Tag Archives: nikon coolpix S9100

Street People in San Francisco, Saturday, 13 September 2014. (Weekly Photo Challenge: Humanity)

Standard

Good Morning:

Saturday morning had me up and running early, performing chores. For starters, I bought breakfast for the actors, directors and playwrights participating in a 24-hour theater festival (where you write, rehearse and perform a set of short plays in 24 hours, and yes it can be done). No matter where I went up and down Market Street, I saw something like this:

Market Street Near 7th, 13 September 2014

Market Street Near 7th, 13 September 2014

At 7:00 a.m. on a weekend morning, San Francisco’s homeless are still asleep on Market Street. Something so obvious to me now to which I had been so oblivious before: old age. Our homeless population has aged before our eyes and now they have to cope with advancing years.

Powell & Ellis, San Francisco, 13 September 2014

Powell & Ellis, San Francisco, 13 September 2014

And with age comes increasing physical disabilities. Oblivious me, I had never noticed the canes and wheelchairs before.

Powell Street Cable Car Turnaround, San Francisco, 13 September 2014

Powell Street Cable Car Turnaround, San Francisco, 13 September 2014

Sutter & Powell Streets, San Francisco, 13 September 2014

Sutter & Powell Streets, San Francisco, 13 September 2014

Market Street, near Stockton and 4th Streets, San Francisco, 13 September 2014

Market Street, near Stockton and 4th Streets, San Francisco, 13 September 2014

Yerba Buena Center, San Francisco, 13 September 2014

Yerba Buena Center, San Francisco, 13 September 2014

Polk Street Near Fulton, San Francisco, 12 September 2014

Polk Street Near Fulton, San Francisco, 12 September 2014

San Francisco has one of the largest gaps between the richest and poorest in America, and that gap becomes most obvious early on Saturday morning.

All photos taken Saturday, 13 September 2014 (except for the last, 8:00 a.m., 12 September 2014) with my point-and-shoot, cropped, edited and converted to B&W using iPhoto.

Vonn Scott Bair

Dogs and Their Humans (Weekly Photo Challenge: Dialogue)

Standard

Good Evening:

This week’s Challenge posed serious, uh, er, um, uh, challenges.

I hadn’t thought of pictures as containing/producing dialogue among themselves before. It took quite a bit of thinking before hitting upon the notion of how playwrights such as yours truly use dialogue in the theater. Among other things, we use dialogue to yield contrasts among characters and/or conflict. Here is the first contrasting, possibly conflicting, pair of photographs for your consideration. I used my point-and-shoot digital camera, editing the shot slightly in iPhoto.

San Francisco Homeowners & Renters with Their Dogs, Duboce Triangle Dog Park, San Francisco, California, 30 August 2014

San Francisco Homeowners & Renters with Their Dogs, Duboce Triangle Dog Park, San Francisco, California, 30 August 2014

Now for my second picture, taken on the 21-Hayes bus with my iPhone 4, unedited. Hey, there’s a contrast right there.

San Francisco Homeless with Their Dogs, Hayes Street Behind the Civic Center, San Francisco, California, 29 August 2014

San Francisco Homeless People with Their Dogs, Hayes Street Behind the Civic Center, San Francisco, California, 29 August 2014

How many contrasts can you spot? There exist a few, and perhaps I haven’t detected all of them.

Vonn Scott Bair

Mirror & Roll-Up Gate, South of Market District, San Francisco, 14 Sept 2013 (Weekly Photo Challenge: From Lines to Patterns)

Standard

Good Evening: 

You might see as many 5-7 posts from me on this subject. Sorry. Camera: Nikon CoolPix S9100 digital point-and-shoot; Landscape Mode; converted to B&W and other edits made in iPhoto.

Mirror & Roll-Up Gate, South of Market District, San Francisco, 14 September 2013

Mirror & Roll-Up Gate, South of Market District, San Francisco, 14 September 2013

Vonn Scott Bair

The 30 Shot (Weekly Photo Challenge: An Unusual POV)

Standard

Good Evening:

What do you do when you want to take a photograph? Chances are that you lift your camera up to your eyes, zoom in or out depending upon the shot, maybe fiddle with a few other controls, and then snap the shot. For this post, I request that you consider a different take on taking pictures, creating a different POV using a different POV.

