Cazenovia

We have been talking about going back to stay at the Lincklaen house in Cazenovia and hiking in the art park in the winter for the last few years but sadly we just talked. I always like to get Jen an experience for Christmas so thought this would be the perfect time. Mom and Dad watched Tessa and Jen and I walked the shops, had tea, and a nice dinner, followed by drinks at the 7 Stone Steps Tavern. We looked on the walls in the tavern for the carvings of our names, and read and relaxed most of the night. We were able to get the wedding suite for the night, so it was nice to be back and talk about our wedding and all the little happenings that day. I took out my fuji x100t and set it to the fuji monochrome film emulation and shot a few of our trip. The best part of this camera is when you go through your images, you simply don’t have to process them. This Fuji is the best non-film-film camera I have ever owned!

Getting out of my own way in 2019...

For so many years I had thought that I had mastered all I could about the technical side of photography and that to go farther I just had to see new things to get more pictures, always upping the ante.

What I learned in 2018 is that I need to revisit the basics and slow down to appreciate the finer details and let those items speak for themselves. I think a good rule of thumb is when you think you have everything mastered you must know you know next to nothing. Like a cocky alarm when you reach a creative plateau, you have to know that your stuck. I made a few very large changes to my workflow this year, and actually got away from a modern process and get back to basics and wow, what a difference. Excited to unlearn some “modern” habits and get back to simplicity and focusing on the bedrock of good photography.

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Stop asking how to edit photos!

I get this question all the time, so I thought I would chat tonight about why I always chuckle when I hear someone ask this question, and more importantly what question you should be asking yourself.

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A really dark edit from a walk with my friend Terry down in the city. I took this at the corner of the Everson as some birds were flying over.

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What it's like

Three years ago, Thanksgiving day, I crawled through a hole in barbed wire fence, and I haven’t been the same ever since. 


I thought about it a lot on the 3 hour drive down. 


If these places were easier to get into would I still do it? If they made that abandoned house into a museum, I bet I would come up with an excuse to not go. But here I am breathing black mold and asbestos, chasing something that no one worships, at least not anymore.


We walked back into the real world around 3:00p.m. and my legs burned. I tried to clean the mushed ceiling tile goo off my pants and shoes in the diner bathroom. I washed my hands and black rivers danced down the drain. I went with the greek plate and ate like I hadn’t seen food in years. I always liked a place that went in heavy with Feta. 


I finished and kicked my leg out of the booth and sat sideways as I watched Jordan relish in his French dip. That food could have been dog shit or delicacy but we couldn’t tell because of the soft fuzziness of the afterglow. I looked around and kept trying to readjust my eyes, my brain in some deep processing loop. I feel drunk.


We had walked for 7 hours straight, up and down dilapidated towers, and across a sleeping giant. In and out, up and down. I had never even seen a squash court up close, let alone a marble penthouse bathroom, but I did today. 


Flash light, shutter click. Flash light. Next room.


“Wait, be quiet.” I held my finger straight up and swirled it when I knew it was time to vacate, not making a sound. We left quickly, and quietly.


“Nevermind, it’s an animal.”


After awhile your visual sense shuts down. You just shutter click and go through the motions. You hope all that practice just becomes muscle memory. Can photography even be that, you wonder?


When you lay down at night you absorb into the mattress, you fall halfway down. Like a marshmallow soft after a campfire. Your body rings like an ear does with tinnitus, except this is the universe calling out.


Your alarm goes off, piercing the darkness in some nondescript hotel. 


And you do it again.

Below are a few of the images from our last big urbex outing!

Why your photography isn't getting any better.

I am really lucky in the grand scheme of photography. I like my high-school self, move between genres and different groups of people easily. Sometimes I am hanging out with portrait photographers, urbex photographers, or walking the streets with mobile only photographers. I’ve had a lot of good conversations with landscape photographers, and documentarians. Hell I will even hang out with video guys even though most of them are just plain assholes. What I am trying to say is, I interact with lots of different photographers and at lots of different skill levels of photography.

Which gets me to my point. There is a point.

