A Walk Through Aviation History

In celebration of Veteran’s Day this year, I went to Virginia Beach to visit the Military Aviation Museum. It is one of the largest private collections of military aircraft on the east coast, and reminds me of places like the Shuttleworth Collection, which I loved to visit while I was in the UK.

To commemorate the 100th anniversary of the end of World War I, the museum put on a special ceremony, and then displayed a number of aircraft from that era.

I really enjoy black and white images of aircraft, and particularly like the challenge of shooting them on the ground in a way that captures their spirit for flight. So with each of these photographs, I tried to use the surrounding hangers and structures to remind you how much these machines love to fly.

If you want to learn more about the Military Aviation Museum, you can visit their website.

All photographs taken with the Nikon Z7 and Zeiss Milvus lenses.

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Pumpkin Spiced Fall

After getting the new Nikon Z7, I was excited to experience fall colors in Virginia. This area has a lot of diversity to the landscapes, and I wanted to put the camera through its paces while exploring some of Virginia’s best offerings.

In total, I drove several hundred miles to each end of the state - from Southwest Virginia and the New River Valley, to the coastline of Virginia Beach - to capture these fall photographs. I promise they are also scratch and sniff… should smell like pumpkin spice!

We’re now entering the long winter months, where the photography can be a little more challenging, but there’s another Scenic Traverse Photography adventure on the horizon. Stay tuned for more great explorations soon.

Which is your favorite?

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The Fantasy of Flight

There are many things I miss about living in the United Kingdom; high on that list would be the access to historical aircraft to photograph. Europe is flush with World War I and World War II aircraft that were impractical to be returned to the United States after the war. One of the best collections of these machines is the Shuttleworth Collection, north of London.

I was having a nostalgic moment recently looking back through some images I took at Shuttleworth, and found these prints that I hadn’t shared before. Enjoy!

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Mountain Ridge Sunset

I'll admit that my luck with spectacular sunsets seems to have run dry after my memorable sunset at Horseshoe Bend in December 2016. I have gone out in search of more sunsets than I care to remember since that incredible day, but nothing has come close to the wondrous pink and orange sky I saw that night.

A few weeks ago, we went to West Virginia, and again I searched for a sunset, though I didn't expect to rival the Horseshoe Bend experience. I have just been in such a long sunset drought that I was willing to take nearly anything! We hiked out to a rocky cliff that overlooks the mountain ridge and setup for the (hopeful) show. 

The sunset that night didn't come close to threatening the supremacy of Horseshoe Bend, but it had a characteristic that I found I loved. Instead of vibrant and exhilarating colors, this sunset was a soft glow that created a warm blue light throughout the mountain ridge. It was inviting...the sort of sunset that I could imagine watching from a rocking chair on the front porch of a country home. Looking out over this West Virginia landscape, I found myself humming the lyrics to the famous song "take me home, country roads, to the place, I call home....West Virginia."

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(Not) a Beautiful Photograph...

Look carefully at this photograph, because it is not beautiful.

I know of only two places in the United States where you can find rocks that are that brilliantly orange surrounded by pools of baby blue, turquoise, and teal water. One of them is Havasu Falls, which is part of the Havasupai Indian Reservation in the Grand Canyon. The other is Douglas Falls outside the small town of Thomas, West Virginia. 

The vivid orange rocks and rainbow colored waters entice a swim.

Surely a landscape this beautiful carries some sort of mythical healing powers. Certainly this has to be one of the most tranquil places east of the Mississippi River?

There are few places on earth where these sorts of colors are "natural" -- I used a polarizing filter, some neutral density filters, and my Nikon D850 to capture the turquoise water and orange rocks.

Certainly not.

Douglas falls is beautiful, but for all the wrong reasons. 

Unlike Havasu Falls, where the beauty is natural, the beauty of Douglas Falls is not... the brilliant colors and tranquil scene are the result of pollution from coal mining. 

In the late 1890s, Thomas, West Virginia was home to the Davis Coal & Coke Company. In those days, there were over 500 beehive coke ovens burning in the town, which was setup entirely to support the mining operations. By the turn of the 20th century, the coal mines in the surrounding area produced over 4,000 tons of coal daily. The explosion of mining in Thomas was short-lived; by the outbreak of the first World War, advancements in refining methods meant that coke production in the beehive ovens had ceased, and by the 1950s, underground mining in the area ceased all together. The population of Thomas diminished, and the city today is a shell of it's former mining glory. 

Douglas Falls, as seen from the side. The rocks radiated a yellowish-orange that was unlike anything I had ever seen before.