Wait, Did I Just Take a Picture? Haight Street in Front of McDonald's, 27 August 2006

Wait, Did I Just Take a Picture by Accident? Haight Street in Front of McDonald’s, 27 August 2006

For a long time, I’ve wanted a means of taking/performing/committing street photography inconspicuously, without anyone realizing that a photographer (gasp!) lurked in the vicinity. Took me a while to realize that I always had such a technique available. Occurred in the photograph above, occurred in the photograph below.

Cigarette Break at the End of a Rough Day, San Francisco, California

Cigarette Break at the End of a Rough Day, San Francisco, California

I sometimes snapp pictures by accident–an involuntary twitch of the right forefinger, and the shutter closes. In the past, I had reflexively, without thinking, deleted them from the camera and/or my computer. But a few months ago, I took in the Garry Winogrand exhibition at the San Francisco Museum of Modern Art shortly before it closed for renovations.

Stunning experience. Winogrand often did on purpose what I had done by accident (and had always assumed was a blunder). What had always seemed a dumb but temporary waste of pixels had constituted a major part of the work of one of those great photographers I had never heard of because I know so dang little about photography. Then I remembered a scene from the Costa-Gravas movie Z in which a photojournalist interviews the widow of the assassinated politician, sneaking photographs of her with a camera that seems to dangle uselessly at his side. I figured out that one can take pictures without even looking at the subject!

I call it The 30 Shot–largely because I have no idea what term professionals use.

The technique requires a small point and shoot digital camera with a very large view finder window. I zoom out as much as possible and use the default Landscape setting, then just let the camera dangle at my side. The lens hangs roughly 30 inches above the ground, hence my name for the shot. But the technique proved very difficult for me to learn and led to a lot of hopeless but deletable mistakes. I took all of the following shots in the past few days using a Nikon CoolPix S9100. I have not edited any of them for reasons I’ll mention later.

The biggest mistake: simply missing the shot.

DSCN8253

Yes. I would call that a miss.

Another problem I encountered consisted of horribly tilted angles that even editing in iPhoto couldn’t cure. I finally solved this through practice. Find a long stretch of flat road (think that’s easy in San Francisco?), with a brick or cinder block wall, something with long straight lines running parallel to the ground. Practice walking while pointing the camera at those lines and keeping it both steady and untilted.

The goal is to develop what actors call muscle memory. Try to remember the stress on your wrist and fingers as you hold the camera level. Once you do that, you can take pictures without looking at your subjects knowing that the results will turn out level or more often, almost level but easily fixable. Something like this.

DSCN8196

Not a masterpiece of course, but with cropping, correcting the tilt, and adjusting the light and dark areas (actually, I’m thinking B&W), should be an acceptable picture.

If you walk past a sitting subject, take a batch of shots, one quick one after another. Some will slightly miss:

DSCN8251

One or two will prove usable.

DSCN8250

Correct tilt, bright and dark spots, get rid of that bleeping pigeon, and I’ll have another adequate shot. I took 6 pictures of this gentleman rooting through his bad and deleted 4. No regrets–and no regrets are a vital part of The 30 Shot because believe me, you will miss far too many great shots.

I’ve learned a couple of other interesting techniques: first, that you don’t want take a shot as your foot hits the ground because it produces blur (unless you want the blur for artistic effect); and you can twist the camera around so that you take pictures of subjects directly behind you without even knowing what you’re photographing. Such as this man:

DSCN8220

A good example of the virtues of zooming out as much as possible. When I edit copies of this picture, I can crop it many different ways to produce many different new pictures. Megapixels are meaningless most of the time; I have no idea why people obsess over them (the sensor and the lens are far more important). Cropping is the one time when I do want the megapixels; however, even here the “mere” 12 megapixels I have are more than good enough for editing purposes. An 8×10 or even a 9×13 will look good.

Potentially, my mistakes can prove a lot of fun, and that is a very good thing because I make a lot of mistakes, no, I make a LOT of mistakes. Precision of expression is good. Whenever I practice The 30 Shot, I end up deleting 60-80 per cent of the pictures because they are truly hopeless. Not a problem. My definition of A Real Photographer is someone who can take 100 pictures, upload them to a computer, study each one carefully, edit each one as best as possible–and then delete all 100. Obviously, I am not A Real Photographer.

But the mistakes will sometimes amuse me.