What cuts across genres of all photographers young or old is their obsession with gear. The latest EOS R camera. Is it 4k 120 frames they ask? I am switching to Sony, their cameras are incredible with low light, she adds. I want to make the move to a different system, he says. It is literally everywhere and I partially blame the big corporations for all releasing new systems this year.

But here is the thing. I have a little theory which won’t make some of you very happy. I think that the obsession over gear or switching systems and the amount you obsess over is inversely proportional to your success.

If I had to graph it it would look like this:

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The first reason, and this might sting a little, is this obsession with gear gives you an excuse, a free pass to blame the issues in your equipment for you photography shortcomings. Think about a stone mason blaming a hammer for not being able to split a stone in the right spot. It sounds ludicrous.

The second reason is that this gear obsession keeps you from doing the actual work you need to do to get better. The real work of photography is practice, training your eye. But almost everyone I talk to is waiting to practice till they get the right lens, the right camera.

Now this is when people start mumbling under their breath, that they need a certain sensor size, or 14 stops of dynamic range.

But I want to counter with a simple visualization. All photography really is, is placing a postage stamp sized image sensor in front of a scene. Think about that for a minute. Just letting photons hit a small bit of light sensitive cells about the size of a matchbook. Now strip away all the frame, lenses and everything else until your holding just that sensor in your shaky little hand. Now look out in front of that sensor and know that for every degree you turn it you get a good or a bad photograph. Thats where the real work is. Turning that little light sensitive plane in front of something that someone actually cares about, that they want to see. That they need to see.

Think about holding that sensor in your hand the next time you buy your new camera, and think about it 6 months after you bought the latest greatest thing. In the end, it won’t change, but what you hold it in front of, and what angle you hold it will.

Abandoned Artist's Studio

I guess I’m not sure where to start. I guess I’ll start with our fixer, “J.”

I reached out to “J” over instagram for a cool little find he had posted. From the images and videos he shared it looked to be an abandoned artists studio perched above a river. From the artifacts I saw in the video I knew two things. One it was pretty much untouched, and two it would not stay that way for long. If Jordan and I wanted to preserve anything we had to do it before kids tore that place apart.

Jordan and I got up super early Saturday morning and drove the 90 minutes to pick up J. Of course Jordan and I were chatting so I missed the exit. We picked up J a bit late but headed right to the location. We scrambled through a scary looking basement and climbed up a set of metal ladders with a bit of an acrobatic move.

What we found was an abandoned hydro-electric station on the river turned art studio by a truly remarkable man. He was a pilot, architect, art Professor, color theorist, and hammer collector. His paintings are on display at MoMa. He designed and built a synagogue and a home. He also flew over Nagasaki days after the bomb dropped and survived in the ocean with his crew for 6 days on a raft.

I could go on and on about the good things, but this man also had tragedy in his life. He lost his daughter at age 29 from a freak accident after the car she was driving hit a horse that escaped its pen. He outlived his wife and most of the others he knew. He lived till the ripe old age of 96.

I am still in awe.

I found lots of books about Bresson and Brassai in his studio so I processed these images dark and mostly in black and white as I think the late professor would have liked.It seemed fitting. Click on the images below to see them larger.

When should you post-process your images?

Some photographers come home after a shoot and dive right into their images to edit and post them as quickly as possible. Their images hit instagram almost immediately. In this instantaneous world this seems like almost a no brainer, or is it?

Professional photographer Ben Long advocate to sit on your images and wait to edit them. He likes to wait to edit which helps him disconnect from his images and look at them in a more objective light. When you edit right away he argues, you are too emotionally attached and therefore make mistakes when judging the merit of your images.

I tend to take a balanced approach and try to look at the images and flag my best images but then revisit them at a later date. My editing timeline tends to follow this trajectory:

Directly after the shoot/that evening: Import and backup my images. I also rate the images and pick my keepers. I tend to also edit a few of the best images and post them.

A few days later: I dive in a bit deeper to the keepers and the top 5-10 images. I usually post a few more to social media and work on the images that need a bit more photoshop or heavy processing as time allows.