Old beehive coke ovens line the roadway leading to Douglas Falls. At one time, there were over 500 of these ovens polluting the surrounding habitats.

Old beehive coke ovens line the roadway leading to Douglas Falls. At one time, there were over 500 of these ovens polluting the surrounding habitats.

In just a few decades, the landscape was permanently altered. The harsh acid from the coke ovens has turned the rocks orange. A hundred years after much of the mining ceased, the waters of the river are still plagued by harsh acid. In the 1990s, the West Virginia Department of Environmental Protection established a reclamation effort to clean up exposed mining waste. The project created new drainage systems, restored destroyed wetlands, reseeded grasses, and re-countoured the hillsides around the river.  They hope this project will eventually return this habitat to it's natural state... but nearly thirty years after the cleanup project, the acids continue to wreck havoc on the landscape. 

The contrast of the brilliant orange with the turquoise blue and green waters was a spectacular sight to behold...for all the wrong reasons.

Some ferns grow out of the ground around the falls, where acids from the coal mining that occurred nearly a century ago has stained these rocks. Acids continue to leech into the landscape, despite a cleanup project in the 1990s.

As much as I love photographing beautiful scenes like this one, I would much prefer to photograph a landscape for it's natural beauty. While I love these photographs, there will always be a cringe associated with seeing them because I know their beauty came at a great cost.

Welcome Spring

I can't believe we're a week away from flipping the calendar to May, and here I am finally posting about spring. The fickle weather in Washington, DC has limited my photographic opportunities, but with two nice days in a row, I grabbed the camera and headed out to see the first signs of spring.

My destination this week was an old favorite - a site I haven't visited in years - Huntley Meadows. Located in the middle of the bustling suburbs outside Washington, DC, this is an unlikely location to find some of the best wetlands.... but unlikely can be good!

I started my day shooting 4x5 large format film (more to come on that in a future post). In other words, I was carrying the one camera that is basically useless for all types of wildlife photography! My goal was to focus on black and white abstracts, and every bird and mammal in the sanctuary must have gotten the memo. Never have there been so many wonderful photographic opportunities... clearly the wildlife knew I was without the right camera for the job. 

Frustrated that the wildlife was practically posing in mockery of my camera predicament, I went back and got my Nikon D850 and Canon 400mm f/2.8 lens (modified to Nikon mount) and returned to see if I could get the last laugh. Indeed, I found many of the same subjects remained very cooperative. 

I may have taken 200 photographs of this blue heron through the course of the morning. He was incredibly friendly and got close enough that I had to start backing up!

I may have taken 200 photographs of this blue heron through the course of the morning. He was incredibly friendly and got close enough that I had to start backing up!

The natural camouflage is very well done; a number of folks walked past and never noticed the bird hiding in the bushes. Of course it helps to spot these guys when you have a 400mm lens....

The natural camouflage is very well done; a number of folks walked past and never noticed the bird hiding in the bushes. Of course it helps to spot these guys when you have a 400mm lens....

These guys have this funny jerky movement, so I had to shoot fast to get lucky and catch them mid-movement.

These guys have this funny jerky movement, so I had to shoot fast to get lucky and catch them mid-movement.

So focused. So attentive.

So focused. So attentive.

One of these sticks is not a stick.

One of these sticks is not a stick.

I wasn't the only one who looked outside and noticed spring had finally arrived.

I wasn't the only one who looked outside and noticed spring had finally arrived.

Cherry Blossoms in DC

I have lived in the Washington, DC area for nearly ten years, yet I had never gone out to photograph the annual Cherry Blossom bloom. The crowds intimidated me, and I don't like getting the same photograph as everyone else...

But I also knew it'd be criminal to live in the district this long and not photograph the blossoms! So I woke early this weekend and headed out in hopes of getting an image that was a little different.

My original goal was to get a nice sunrise, but heavy clouds dashed that hope immediately. Instead, I walked the perimeter of the tidal basin around the Jefferson Memorial in quest of some blossoms that would offer an interesting frame for the monument. Away from the crowds, I finally found this cluster of blossoms that framed the monument nicely.

To put my own unique spin on this quintessential DC image, I cropped the photograph to an extreme dimension. This allows the blossoms to dominate the frame and tell the story of this annual bloom.

If the weather cooperates, I'll hope to go out for one more stab at a good sunrise before the flowers drop....cross your fingers for some nice weather.

Washington's Moonrise

Sometimes it all comes together. Today was one of those days.