DSCN8258 DSCN8188

This next one deserves some photographic love and affection and tender loving care. I wanted to photograph a young couple walking their hyperactive Shih Tzu, but three of the shots missed badly (and I deleted them), while the fourth yielded this:

DSCN8324

Look at how her posture almost exactly mimics the man reflected in the glass! Can you also see the reflection of a second man’s legs in the marble? Similar posture! This is a Garry Winogrand type of shot, very typical of his late period work where he would ignore the rules about including the entire person in the picture. I think he actually The 30 Shot or another technique akin to it. No, no, of course I’m not even close to his level of quality, but I think Winogrand took a lot of shots using a similar technique. Of course I’ll convert to B&W because I’ve never seen a Winogrand photograph in color, and I’ll crop the left and bottom edges a bit. If presentable, I will present the finished results in a later post.

I do think that all of these shots would have been even worse had I taken them at eye level. Something about keeping the lens 30 inches above the ground seems to produce better angles and therefore results, esp. when the objets d’art are sitting. I can’t explain why. Please don’t think I’m trying to teach you anything, because I have no idea what I’m doing. Really, I don’t want to teach; I want to share how I’m learning. This post represents me as a student, not a teacher.

The final shot–perhaps–has the most potential.

DSCN8257

Let us not kid ourselves; right now the photo is a complete mess. Total disaster. The shadows are too dark, the whites are too bright, and you can’t tell that’s her helmet she’s removing from her head. But the composition, and the story it tells of their relationship at that moment in time (more like that millisecond in time) means that I might have (accidentally, of course) captured Henri Cartier-Bresson’s beloved Decisive Moment.

And that is why I have edited none of these photos so far. I’ve concluded that my previous commitment to “editing in the camera,” while a good idea, should have never become an absolute rule. All of the professional photographers I know edit their pictures, believing that taking the picture is only the beginning, not the end. So I will take this messy collection of bad photographs and teach myself how to edit them.

Presenting the results later–assuming I have anything worth presenting.

Vonn Scott Bair

Chronicle of a Death & Resurrection Foretold (Weekly Photo Challenge: An Unusual POV)

Standard

Good Evening:

I have already written of the Anti-Masterpiece of Van Ness Avenue Architecture: what makes the POV of this series of pictures not just unusual but unique is I took every picture from the 8th, 10th or 12th floors of the Public Utilities Commission HQ on Golden Gate Avenue. The result: a POV that most people can’t access. Of course, City Hall, a true masterpiece of civic architecture rather messes up each picture–aside from getting between the office building and my camera, it adds much too much beauty to the scene. Nonetheless, I present a bunch of pix of one of San Francisco’s ugliest buildings, in chronological order starting with the oldest.

All pictures taken with either an iPhone 4 or Nikon CoolPix S9100 through tinted glass windows, so the colors might look a tad odd.

DSCN3639 DSCN6844

“Wait one moment. Is this building getting dismantled?!”

Indeed it is. Taken apart piece by piece. They have already gutted its innards, now come the “outards.”

DSCN6844 DSCN6970 DSCN7123

There you have it: the death of an obsolete and ugly office building, a chronicle foretold. Yet this tale is also a chronicle of a resurrection foretold. As you will see, the steel frame is not coming down.

DSCN7412 DSCN7677

This is a story not of recycling, but of Recycling on Performance Enhancing Drugs. As I walked past the (de)construction site, I asked one of the laborers when the steel would come down. He told me that they will not dismantle the building’s frame, not one little bit.

DSCN7824 DSCN8223

“Condos. Three-Fifty, start.”

The building will be recycled. To translate from the real-estate-ese, the skyscraper will become the massive home of condominiums with a starting price of $350,000 for tiny units perhaps one-half the size of my apartment. And the clear implication: potential home seekers have already made inquiries, perhaps even offers.

We reuse everything in San Francisco. I’m sure the HVAC they install will prove vastly more energy-efficient than the old disaster. Furthermore, the exterior will look much better, if only by default.

I do wonder about one question: will it open before the second half of 2015? The scuttlebutt around City Hall (“scuttlebutt:” one of the words I most enjoy saying, along with “serendipity,” “flummox,” and “jimsonweed”) lately goes something like this: the housing boom, and the intense demand for housing, will peak in 2014. The housing bust will begin in the second half of 2015. The more you think about it, the more that should amaze non-San Franciscans. San Francisco, which has an exclusively boom-and-bust economy, has had so many booms and so many busts that we can actually schedule our busts.

Not that we want busts. But we can schedule them.

