View allAll Photos Tagged parkingspaces
The alley is so much better than the two parking lots!!
Do you like the pink parking garage and the pink office building? Do you like the blue and white apartment building?
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In downtown Cincinnati, Ohio, on October 13th, 2019, a view toward East 9th Street (U.S. Route 22 and Ohio State Route 3) from Bowen Street.
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General Motors B-Body stationwagon at Carrefour Hypermarché where they have parkingspaces that actually fit....
D 940, Saint-Pol-sur-Mer, Nord, France
Building 36 stands silent in the evening light, its corrugated metal siding and steel-framed windows glowing against the deep blue twilight sky. This photograph captures the raw, utilitarian beauty of Pier 70's mid-century industrial architecture—structures built for function rather than aesthetics, yet possessing an undeniable visual power.
The building's facade tells the story of decades of hard use. The corrugated metal cladding shows signs of weathering and repair, with patches of different materials visible where maintenance work has been done over the years. That distinctive "36" painted on the corner in blue and yellow serves as an identifier in what was once a sprawling complex of numbered buildings, each serving specific functions in the shipyard's operations. The worn appearance and practical materials reflect an era when waterfront industrial buildings were designed for durability and efficiency above all else.
The architectural language here is straightforward industrial vernacular. Large multi-paned steel windows on both levels provided natural light and ventilation for workers inside. The generous window-to-wall ratio was essential in an era before modern HVAC systems, allowing cross-ventilation in what were likely hot, physically demanding work environments. Those windows now glow with warm interior light, suggesting the building has found new life—perhaps as creative studio space, offices, or light industrial uses that characterize much of Pier 70's contemporary occupancy.
The raised section or penthouse structure on the right side of the building adds visual interest to the roofline. This element, common in industrial buildings, often housed mechanical equipment, provided additional headroom for tall machinery below, or served as office or supervisory space overlooking the main work floor. The vertical window grid on this section creates a different rhythm from the horizontal emphasis of the main structure.
At ground level, a large loading bay or garage door opening reveals glimpses of the interior, illuminated and seemingly active. The black painted lower portion of the exterior—likely a protective wainscoting meant to hide inevitable scuffs and damage at truck height—shows the practical thinking that went into these structures. Every design decision served a purpose related to the building's working life.
The empty parking lot in the foreground emphasizes the building's scale and the current quietness of the area. White parking space lines are clearly visible on the dark asphalt, suggesting this area still sees regular use during business hours. The deserted quality at this twilight hour creates an almost cinematic atmosphere—these spaces that once buzzed with round-the-clock activity during wartime production now sit peaceful in the evening.
That bright light source on the right edge of the frame, creating a starburst effect and lens flare, adds drama to the composition. It's likely a modern security or area light, part of the infrastructure updates that allow these historic buildings to continue functioning safely. The power lines visible against the sky are reminders of the electrical systems that powered the heavy machinery once housed within these walls.
The deep blue of the twilight sky provides stunning contrast to the cream and white tones of the building's cladding. This is blue hour photography at its most effective—that brief window when the sky retains color and the artificial lights inside buildings register perfectly on camera, creating a balance of natural and artificial illumination that's impossible to achieve at any other time of day.
Looking at the structure's form, you can see how it was designed for flexibility. The long, rectangular footprint with generous floor-to-ceiling heights meant the interior could be configured for various manufacturing or assembly processes. The simple gable roof with clerestory windows along the ridge line (visible at the roofline) would have provided additional natural light to the center of the deep floor plate—a common and elegant solution in industrial design.
The Dogpatch and Pier 70 context is evident in the surrounding industrial structures visible at the edges of the frame. This isn't an isolated building but part of a larger historic industrial complex that's gradually being adapted for 21st-century uses while maintaining its essential character. The challenge and opportunity of places like Pier 70 is finding ways to preserve these utilitarian structures that were never intended to be beautiful but somehow are.
I like this little grassy area between the parking lots. My large country family emerges from our crowded car.