I had planned a very different photoshoot. But when side effects from the recent Nor'easter hampered my plans, I scrapped them. As luck would have it, tonight was a perfectly clear night, the moon was at 90%, and it was going to rise at 9pm over the National Mall in Washington, DC.

So I bundled up and headed out with the Nikon D850 in tow. Using my favorite app for photo planning - the Photographers Ephemeris - I planned my image of the Washington Monument to line up with the moon as it would ascend.

Some Photoshop magic was required to make this photograph. The moon's full size means it's extremely bright -- too bright. To make both the monument and moon visible, I captured them in separate exposures and combined them into the final product seen here.

Sometimes it all comes together.

Moonrise over the Washington Monument, March 2018

Moonrise over the Washington Monument, March 2018

Black & White Flower Silhouettes

Macro flower photography is one of my favorite disciplines to practice during the winter; cold temperatures, dreary weather, and naked trees make the landscapes less palatable for my normal ventures. With macro photography, I can often work indoors and with bright and vibrant flowers that make the frigid days feel a little brighter.

Longwood Gardens is one of the best places on the East Coast for enjoying flowers and plants, and their annual orchid festival is probably my favorite event of the year. It has been several years since I spent a day focused solely on macro flower photography, so I was excited to spend some time there recently.

Using my Nikon D850, a 200mm macro lens, external flash and diffuser, I created the following images. I purposefully used the flash to remove the background because I knew the final image would be printed in black and white. I wanted the prints to be borderline harsh, with strong contrast; I thought there would be some romance to having delicate and soft flowers reproduced with such strong effect.

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Exploring NYC, Part 3: Faces of the City

Over the last few years, I have taken an interest in a form of photography dubbed "street photography." Unlike other photographic disciplines with obvious sounding names (wedding photography / newborn photography), the name "street" does not convey a clear meaning of the art form.

Waiting for an opponent. Two people playing chess outside a park in Manhattan island. Leica M10 with 90mm Summicron f/2.

Waiting for an opponent. Two people playing chess outside a park in Manhattan island. Leica M10 with 90mm Summicron f/2.

Catching a ride. A young girl rides on her father's shoulders over the crowds of tourists visiting Rockefeller Center during the holidays.  Leica M10 with 90mm Summicron f/2.

Catching a ride. A young girl rides on her father's shoulders over the crowds of tourists visiting Rockefeller Center during the holidays.  Leica M10 with 90mm Summicron f/2.

Street photography might be more aptly dubbed "genuine photography" - the goal is to capture everyday scenes and interactions in a new and fresh way to highlight the beauty in our routine life.  When I am shooting the streets, I am looking for genuine interactions; faces, reactions, expressions, moods, and emotions that are genuine and not prompted by the presence of a camera.

Think about it.... when someone holds up a camera to your face, the first natural reaction is to smile and say cheese. But does that smile truly express your emotions and feelings in that moment? Unlikely.

I spy.  A woman looks out from her window on the busy New York streets below. Leica M10 with 90mm Summicron f/2.

I spy.  A woman looks out from her window on the busy New York streets below. Leica M10 with 90mm Summicron f/2.

Selfie.  A woman dressed up in her finest fashion prepares her selfie in Times Square.  Leica M10 with 90mm Summicron f/2.

Selfie.  A woman dressed up in her finest fashion prepares her selfie in Times Square.  Leica M10 with 90mm Summicron f/2.

Crowd Control.  A NYPD officer directs traffic and keeps the crowds safe as thousands of holiday revelers descend on New York's most popular attractions. Leica M10 with 50mm Summicron f/2.

Crowd Control.  A NYPD officer directs traffic and keeps the crowds safe as thousands of holiday revelers descend on New York's most popular attractions. Leica M10 with 50mm Summicron f/2.

As a street photographer, I want to capture the subject's emotions and state of being without having the camera enter the equation and effect the expression. In order to do that, I often need to be stealthy and discrete.

A large camera is off-putting. People don't want a stranger shoving a camera in their face. Which is why I use a Leica rangefinder (specifically, the M10) for my street shooting. The small and discrete nature of this camera lets me attract less attention, thereby increasing the odds of going unnoticed by my subject.

Coffee Jolt.  A kid carries two cups of coffee while walking with his parents around the 9/11 memorial.  Leica M10 with 90mm Summicron f/2.

Coffee Jolt.  A kid carries two cups of coffee while walking with his parents around the 9/11 memorial.  Leica M10 with 90mm Summicron f/2.

The Eye.  A passenger looks out of the window on an express train to Wall Street.  Leica M10 with 90mm Summicron f/2.