Vonn Scott Bair

Outside Lands 2013 (Weekly Photo Challenge: One Shot, Two Ways)

Standard

Good Evening:

Since I had already purchased a ticket to this year’s Outside Lands Festival, I hauled my digital point & shoot plus my iPhone 4 along with me to try and get some decent shots for this week’s theme. While the interesting bark of a nearby tree proved a cooperative addition to my Grey Series…

DSCN7159 DSCN7158

…human beings are another matter. They have a tendency to move, darn it…

DSCN7296 DSCN7302

…which made it very difficult to capture the exact same shot two ways.

Really, human beings should make a greater effort to understand the needs of photographers.

Another interesting complication consisted of how a good shot in landscape orientation became a bad shot in portrait orientation, and vice verse, if I did not change the zoom. I haven’t inspected my shots that closely (busy week), but it appears that none of the pairs of shots I took with the same settings were both good. The semi-decent ones required either zooming in or out, such as this pair.

DSCN7167 DSCN7169

The final pair for tonight is an odd couple: the only pair taken with my iPhone 4; taken at dusk when the light was much dimmer; heavily pixelated due to the camera’s struggle with the lighting conditions; and yet somehow the final result is, for lack of a better term, kinda sorta almost kinda sort neat.

IMG_5334 IMG_5333

Sorry for the use of the high-falutin photography lingo in the previous paragraph.

Vonn Scott Bair

Trying to Get the Picture Right (Weekly Photo Challenge: One Shot, Two Ways)

Standard

Good Evening:

Is one shot four ways OK with everyone?

In my post on the Alemany Farmers Market, I mentioned that I would revisit one of my pictures at a later time, and this week’s Challenge is exactly the reason why. Honestly, I had no inside information, but this Challenge is perfect for the revisit. Here once more I present the photograph (Nikon CoolPix S9100).

The original shot, unedited.

The original shot, unedited.

I took pictures, almost non-stop, almost at random, uploaded everything to my computer at home and then studied the shots to see if any had merit. This one arrested my attention as one that potentially had uh, um, potential, but at first, it did not seem obvious why. So the toddler’s looking at me. So what? What makes this shot interesting?

Believe it or not, it’s the light pole in the background. Seriously.

Follow the pole downward, and it points straight to the boy’s mother, his baby carriage, his big sister, and finally to the boy himself, thus capturing a family shopping for produce in the midst of a crowd of people doing the same. A nice little bit of composition! Pure dumb luck, most certainly, but who needs talent, skill, training and experience when pure dumb luck will suffice? But problems with the shot exist. The brights are too bright, the darks too dark, it isn’t quite sharp enough, and at the very left edge of the picture you can see the edge of a car bumper.

So I went for an 8×10 crop with a few more adjustments in iPhoto (Highlights 20, Sharpness 100).

DSCN6728_2

Suddenly I don’t feel so satisfied. This edit shunts the family too far to the left, making the five figures on the right more important than they should be. In other words, the composition has become unbalanced, or whatever the technical term is that they would have taught me in art school if I had ever gone to art school. So let us try a different 8×10 orientation, and different settings (Highlights 30, Shadows 5, Sharpness 100).

DSCN6728_4

Interesting, and satisfying in some ways (especially in how this edit centralizes the boy), but even now I feel unsatisfied with two aspects of the new picture. First, it becomes harder to see that the events take place at a farmers market. Second, the woman in purple and the man in blue become disproportionately more important to the composition. Maybe these constitute legitimate problems, maybe they are merely the products of my imagination. Sigh. OK! New crop, a 4×3 Landscape orientation, with still newer settings (Highlights 10, Shadows 10, Sharpness 100).

DSCN6728_3

Adequate. I like to judge my photography very, very harshly, and the boy could have stood out a little more obviously, but I have done a few things well. First, you might know how photographers like to use four lines to divide their shots into 3×3 grids, as if playing tic-tac-toe? Now the light pole and the family line up exactly with the left vertical line, and the boy’s head aligns almost perfect with the intersection of the left vertical and lower horizontal. Thus, your eye eventually focuses upon him as the subject of the piece (although I would have preferred sooner). Also, that annoying car bumper on the left edge is gone, while still capturing the entire scene so that you know this is a marketplace. Also, a lighter touch on the controls preserves more of the brightness of the summer afternoon light.

Masterpiece?! Oh, heck no. But it looks satisfactory. And tempting. I feel like tinkering with the original shot a bit more.