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In downtown Hannibal, Missouri, on October 30th, 2020, at the Mark Twain Dinette, a/k/a the Mark Twain Family Restaurant, on the northeast corner of North 3rd Street (Missouri Route 79) and Hill Street.
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Photographed using the Smena Symbol, and Kodak Ultramax 400 film. Taken in Monbulk, Victoria, Australia.
"Hey man I'm lookin for quick solutions ahem ahem."
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In downtown Jamestown, New York, on June 5th, 2021, at the southeast corner of West 4th Street and Mechanics Alley, in the Jamestown Downtown Historic District, 14000935 on the National Register of Historic Places.
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The wall is of brick, and has been given an irregularly-shaped area of parge coat at its base. The nonparged brick areas are painted a yellowish pink. The parged areas are painted pink.
Areas of dark pink are present along the boundary between the yellowish pink brick areas and the pink parged areas.
Thank you for reading!
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In downtown Cincinnati, Ohio, on October 13th, 2019, outside the back of "Courtland Flats" (erected 1902, 84001046 on the National Register of Historic Places) at the southwest corner of East Court Street and Bowen Street.
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Day 305 of the 365 Journey
The NINTH thing at Christmas that's such a pain to me:
FINDING PARKING SPACES
When the rooftops are littered with “NO LANDING” signs; even Santa is forced to look for a parking space.
Santa Claus asks the police office in dismay:
“I need to find individual spaces for EACH one of the reindeer AND an additional one for the sleigh?!”
I guess we know another person being added to the “Naughty List” this year…..(just because)!
Strobist INFO:
Shutter Speed 1/100
Aperture 2.8
ISO 100
Lens – Canon 70-200 IS
Focal Length 200mm
White Bal – AUTO
Setup time: 15 mins
580exII at 1/16 power with 45’’ shoot thru umbrella 3 ft off of ground approx 10ft from subject
Flashpoint Monolight 1220 at 1/8 power with 45’’ shoot thru umbrella approx 5 ft to subject right
Flashpoint Monolight 1820 at 1/8 power with 45’’ shoot thru umbrella approx 6 ft to subject left
Lights and camera shutter release triggered via Pocket Wizard’s
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The Renault Avantime first appeared, in concept form, at the 1999 Geneva Motor Show. It's styling was heavily influenced by the Vel Satis concept shown the previous year with the notable features of extra long double hinged pillarless doors, full glass roof and distinctive curved rear screen with protruding boot - later popularised by the Megane. The pillarless doors and lack of central B-pillar gave the car a large uninterrupted glass area on each side, which led to a large open area when the windows were opened. This, along with the full glass roof and light coloured interior gave the inside of the car a very open, airy and spacious feeling.
In September 1999 Renault announced the Avantime would go into production and unveiled the production model. Externally the car was almost identical to the concept, the main differences being the addition of side ‘bumper' strips, the exhaust being switched from the concepts bumper-integrated outlets which were built into the rear bumper for a more conventional twin-pipe outlet and the front lights which had been bi-xenon now just had xenon for the dipped beam and the indicator was now in a separate unit.
The main features of the double-hinge ‘kinematic' doors, no B-pillar and all glass roof remained. Although the room was still all glass, rather than being made of one large piece of glass it had now been split to provide a ‘twin sunroof' style, with the front one being fully opening - a full 1 sq/m - the largest opening glass sunroof ever fitted to a production car at the time. This also gave more of an open-air driving experience - not far off that of a convertible.
HISTORY AVANTIME
- Renault suffered from over-capacity at their factories, and rather than letting people off, they wanted to take over the manufacture of the hugely successful Espace. So, they made the agreement with Matra that if Matra was given the task of developing this new high-spec topmodel, Renault could bring the Espace production in-house. Since Renault don't have the knowhow and expertise to produce cars like Matra do, they had to redesign the Espace, making it the conventional steel car we see marketed as "Espace IV". Matra took on the task and they came up with a series of design-ideas, all based on the "Espace III".
- The Geneva motor show in March 1999 saw the unveiling of a new Renault concept car - where it was called a "Coupéspace" - which leads the way in opening up a long forgotten niche - that of a luxurious Grand Tourer Coupé with space for four adults to relax in comfort.