The Eye.  A passenger looks out of the window on an express train to Wall Street.  Leica M10 with 90mm Summicron f/2.

Philosophically, I want every picture I take to be a flattering one. I try to avoid any photograph that could embarrass or humiliate my subject. For instance, I don't photograph the homeless or disabled persons, with few exceptions. 

Ideally, when I am taking street photographs, I am invisible. The person never knows that I took their photograph, or if they do, they are not embarrassed. If someone sees me taking their photograph, I will smile and wave, showing that I'm not a threat. Sometimes I'll tell someone they were beautiful and interesting to me. Surprisingly, most people respond very well to this, and I have never had anyone get mad because I took their photograph.

BFFs.  Two women pose for a photograph in Times Square. I "plucked them out of a crowd" by using a longer focal length and narrow depth of field, thereby blurring the people around them and focusing the attention of the photograph solely on their faces.  Leica M10 with 90mm Summicron f/2.

BFFs.  Two women pose for a photograph in Times Square. I "plucked them out of a crowd" by using a longer focal length and narrow depth of field, thereby blurring the people around them and focusing the attention of the photograph solely on their faces.  Leica M10 with 90mm Summicron f/2.

Stroll.  A man walks in front of the United Nations building. The harsh light and strong shadow became the sparkle that drew me to make this image.  Leica M10 with 35mm Summicron f/2.

Stroll.  A man walks in front of the United Nations building. The harsh light and strong shadow became the sparkle that drew me to make this image.  Leica M10 with 35mm Summicron f/2.

As a photographer, I find street photography offers a unique challenge over some of the other photographic disciplines. When I am making landscape images, I often plan the photo, sometimes to a scientific extreme. But as a street shooter, I take whatever I get and roll with the punches.

If it is sunny outside, I have to work with that. If it's raining, I work with that. 

The impromptu and impulsive nature of this type of shooting means I often "follow my nose" - if the light looks particularly good one direction, I'll walk that way. I walked 14 miles in New York one day without having any real plan - I just wandered Manhattan looking for things that caught my eye.

I remain hyper aware of the location of the sun and will switch to another side of the street if the shadows and light is better there. My head is on a swivel, constantly looking for that sparkle.

Street Blown.  A woman's hair blows around in the wind caused by cars rushing past on the street nearby.  Leica M10 with 50mm Summicron f/2.

Street Blown.  A woman's hair blows around in the wind caused by cars rushing past on the street nearby.  Leica M10 with 50mm Summicron f/2.

Patience.  A cyclist waits for the crosswalk sign to turn in his favor.  I was drawn to the fact that his face was covered, so the only place from where I could draw expression was his eyes, and he rewarded me with a very expressive moment.  Leica M10 with 90mm Summicron f/2.

Patience.  A cyclist waits for the crosswalk sign to turn in his favor.  I was drawn to the fact that his face was covered, so the only place from where I could draw expression was his eyes, and he rewarded me with a very expressive moment.  Leica M10 with 90mm Summicron f/2.

"Sparkle" - that is what I am looking for as I walk. Sparkle is the photograph. Sparkle is the emotion, the color, the contrast, the shadow, the expression...the thing that pushes me to take the photograph. 

As a street photographer, I am instinctive. When I see sparkle, I shoot. If I wait too long and think about it, I have lost that moment of sparkle. 

When someone looks at one of my images and comments "I never would have seen that" or "how did you catch that," I know they see the sparkle. They are looking at the print and see the sparkle that pushed me to create the image in the first place.

Lost.  This is one of the very rare exceptions I have ever made to my rule about not photographing the homeless. This particular gentleman had positioned himself in the middle of the sidewalk, forcing pedestrian traffic to divert around him and creating a bit of a traffic jam. I wanted to capture the reaction from other people to having to divert around him and the story of what his day must feel like as thousands of people pass him by.  Leica M10 with 35mm Summicron f/2.

Lost.  This is one of the very rare exceptions I have ever made to my rule about not photographing the homeless. This particular gentleman had positioned himself in the middle of the sidewalk, forcing pedestrian traffic to divert around him and creating a bit of a traffic jam. I wanted to capture the reaction from other people to having to divert around him and the story of what his day must feel like as thousands of people pass him by.  Leica M10 with 35mm Summicron f/2.

Smile.  A man smiles as he reads something on his cell phone while riding the subway in New York.  Leica M10 with 90mm Summicron f/2.

Smile.  A man smiles as he reads something on his cell phone while riding the subway in New York.  Leica M10 with 90mm Summicron f/2.

