemed to have a connection when racing but when finished, I did not find a loving relationship or bond like in the previous venues. I believe this was in part due to the money being spent and the very high-strung nature of the horses. This was evident especially when they finished a race, as many horses just wanted to keep going. Timing was key to almost all shots here, as you would place yourself in one position for each race and compose frantically as they blew by.
An intimate connection to the horses was not achieved in these outings as I originally thought would happen. I believe this had to do with each being a viewer’s sport while the deeper connection would exist with the people who raised and trained them. For me this heart-felt, soul-searching event would have to happen at a later time when my interaction with these noble animals would not just be play but on a more personal level. As I viewed my pictures, the competitive-nature of this magnificent animal is apparent, but if you look more closely… you can get the feeling he is just ‘horsing around’ with us.