Winter time: During our long winters here in Syracuse I tend to revisit large projects and try to take more of a creative approach. I will try more adventurous edits and try pushing the processing to a heavier look. Sometime I will get inspired by a certain look or video and try to push my processing in that direction and see what happens. This is my opportunity to get creative and wild in my processing and I tend to create virtual copies in Lightroom and try editing a few different ways.

What do you do for editing? I would love to hear about your process in the comments below!

Below are a few of the images I have been reworking from our Italy trip in 2013 using a heavy handed black and white style to emphasize line and shape. Our days in Venice were very dreary and the clouds and rain made shooting difficult, therefore the editing was very difficult in color and had a moodiness throughout. This style of editing lends a hand to that moodiness.

Double Exposure

Learned that Canon cameras had a double exposure feature last week and decided to go out and try it today on a nature hike. For a canon I believe it is the fourth from the left menu item about halfway down. Super easy, take a shot, then take the second and in a few seconds it is blended together!

Abandoned Car Dealership

Our first urbex stop was a bust so we stopped at this abandoned car dealership today.

Click the images to enlarge them.

Story behind the photo: “The Worst Day of My Life”

"The winter of my discontent" is how I should frame this story, because that’s the capital “T" truth. I was living in Oswego in a small, barely heated, basement apartment. I thought I was going to freeze to death, and used every burner on the electric range as my fireplace. My friends had all moved home, or gotten lives and there I was- alone- in a sterile, unfinished apartment that used to be a computer store. After teaching, I would return home to the same plain white walls as my classroom, cold from the bluish tint of florescent lights. I was commuting everyday in brutal snowstorms, to Liverpool, and some-what teaching. I say some-what teaching because it was survival, plain and simple. The teacher part was killing me. I was imprisoned in a small room with four desks, thirty kids, no books, no tools, no supplies. Basically, all the things a Technology Education teacher needs to survive.. I had none. The best part was that I student taught the exact same group of kids a few months earlier, but now I did not have the soft, warm protection of the master teacher. I was fresh meat and they smelled the blood. The kids hated me, and I was starting to think they were right and I was wrong. I screamed, I pleaded, I guilted, but mostly I was ashamed. Forty minutes later the cycle would repeat. It wasn’t that I didn’t try, but teaching was the first thing in my life that didn’t work by thinking it through and working hard. Every other problem in my life I steamrolled by either ingenuity or sheer volume of hard work. Neither worked. I learned my first hard lesson: you can’t manipulate the human condition.

     The day this picture was taken was the bottom of a series of events that reached the depths of all I had. I had thanked God for the snow day, as hours earlier I had decided that if something didn’t happen soon I was going to have to make a change. The scariest moment in your life is real clarity without options, and I got all I needed that morning. We had received a huge amount of snowfall overnight and there was so much snow the piles were above the roof of my truck. The family next door woke me with their snowblower, and I grabbed a shovel and a camera to capture the ridiculous amount of snow we had. As I stood there admiring my shoveling job the neighbors dog walked over and stared up at me, peering into my soul. He lingered, staring up at me, and I snapped this picture. If you look close enough you can see a reflection of me in 2004, in his eyes.

     I’m not sure what he saw, or what he understood from looking at me. But minutes later the sun came out, and my life slowly started to change. Shortly after, I moved to Liverpool, got a personal trainer, and connected with some friends. I always think back to that day, to that dog, and wonder why he needed to see me hit the bottom, why he needed to see it in my eyes to be sure. I’m not sure I received any guidance that day, but I definitely knew someone was watching out for me.

 

 

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And like that, She's gone.

LeMoyne Manor was one of those explores that is right under your nose as you're searching the internet for abandoned buildings. I had driven by it every single day, dropping my daughter off at daycare. So glad Jordan and I got to tour the building a few times before it came down. 

The property was steeped in history. Built as a mansion by the famous architect Ward Wellington Ward in 1916 it was a beautiful property overlooking the lake. Later it became a banquet hall and motel where many people in CNY had their wedding. In the 1990's the property also served as a halfway house for recovering drug and alcohol addicts. Plans for the space include retail and luxury apartments starting in 2019.

Scroll down for more images.

 

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From: www.syracusethenandnow.com

From: www.syracusethenandnow.com