Street photography can also be about story telling. Not every image has a story, but sometimes the story is the sparkle. For instance, take this pro-Tibet rally I saw in New York. Thousands of people were marching across Manhattan to the site of the Chinese Consulate peacefully carrying signs and flags supporting Tibet. 

At one point, their march passes in front of the McDonald's restaurant near Times Square. I immediately saw a story, and began photographing that story.

I was moved at the juxtaposition of American consumerism and the protected right of speech. Here are some people peacefully exercising their First Amendment right to free speech in front of one of America's biggest corporations. To me, this captures the essence of what makes America an incredible country -- there are so many places in the world where this scene would not be allowed, and the combination of the two created an emotional sparkle.

Pro-Tibet rally participants march in front of one of America's icons of global consumerism.... McDonalds.  Leica M10 with 35mm Summicron f/2.

Pro-Tibet rally participants march in front of one of America's icons of global consumerism.... McDonalds.  Leica M10 with 35mm Summicron f/2.

The pro-Tibet rally walked through Times Square demanding peace.  Leica M10 with 35mm Summicron f/2.

The pro-Tibet rally walked through Times Square demanding peace.  Leica M10 with 35mm Summicron f/2.

Stage. Rally goers assembled for a speech near the Chinese consulate.  Leica M10 with 35mm Summicron f/2.

Stage. Rally goers assembled for a speech near the Chinese consulate.  Leica M10 with 35mm Summicron f/2.

Street photography often involves people, but there are some images I'll photograph without humans that still tell a human story. Usually, I try to convey human interaction with the environment in the non-people prints. These images may be more abstract and invoke the idea of people without clearly showing any in the scene. Sometimes they capture an irony or something so familiar that we stop noticing its existence. 

A Dinosaur.  A bank of pay phones that see very little use in Grand Central Terminal.  Leica M10 with 50mm Summicron f/2.

A Dinosaur.  A bank of pay phones that see very little use in Grand Central Terminal.  Leica M10 with 50mm Summicron f/2.

Ready and Waiting.  A FDNY truck sits at the ready to respond to any incidents around the city.  Leica M10 with 35mm Summicron f/2.

Ready and Waiting.  A FDNY truck sits at the ready to respond to any incidents around the city.  Leica M10 with 35mm Summicron f/2.

The Commute.  I purposefully blurred this image by jerking the camera in a violent pan as the taxi approached. The goal was to create a shot that captured the blur of commuting and traffic in a city as busy as New York.  Leica M10 with 90mm Summicron f/2.

The Commute.  I purposefully blurred this image by jerking the camera in a violent pan as the taxi approached. The goal was to create a shot that captured the blur of commuting and traffic in a city as busy as New York.  Leica M10 with 90mm Summicron f/2.

The Message.  A simple chair might not have had the sparkle to catch my eye, but this chair, with the "No Crying Allowed" message caught my eye.  Leica M10 with 90mm Summicron f/2.

The Message.  A simple chair might not have had the sparkle to catch my eye, but this chair, with the "No Crying Allowed" message caught my eye.  Leica M10 with 90mm Summicron f/2.

In some ways, everything I just described about street photography makes it sound like there is a good amount of "pray and spray"- but the art is anything other than. Pray and spray is a phrase used to describe what happens when I photographer just holds down the shutter and aims the camera recklessly in the hope of capturing a good shot.

Look carefully at my photographs and you'll see that isn't possible. Scroll down and look at the three images below (then come back).

Notice anything in them? Only the subject is in focus. Everything else has a smooth soft blur. That blur, which is referred to as bokeh (a Japanese word), is where the art comes into play. As a photographer, I drew your eyes to the subject- to a pre-determined spot - by precisely choosing what area of the print will be in focus. Don't believe me? Scroll down and look again.

Steps of Time.  Two friends take pictures on the staircase in Times Square. I loved the attire and face of the individual holding the cell phone, so focused the attention of the viewer that direction by having the rest of the image slightly out of focus.  Leica M10 with 90mm Summicron f/2.

Steps of Time.  Two friends take pictures on the staircase in Times Square. I loved the attire and face of the individual holding the cell phone, so focused the attention of the viewer that direction by having the rest of the image slightly out of focus.  Leica M10 with 90mm Summicron f/2.

Sharing a Snack.  A mom and son enjoy a Sunday morning snack at an indoor food hall in New York. The scene is very busy with elements that could distract from the story of the shared meal, but selective focus and bokeh help me isolate them and tell the story the way I want.  Leica M10 with 90mm Summicron f/2.