POSTER COUPESPACE 1999
www.flickr.com/photos/m_and_jiji/6920221965/
- In the 1920's and '30's Renault's main products were luxurious sports models like the 1929 eight-cylinder Reinastella and 1930 Nervastella, driven by Royalty and Europe's aristocracy. The AVANTIME takes some inspiration from these powerful Grand Tourers, built to cover large distances in great comfort and style, whilst focusing firmly on the future. The AVANTIME, illustrates in a forthright manner Renault's ability to shape the future of the motor car. The manufacturer is convinced that there is room in the market for a new breed of coupe, targeted at a customer group seeking the visual distinction, rarity and driving enjoyment of a coupe with the luxury of space and comfort found in a large car or monospace, all wrapped up in a vehicle which is technologically advanced and forward looking. Styled by Patrick Le Quément, the AVANTIME was intended to combine the space of an MPV with four-place pillarless qualities of a coupé. Regarding the styling, Thierry Metroz, design project manager, said, "We wanted someone walking around the car to be continually astonished."
- You sit high up, with glass all around you. The AVANTIME has no B-pillars - one thing that certainly delayed the project was getting the pillar-less design safety-approved - which adds a roadster feel to it, with windows down. It was named the AVANTIME, which is not pronounced fully in French, but a combination 'AVANT' as in French for "ahead" and 'TIME' pronounced in english. In other words "Ahead of its time". They are quite probably right, and it will not be the first time Matra have been ahead of their time, and have spotted a niche almost before it appeared. It is an avantgarde looking car, the target group were people (former Espace-owners) whose kids have left home, but who still prefer the style and flexibility of the Espace, spiced up with a more luxurious interior and some decent performance. Very similar to the Espace the AVANTIME uses a warm-galvanized chassis in the lower part, but with the upper structure done in aluminium, to get the centre of gravity even lower than the Espace. The bodywork is still polyester, which is bonded in place. The doors are now a (galvanized) steel construction with polyester bodypanels bonded to it, making them much stronger than standard Espace doors, which were all fibreglass, with a metal frame, and in later models (J63 and JE) a side-impact steel bar about halfway up, on the inside. The frontend design is developed from the Espace, with the air-con intake moved to above the headlights, rather than the sidemirrors. The sidemirrors, on the other hand, have moved towards the door-windows again, as on the early Espace models.
- Matra's engineers have avoided the top-heaviness of a minivan or SUV by fitting a lightweight aluminum superstructure to the Espace chassis. The track has been widened, the suspension lowered, and the wheels and brakes enlarged. Careful development has produced a car that feels stable at high speed on the autobahn, steers accurately, rolls only a little when cornered hard, yet smoothes all but the roughest roads. This is an impressive achievement and makes the AVANTIME fun for the driver and calm and secure for the passengers.
- Renault has enlisted the services of French fashion designer Jean-Paul Gaultier to front its first-ever cross-brand advertising campaign "Créateur d'automobiles" (a one-minute spot with music by Etienne de Crécy). The pan-European ad aims to position the French motor brand as being creative and innovative, paving the way for forthcoming launches such as the new AVANTIME GT Coupe in 2001. TV advertising, by incumbent agency Publicis, breaks on October 17 (2000) and shows Gaultier designing and producing a new dress, from sketches to the finished product on the catwalk. After the fashion show, the model sees a Renault AVANTIME and is captivated by it. The ad then shows the process by which the car was created, in reverse from the completed car back to the production line. The designer's sketch is reduced to a blank piece of paper, mirroring Gaultier's process. Eric Bernard, Renault's worldwide advertising director, said: 'We're going to cause a stir with this campaign, and we hope to surprise and interest those who only think of Renault as a brand for small and medium-sized cars. 'It will trigger awareness and help us develop the new message in preparation for the launch of our new large cars.' The TV campaign's launch is being timed to coincide with the Birmingham International Motor Show, where Renault is unveiling its production version of the AVANTIME. It is being supported by press and poster activity.