Vonn Scott Bair

Weekly Photo Challenge: The World Through Your Eyes – Editing Your World

Standard

Good Evening:

First, a huge emphatic THANK YOU! to photographer Ming Thein for a great introduction to some (just a few!) of the elements of taking good photographs. Sorry for the shouting. One curious aspect of this great article: it made me think of some of the issues not covered in very much detail. Specifically, two: the eternal debate between color vs. black & white; second, the question of editing the picture after taking it.

I believe that one of the most important ways a photographer can show the world through his/her eyes consists of the editing done in post. Two reasons why: first, I’ve seen the output of professional photographers who have massaged their RAW files in Lightroom and Photoshop, and when I see the results in 16×20, sometimes I literally gasp; second, I’m very weak at editing so I assume it must be important.

In recent weeks, I’ve tried to capture my world using the tactics of Garry Winogrand, the most amazing photographer I’ve discovered since Sebastiao Salgado. Interesting paradox there–trying to see the world through my eyes using someone else’s techniques and style. Here is an unedited color photograph I took today from the observation tower of San Francisco’s De Young Museum:

DSCN6207Not a bad shot, capturing a couple looking to the west of San Francisco during the Magic Hour at 7:17 p.m. Note the two sets of reflections, one in the window, one on the floor. I stood on the other side of the tower, facing east, with my Nikon Coolpix S9100 (Landscape Mode) dangling at my side pointed backwards. Classic clandestine street photography. The shadows on her clothes and hair are a little dark, and the sky a little bright. However, since I wanted to experiment with Winogrand’s style of photography, that meant I had to convert to black & white. Presenting the first attempt:

DSCN6207_2I used iPhoto on a copy of the original (and I always try to use a copy–sometimes I even succeed!). First, I reduced Saturation to 0% to get black & white. Second, I reduced shadow by 20% to get a little more detail from their clothes and her hair. Third I reduced brightness by 35% because I thought the background sky was too distracting. Now something else distracted me: the diagonal shadow at the bottom and the two supports and their reflections at the extreme right and left of the picture. So I cropped.

De Young Observatory Tower, Ninth Floor, San Francisco, CA, 21 June 2013, 7:17 p.m.

De Young Observatory Tower, Ninth Floor, San Francisco, CA, 21 June 2013, 7:17 p.m.

This works for me. At least for now. Once I really learn editing I can go back to the original file. Here, all the attention rests on the couple and their reflections, the shot captures the mood, and you can instantly recognize the nature of their relationship (look at where they’re touching). I won’t pretend it’s great, but it is one of my better recent works.

And therein lies the paradox. To show the world through my eyes, I had to make the world completely artificial–because the world is not all black and white.

Vonn Scott Bair

The Minimally Artistic Art of Instant Minimalist Art, 28 April 2013: Sunday Greys and Some Curious Blues

Standard

Good Evening:

The minimall on Geary between Presidio and Masonic has seen better days. Much better days. Mervyn’s is long gone, Office Depot recently gone, and suddenly the vacancies make the overall shabbiness of the half-century complex obvious, like going to a shoe store for a new pair and suddenly realizing how worn out your current shoes have become.

Some sort of massive renovation has begun there, however I can’t tell what the final result will be. If they want to tear down the whole edifice, bring in more of San Francisco’s construction cranes and construct three or four stories of apartments, I won’t object. I certainly won’t feel surprised. But on Sunday I wandered past and saw something I hadn’t noticed before: the strangest patterns of grey (my favorite underrated color, see here and here and here) I’ve ever seen. I had my point-and-shoot with me, and proceeded to take several dozen pictures, some with a very odd result.

DSCN5109 DSCN5103 DSCN5102 DSCN5097 DSCN5087 DSCN5077 DSCN5070 DSCN5062_2 DSCN5058

Blue?! What’s that doing here? The grey pictures above show the true colors of the scene. I used the Landscape setting for all of these shots. Aside from turning the blue pictures into black-and-whites, I will return to the site with different cameras and try again. Curious art, this photography stuff and nonsense.

Vonn Scott Bair

Weekly Photo Challenge: Up – Photorealism, Photography Style

Standard

Good Evening:

Photorealistic painting never really went away. Although the genre of painting so realistically that the result looks like a photograph enjoyed its greatest vogue in the Seventies, it still has its adherents today. During the Seventies, my dad managed the finances of Hartford, Connecticut’s Wadsworth Atheneum, one of America’s larger art museums, and the oldest public one. During Dad’s time at the museum, they also employed a curator whose name I forget who had a remarkable gift for identifying up-and-coming artists and trends, with the result that the museum hosted one of the most significant early exhibitions of video art, to give one example. During those years, the museum also exhibited many artists who specialized in photorealism and/or urban landscapes.