Sharing a Snack.  A mom and son enjoy a Sunday morning snack at an indoor food hall in New York. The scene is very busy with elements that could distract from the story of the shared meal, but selective focus and bokeh help me isolate them and tell the story the way I want.  Leica M10 with 90mm Summicron f/2.

The View.  A boy is carried on his dad's shoulders to see the holiday tree in Rockefeller Center.  Leica M10 with 90mm Summicron f/2.

The View.  A boy is carried on his dad's shoulders to see the holiday tree in Rockefeller Center.  Leica M10 with 90mm Summicron f/2.

Each of those photographs has a super thin area of the image in focus. Now consider that the camera I use is a manual focus system - there is nothing automated or automagic about it. If I do a poor job of quickly focusing the lens, then my photograph is missed. I usually get one chance - a split second - to turn the focus ring on my Leica lenses to capture that sparkle.

I won't lie - it's hard. I miss more than I catch. But the more I go out and shoot, the better I get. I have a lot of close misses - photographs I'd love another chance to take. But that's not how this works. 

In some ways, the thrill of getting it right is my drug.

I'm addicted to the elation that comes from seeing a perfectly focused shot with the story I wanted captured. That feeling drives me back to the streets, looking for my next fix.

Stormtrooper's Have to Eat.  This man was dressed in a Stormtrooper costume, but had stopped at a deli to get a snack.  Leica M10 with 90mm Summicron f/2.

Stormtrooper's Have to Eat.  This man was dressed in a Stormtrooper costume, but had stopped at a deli to get a snack.  Leica M10 with 90mm Summicron f/2.

Patience.  A police officer waits patiently for the light to chance before she begins directing more traffic over the intersection. The harsh light and strong shadows gave this scene the sparkle I was looking for.  Leica M10 with 90mm Summicron f/2.

Patience.  A police officer waits patiently for the light to chance before she begins directing more traffic over the intersection. The harsh light and strong shadows gave this scene the sparkle I was looking for.  Leica M10 with 90mm Summicron f/2.

Exploring NYC, Part 2: A Day in the Snow

Few things are as magical as a visit to New York City during the holidays, when stores put on extravagant displays, Santa is available for a visit, and holiday markets pop-up across the city. Add a fresh heavy snowfall into the equation, and you have a truly memorable winter wonderland in the city.

A New York City Police Officer prepares this police horse for a ride in the snow

A New York City Police Officer prepares this police horse for a ride in the snow

A couple seeks refuge underneath an umbrella during the snowfall

A couple seeks refuge underneath an umbrella during the snowfall

Photographing snow can be a bit of a challenge. Bad weather always makes for a great photograph, but it's not as easy as just stepping outside, taking a quick image, and having success. I walked over 10 miles in the heavy snow to get these images, and faced several technical challenges along the way.

Snowfall blankets a quiet New York City intersection

Snowfall blankets a quiet New York City intersection

A man strolls through the snow in Central Park

A man strolls through the snow in Central Park

First was the challenge of keeping the camera dry enough. The Leica M10 is technically not weather sealed, but it is pretty hardy. Unfortunately the temperature outside was just warm enough that the snow melted almost instantly when it made contact with my body and the camera, making my hands and the camera very wet (never mind that it also made me very cold!). After several hours, this caused the viewfinder to fog completely.

During periodic breaks indoors, I wrapped the camera in a dry shirt with the hopes that it would help dry out the camera's viewfinder. That worked to an extent, but the remaining moisture would condense anytime I subjected it to a temperature change stepping between the outdoors and indoors. 

A man emerges from the 14th street subway station

A man emerges from the 14th street subway station

Steam rising from street vents adds to the dramatic effect of the snowfall on this New York street

Steam rising from street vents adds to the dramatic effect of the snowfall on this New York street

Second to keeping the camera dry is the challenge of keeping the lens dry. I was far more successful in this endeavor because I kept the camera oriented in my hand so that the lens was either facing downward, or facing downwind of the snow. I never - EVER - use a lens cap when out taking photographs, and certainly was not about to miss a shot because I had covered the lens. 

Taxi cabs lined up on the streets of Times Square during a late evening snowfall

Taxi cabs lined up on the streets of Times Square during a late evening snowfall

A streetsign covered with snow outside Times Square

A streetsign covered with snow outside Times Square

Finally, capturing snow can be a challenge. In a close-up photograph, snow can appear like a blur, rather than a snowflake. The trick was for enough of those blur's to be present in the photograph that the viewer would understand it was not a mistake, but that it was a snowflake.