TV SPOT AVANTIME COMMERCIAL (2001)
www.youtube.com/watch?v=2FS3V-akz-c
- In the meantime - there was a considerable delay in launching the AVANTIME - Renault had tested their design studio VEL SATIS with the public at car-shows and put the VEL SATIS into production, and hit the marked about the same time as the Avantime was finally ready. This means that Renault had two different approaches to the high-end luxury car, one being almost entirely Renault, the other a Matra. The Renault VEL SATIS has 4 doors, which should appeal to less adventurous (or more conservative) people. The AVANTIME was a two-doors only car (well, Matra did have a prototype 4-door version, but it never made it to production), but the doors are "huge" to allow for easy access, and are novel in the way they open, as they are internally hinged, making them sort of fold when you open them. Hereby even these huge doors will only require the same parkingspace as any other car, but at the same time offering excellent access. Having the AVANTIME compete with its Renault sibling obviously was not a good thing for Matra, who must have felt that Renault had not kept their part of the deal. To add insult to injury, its no secret that Renault urged their sales-organisation to push the VEL SATIS before the AVANTIME (by offering higher bonuses to the sales-people). This caused the AVANTIME to sell suficciently poor, to drain Matra for funds, and since there were no hopes for Renault helping them out, Matra decided in december 2002 that enough was enough and in April 2003 they shut down Matra Automobile and closed the factory in Romorantin. The last AVANTIME left the Matra assembly lines 18th of April 2003.
OFFICIAL VIDEO 10 YEARS AVANTIME, the "Coupéspace"
www.youtube.com/watch?v=MCXHroaxg8w&feature=feedu
INTERVIEW PATRICK LE QUEMENT (2009)
What about the Renault Avantime? "It was a very modern piece of design, but it was not liked by many people. It was not supposed to be built in the hundreds of cars every day. It was two years late to market and it was launched at the wrong time. There was also the issue with Matra [which assembled the Avantime and its business folded mid-cycle]. I felt very awkward about this. If we had done a highly conservative design, would it have sold better? If pigs had wings! We will never know. It was a real blow when Matra went bust. If a model is not selling well you feel for the people at the factory. You feel involved when they cut a shift or something like that. When a design works well and it’s a big seller it’s very satisfying. But when it does not work, it’s so often design that’s held to be responsible."
- Patrick le Quément
THE AVANTIME HISTORY RETOLD
Renault suffered from over-capacity at their factories, and rather than letting people off, they wanted to take over the manufacture of the hugely successful Espace. So, they made the agreement with Matra that if Matra was given the task of developing this new high-spec topmodel, Renault could bring the Espace production in-house. Since Renault don't have the knowhow and expertise to produce cars like Matra do, they had to redesign the Espace, making it the conventional steel car we see marketed as "Espace IV". Matra took on the task and they came up with a series of design-ideas, all based on the "Espace III".
The Geneva motor show in March 1999 saw the unveiling of a new Renault concept car - where it was called a "Coupéspace" - which leads the way in opening up a long forgotten niche - that of a luxurious Grand Tourer Coupé with space for four adults to relax in comfort.
Poster AVANTIME 1999: www.flickr.com/photos/m_and_jiji/6920221965/
In the 1920's and '30's Renault's main products were luxurious sports models like the 1929 eight-cylinder Reinastella and 1930 Nervastella, driven by Royalty and Europe's aristocracy. The AVANTIME takes some inspiration from these powerful Grand Tourers, built to cover large distances in great comfort and style, whilst focusing firmly on the future. The AVANTIME, illustrates in a forthright manner Renault's ability to shape the future of the motor car. The manufacturer is convinced that there is room in the market for a new breed of coupe, targeted at a customer group seeking the visual distinction, rarity and driving enjoyment of a coupe with the luxury of space and comfort found in a large car or monospace, all wrapped up in a vehicle which is technologically advanced and forward looking. Styled by Patrick Le Quément, the AVANTIME was intended to combine the space of an MPV with four-place pillarless qualities of a coupé. Regarding the styling, Thierry Metroz, design project manager, said, "We wanted someone walking around the car to be continually astonished."