Well, I can’t paint, I can photograph. Presenting recent photographs inspired by um, uh, photorealism.

IMG_4788, Divisidero, San Francisco, California, 20 April 2013, 01:09:53 p.m.

IMG_4788, Divisidero, San Francisco, California, 20 April 2013, 01:09:53 p.m.

DSCN4984, SOMA, San Francisco, California, 20 April 2013, 06:58:30 p.m.

DSCN4984, SOMA, San Francisco, California, 20 April 2013, 06:55:30 p.m.

DSCN4988, South of Market, San Francisco, California, 20 April 2013, 06:58:30 p.m.

DSCN4988, South of Market, San Francisco, California, 20 April 2013, 06:58:30 p.m.

DSCN4964, Bryant Street, San Francisco, California, 20 April 2013, 06:42:30 p.m.

DSCN4964, Bryant Street, San Francisco, California, 20 April 2013, 06:42:30 p.m.

I realistically hope you have a really photographic weekend.

Vonn Scott Bair

A Man and His Dog at the Civic Center, Late Afternoon, 21 March 2013

Standard

Good Evening:

‘Twas a great subject, but not a great shot.

As I ate dinner on the 8th floor of the San Francisco Public Utilities Commission’s headquarters this evening, I espied a wheelchair-bound man walking a small dog in the Civic Center grass in front of San Francisco’s City Hall. The tiny dog was a coppery-brown bolt of energy, darting in a variety of oval patterns at full speed around his favorite human, who stopped his electric wheelchair in the middle of the grass and watched his dog wheel about the grass, veering left and right like an inebriated tornado.

The trouble is that I sat over one hundred yarda away on the ground and another 50 yards straight up. Let’s see: aa + bb = cc, or in simple English, approximately 111.8033 yards away. And me with nothing but my Nikon S9100 point-and-shoot. Well, I gave it my best try:

Wheelchair-Bound Man with Small Dog in the Civic Center, 21 March 2013

Wheelchair-Bound Man with Small Dog in the Civic Center, 21 March 2013

Best of the bunch. I tried my best, but the man and his dog deserved better. Fortunately, they did not need me to love each other’s company.

Vonn Scott Bair

Tuesday Photograph: View of the Sky from a San Francisco Alley, 3 March 2013

Standard

Good Evening:

The blue, white and grey pleased me, so did the geometry, so why not?

San Francisco Alley off 10th Street, Early Sunday Afternoon, 3 March 2013

San Francisco Alley off 10th Street, Early Sunday Afternoon, 3 March 2013

Vonn Scott Bair

Weekly Photo Challenge: Lost in the Details – New Mural Puzzle!

Standard

Good Afternoon:

Funny–this week’s Challenge challenges me to do what I already do! See here and here and here for some examples. I like to take extreme closeups of sections of San Francisco’s multitudinous murals, then show the mural as a whole, and challenge readers to figure out which section comes from which part of the mural. So first I present some extreme closeups of one of my hometown’s finest new murals (you will find it at the intersection of Haight & Masonic). All photos taken with a Nikon Coolpix S9100, using Closeup Mode. No edits but for straightening all of them and cropping some of them:

DSCN4452 DSCN4490 DSCN4484 DSCN4478 DSCN4474 DSCN4460 DSCN4454 DSCN4453 DSCN4495

Now I present a picture of the mural as a whole:

DSCN4494

Most of my puzzles don’t have a high threshold of difficulty; this one might prove the rare exception. I hope you have fun with my little puzzle.

Vonn Scott Bair

Grey Series #139, 140, 141

Standard

Good Evening:

Today, I collected a few dozen photographs based upon the color grey, of which three were worth preserving. All shots taken with a Nikon CoolPix S9100 in full color.

I took the first two during my lunch break.

DSCN4167DSCN4173

The upper one is a closeup of one of the elevators. The lower one is a curious combination of reflections. Light from our windows reflects off the walls of the building opposite the alley, and then reflects off the glass ledge over our window. Meanwhile , you can see the lights in our office reflected in our window.

Of course, humans cannot compete easily with grey done nature’s way.

DSCN4180

Vonn Scott Bair