I don't know how much snow fell in New York on this particular day as it never accumulated beyond a slush on the streets, but it certainly made for a beautiful day of photography.

Two women - presumably en route to a holiday party - stop for food from a street vendor in the late evening snow

Two women - presumably en route to a holiday party - stop for food from a street vendor in the late evening snow

Exploring NYC, Part 1: World Trade Center

Like all Americans old enough to remember the events of 9/11/2001, I have a very vivid and raw memory of that morning. That day would come to define some of my life's most important decisions; would drive me to a career in public service and safety.

A flower in the memorial to the World Trade Center. The shadow of One World Trade casts across the memorial.

A flower in the memorial to the World Trade Center. The shadow of One World Trade casts across the memorial.

This photograph is very powerful to me. I was standing outside the museum and noticed a jetliner flying over One World Trade. My mind started racing with thoughts.... anywhere else in the world, seeing a plane fly over a building is so routine, that it hardly registers. But here, it seemed raw. This is a view similar to the one thousands saw on 9/11 - but with a very different outcome. I took four images of the plane's track over New York City and combined them in this composite. 

This photograph is very powerful to me. I was standing outside the museum and noticed a jetliner flying over One World Trade. My mind started racing with thoughts.... anywhere else in the world, seeing a plane fly over a building is so routine, that it hardly registers. But here, it seemed raw. This is a view similar to the one thousands saw on 9/11 - but with a very different outcome. I took four images of the plane's track over New York City and combined them in this composite. 

The 9/11 memorial and museum only opened in the past few years, and while I have seen the outdoor memorial ponds before, I never had a chance to visit the museum until this most recent trip to New York City. 

I was a bit conflicted about taking photographs in such hallowed ground.

Artists painted 3,000 cards a slightly different shade of blue - each one painting the color of the sky they remember seeing on 9/11. These cards now hang on a wall as a reminder that the memory of those lost on 9/11 cannot be erased.

Artists painted 3,000 cards a slightly different shade of blue - each one painting the color of the sky they remember seeing on 9/11. These cards now hang on a wall as a reminder that the memory of those lost on 9/11 cannot be erased.

September 11th isn't a tourist attraction. The artifacts and memories captured in this museum mark millions of lives changed in the span of a few terrible minutes. I don't want to disrespect the memory of the over 3,000 innocent people killed on that day by turning 9/11 into a photography spectacle. 

A visitor to the memorial paying tribute to some of the victims from 9/11.

A visitor to the memorial paying tribute to some of the victims from 9/11.

A message from supporters of Ladder Company 3; this was part of a fire truck that was smashed when the towers collapsed. 

A message from supporters of Ladder Company 3; this was part of a fire truck that was smashed when the towers collapsed. 

But after a few minutes in the museum, my opinion changed. September 11th was the most terrible of days, a day that we cannot forget. Walking through that museum reopened the emotions from that day that I had long since repressed. I was flooded with sobering memories of what happens when we become complacent and when freedom is not allowed to prosper around the world.

A section of steel from inside the World Trade Center. This particular piece came from the area where the first aircraft tore into the tower, gashing a hole in one of America's most iconic buildings.

A section of steel from inside the World Trade Center. This particular piece came from the area where the first aircraft tore into the tower, gashing a hole in one of America's most iconic buildings.

Names and organizations listed on the memorial wall surrounding the pools in the memorial.

Names and organizations listed on the memorial wall surrounding the pools in the memorial.

Recognizing that many viewers to my website will never have a chance to visit the museum in NYC, I decided to make a handful of photographs that could help convey the emotions and experience I had walking through the museum. 

Four tie-down points. The museum is underground and some of the foundation walls that made up the twin towers are incorporated into the structure of the museum. This part of the foundation remains in the original location. It is one of the few pieces of the towers that still remains as it did on September 11th.

Four tie-down points. The museum is underground and some of the foundation walls that made up the twin towers are incorporated into the structure of the museum. This part of the foundation remains in the original location. It is one of the few pieces of the towers that still remains as it did on September 11th.

Less than a block from the World Trade Center is a fire station home to ladder company 10. Six fireman from this company died rescuing others on 9/11.

Less than a block from the World Trade Center is a fire station home to ladder company 10. Six fireman from this company died rescuing others on 9/11.

I cried twice in the museum. Once while looking at / listening to a selection of voicemail messages left by passengers of those doomed flights to their loved ones. People who left a final message, knowing their fate. I crumbled under the idea of ever having to do something so brave. My second breakdown happened in front of a projection of "missing posters" hung by friends and family searching for their lost relatives. Many of these posters carried a deeply personal message, and my heart broke for every family that had to write a sign like that. One particular sign that pulled me was from a daughter looking for her daddy.