You sit high up, with glass all around you. The AVANTIME has no B-pillars - one thing that certainly delayed the project was getting the pillar-less design safety-approved - which adds a roadster feel to it, with windows down.
It was named the AVANTIME, which is not pronounced fully in French, but a combination 'AVANT' as in French for "ahead" and 'TIME' pronounced in english. In other words "Ahead of its time". They are quite probably right, and it will not be the first time Matra have been ahead of their time, and have spotted a niche almost before it appeared. It is an avantgarde looking car, the target group were people (former Espace-owners) whose kids have left home, but who still prefer the style and flexibility of the Espace, spiced up with a more luxurious interior and some decent performance. Very similar to the Espace the AVANTIME uses a warm-galvanized chassis in the lower part, but with the upper structure done in aluminium, to get the centre of gravity even lower than the Espace. The bodywork is still polyester, which is bonded in place. The doors are now a (galvanized) steel construction with polyester bodypanels bonded to it, making them much stronger than standard Espace doors, which were all fibreglass, with a metal frame, and in later models (J63 and JE) a side-impact steel bar about halfway up, on the inside. The frontend design is developed from the Espace, with the air-con intake moved to above the headlights, rather than the sidemirrors. The sidemirrors, on the other hand, have moved towards the door-windows again, as on the early Espace models.
Matra's engineers have avoided the top-heaviness of a minivan or SUV by fitting a lightweight aluminum superstructure to the Espace chassis. The track has been widened, the suspension lowered, and the wheels and brakes enlarged. Careful development has produced a car that feels stable at high speed on the autobahn, steers accurately, rolls only a little when cornered hard, yet smoothes all but the roughest roads. This is an impressive achievement and makes the AVANTIME fun for the driver and calm and secure for the passengers.
Renault has enlisted the services of French fashion designer Jean-Paul Gaultier to front its first-ever cross-brand advertising campaign "Créateur d'automobiles" (a one-minute spot with music by Etienne de Crécy). The pan-European ad aims to position the French motor brand as being creative and innovative, paving the way for forthcoming launches such as the new AVANTIME GT Coupe in 2001. TV advertising, by incumbent agency Publicis, breaks on October 17 (2000) and shows Gaultier designing and producing a new dress, from sketches to the finished product on the catwalk. After the fashion show, the model sees a Renault AVANTIME and is captivated by it. The ad then shows the process by which the car was created, in reverse from the completed car back to the production line. The designer's sketch is reduced to a blank piece of paper, mirroring Gaultier's process. Eric Bernard, Renault's worldwide advertising director, said: 'We're going to cause a stir with this campaign, and we hope to surprise and interest those who only think of Renault as a brand for small and medium-sized cars. 'It will trigger awareness and help us develop the new message in preparation for the launch of our new large cars.' The TV campaign's launch is being timed to coincide with the Birmingham International Motor Show, where Renault is unveiling its production version of the AVANTIME. It is being supported by press and poster activity.
Link Renault AVANTIME spot commercial 2001: www.youtube.com/watch?v=2FS3V-akz-c
In the meantime - there was a considerable delay in launching the AVANTIME - Renault had tested their design studio VEL SATIS with the public at car-shows and put the VEL SATIS into production, and hit the marked about the same time as the Avantime was finally ready. This means that Renault had two different approaches to the high-end luxury car, one being almost entirely Renault, the other a Matra. The Renault VEL SATIS has 4 doors, which should appeal to less adventurous (or more conservative) people. The AVANTIME was a two-doors only car (well, Matra did have a prototype 4-door version, but it never made it to production), but the doors are "huge" to allow for easy access, and are novel in the way they open, as they are internally hinged, making them sort of fold when you open them. Hereby even these huge doors will only require the same parkingspace as any other car, but at the same time offering excellent access. Having the AVANTIME compete with its Renault sibling obviously was not a good thing for Matra, who must have felt that Renault had not kept their part of the deal. To add insult to injury, its no secret that Renault urged their sales-organisation to push the VEL SATIS before the AVANTIME (by offering higher bonuses to the sales-people). This caused the AVANTIME to sell suficciently poor, to drain Matra for funds, and since there were no hopes for Renault helping them out, Matra decided in december 2002 that enough was enough and in April 2003 they shut down Matra Automobile and closed the factory in Romorantin. The last AVANTIME left the Matra assembly lines 18th of April 2003.
