So it just now occurred to me that I took a huge number of photos on a trip to Chicago a few years back, and somehow neglected to get more than a handful out on the internet to date.
That being said, here’s a shot I took of a Chicago sunrise, partially reflected in the Cloud Gate sculpture (a.k.a. “the bean”) in Millennium Park:
For those interested in visiting, I’ll be writing up a post in the next week or so with tips on photography of and with Cloud Gate; as public sculpture goes, it’s a particularly fun object to work with photographically.
We recently took a family “spring break” trip out to Washington D.C. As part of a “behind the scenes” tour of the National Cathedral, I spotted this little gargoyle through a tiny window in a service door:
Even from just a few steps away from the door, it took 110mm of focal length (220 in full frame terms) to capture the little guy.
A relatively new phenomenon (for Paris), the Pont des Arts bridge has gotten covered with “love locks” since about 2008.
If you’re not familiar with the meme, the idea is that couples write their names on a padlock, lock it on the bridge, then toss the key into the Seine river as a show of their everlasting devotion. The problem, though, is that the bridge wasn’t really designed to handle this kind of a load (it’s estimated that nearly a million locks, weighing 60+ metric tons, have been snapped onto the bridge).
When we traveled to Iceland a few weeks back, we were primarily hoping to see the colors of the northern lights. We inadvertently saw some more urban colors as well — this time, in Reykjavik:
Many of the more-traditional buildings in Reykjavik tend to be painted in fairly muted tones. One swath of buildings near the harbor is dressed in a more modern fashion, with saturated solid colors. This one apparently got a bit of help from some of the younger locals — its sky blue front was augmented at some point with a variety of colorful graffiti. When we passed by, the interior appeared to be in the process of being rebuilt — into a shop, or restaurant, or whatever — hard to say. Regardless, it was a welcome splash of semi-chaotic color on an otherwise drab day.
Some months back I purchased an Olympus 40-150mm f/2.8 lens (officially, the M. Zuiko Digital ED 40-150mm F2.8 Pro lens) and MC-14 1.4x teleconverter for my E-M1 body. I’d given them some exercise on a road trip previously, but when an opportunity came up for a “Tripod Session” at a local butterfly pavilion, I thought I could give them a real workout on the facility’s residents.
An HDR view from Upper Antelope Canyon, near Page (Arizona), converted to black and white:
I’ll be posting a longer comparison of Upper to Lower Antelope Canyon at a later date. For now, let’s just say that a walk through the Upper Canyon is a crowded experience — even in the “off-season,” even on a “Photo Tour.” So taking shots facing the sky is a good plan. In any case, the canyon is a unique experience, and always a reliable source of geological abstracts.
Over the holidays, my family took an old-school road trip down to Arizona to visit relatives. Along the way, we came across an interesting geological feature that I’d never even heard of before — an old, eroded bit of volcanic material called Church Rock:
Located 10 miles east of Kayenta, Church Rock (nicknamed after its supposed resemblance to a cathedral from some angles) is part of a whole string of interesting geological features in this part of the country. On the far horizon, you can see the chisel-shaped tip of Agathla Peak, in Monument Valley. I think the line-up of features makes a good composition, although something like a 16:9 crop would reduce the impact of the foreground nicely.