Memories attached to the "last column" - this was the last piece of steel removed from the site. Prior to it's removal, it became a shrine of sorts, with family and friends affixing messages, photos, and flowers to the beam.

Memories attached to the "last column" - this was the last piece of steel removed from the site. Prior to it's removal, it became a shrine of sorts, with family and friends affixing messages, photos, and flowers to the beam.

The top of the last column, with messages and photos to loved ones lost on 9/11.

The top of the last column, with messages and photos to loved ones lost on 9/11.

I could not photograph these things. I could not bring myself to make artwork from the pain of those families. Instead, I chose to photograph objects that were more symbolic of the tragedy.

May we never forget. 

A close-up of some of the memories written upon the "last column".

A close-up of some of the memories written upon the "last column".

A Sea of Contrast

California's legendary coastline offers no shortage of incredible seascape vistas to photograph. While I normally would look for colorful scenes, my time along the coast was plagued by bad weather and heavy rains. To carry that drama into the artwork, I used high contrast black and white adjustments, along with a strong vignette and bold blacks to create images that capture the emotions of that gloomy day.

Photographed with the Leica SL and Leica 24-90mm lens.

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A Handful of Bridges in Prince William Forest

Winter can be cruel to photographers, so I'm spending the last days of fall capturing the remaining warmth and bright colors before the grey gloom of winter arrives.

Prince William Forest Park is one of the many national parks within a short drive of Washington, DC, but it is one often overshadowed by parks like Shenandoah, Great Falls, and Assateague. It has been a number of years since I've been to the park, so I grabbed my Nikon D850 and set out to see what sort of hidden gems I could find to mark the end of the fall season.

Prince William Forest has a number of small streams that snake through a lightly hilly forest. On this particular day, the park was relatively empty, and I came upon a few bridges that I thought were ideal for photography subjects.

I used my Nikon D850 and Nikon 24-70mm / 14-24mm lenses to capture these images. I am still getting used to this new camera, but find myself getting more comfortable with it by the day.

This tree next to the bridge was not that golden when I started walking around the bridge, but a beam of sunlight came through the forest canopy, lighting this tree up in a beautiful golden light

Over the river and through the woods

This single tree really stood out against the yellow leaves in the background

The wires on this suspension bridge create a nice composition element

I stood in the water (with good boots) to get a long exposure of the creek running under the bridge

Another bridge at the edge of the Prince William Forest scenic drive

A Familiar Friend

Whenever I get a new camera, I spend a few weeks getting oriented to the unfamiliar controls and system before embarking on any challenging shoots. As I go through this orientation, I like to revisit sites that I know as good trial grounds.

One of those places is Great Falls, which is on the Washington, DC / Virginia border. The falls are a great place for some spectacular long exposure photography. And most nights, the sky will give some nice pastel colors to reward a trip to the falls.

I have made a number of images at Great Falls before, but this one is very different. First, it was taken with a different camera system than the others. Second, my other images have had spectacular sunsets which made the process very easy - but this time the sun didn't cooperate. I had to do a lot of work to pull the colors out of the sky while preserving the detail in the rocks. Thankfully, the dynamic range of the D850 made this easier than I expected. 

It may not be the most spectacular sunset, but those don't happen every day. It's important to capture the world as it exists, and I think this image does a great job of depicting the world as it was on that night.

At the Corner of Color and History

With a weekend of beautiful weather, fall color, and a new Nikon D850, I set out to capture some of the wonderful sights in the area. One of my favorite go-to's for a great shot is Harper's Ferry, West Virginia. This small city, which is also part of the National Park System, sits at the intersection of Maryland, Virginia, and West Virginia.

Harper's Ferry is incredibly picturesque, but my favorite spot is on top of the Maryland Heights overlook. It has been several years since I've hiked the 2.5 mile trail to the overlook of the town, so we set out with the dog for a hike and a view.

The trail to the overlook has the following profile: uphill, followed by extreme uphill, then a stretch of straight uphill with a tease as though it will go back downhill before going uphill..... In other words, by the time I reached the top, I was more focused on my jello legs than I was on the photography.

Thankfully the view brought me back to the task at hand quickly, and I took the following images before the knee-breaking downhill journey. 

This was also my first serious outing with the new Nikon D850, and a chance for me to see how it held up in real-world landscape shooting. So far so good! There are certainly some notable differences between the D850 and Leica SL, but I'm leaning to embrace my new camera.

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