The following production figures have been published (Source: Matra France, L.Thimonner, 2003 ):
2001 : 2067
2002 : 5097
2003 : 1286
HISTORY REPEATING
Only 8450 Renault AVANTIME's were eventually built, before its abrubt end-of-life...
In the science fiction movie 'Children of men' (released 2006), the AVANTIME prototype 4-door version was seen in the cinema, Clive Owen and Julianne Moore travel in the AVANTIME until a breathtaking action sequence disrupt the journey...
Avantime has retained its feeling of novelty!
www.google.nl/url?sa=t&rct=j&q=renault%20icons%20...
The tale of Renault's short lived but stunning coupé is brought to life using interviews with the key players in the cars development, including ex Renault Head of Design Patrick Le Quement and Matra's Phillipe Guedon. With a colourful gathering of over 200 of the iconic cars at the famous Montlhery race track, the Avantime's 10th anniversary is the centre piece of this programme. Enthusiasts and experts swap opinions about what prevented this car becoming as much of a success as it perhaps should have been. Even more of the car's story is provided by Renault Avantime insiders Thierry Metroz and Carole Hurel, while current boss of Renault design, Laurens Van Den Acker gives his verdict on what makes this unique car so special.
Official Video Renault 10 Years AVANTIME, the "Coupéspace"
www.youtube.com/watch?v=MCXHroaxg8w&feature=feedu
Explore Renault AVANTIME
This is the second of two images for Day 6/365. You'll never know how a parking space can inspire you.
Samsung Galaxy A20 with 3.60mm f/1.9 at 1/405 ISO 40. Post production in Photoshop Express.
"Nuisance Weeds" "Next Doors Weeds on Her Parking Space" 2019 Weekly Alphabet Challenge Week #40 Nuisance
Weeds Growing on next doors parking space "insufficient weed control underneath when laid"!
Best viewed large press "L"
Southwick CC Week 53
Photographed using the Smena Symbol and Kodak Ultramax 400 film. Taken in Monbulk, Victoria, Australia.
I have driven past this small parking area numerous times and thought it was so interesting. It is on the edge of downtown St. Paul at Shepard road and Sibley St. under railroad tracks.
Parked at our local Quik Trip Station. Couldn’t resist taking a shot. While waiting for step-daughter, AMANDA, at an eye clinic I’ve been using Snapseed to improve it.
Searching for a space is not very different from panning for gold :)....
View from Coit Tower, San Fransisco - Best Viewed Large
Model: Louisa de Jong
Photo & PP: Me
Location: Heerenveen
Stobist / Light: Snooted flash at full power on the left for hairlight / Bare flash full power at left top for lightening the car / Flash with grid at 1/2 power on the right of cam | Cactus Triggers
I have not got time to research what year the blank wall got freshly, nudely exposed by the demolition of its neighbor to the south. Somebody else go do it!
The building is operated as a parking garage but it looks like it used to be an office building. It was erected in 1929 (just in time!!), and as of 2019 it was owned by "MVP Cincinnati Race Street Garage LLC" of Las Vegas, which is a subsidiary of "The Parking REIT, Inc.," also of Las Vegas, formerly known as "MVP REIT II, Inc."
Cincinnati motorists who want their parking dollars to stay right here at home in Cincinnati ought to motor away to some other facility!
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In downtown Cincinnati, Ohio, on October 13th, 2019, at the northwest corner of West 3rd Street and Race Street.
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• Downtown Cincinnati (Q5303391)
• former building or structure (Q19860854)
• October 13 (Q2925)
• October 2019 (Q47087606)
• Race Street (Q80199712)
• Treaty of Greenville (Q767317)
• star anchor plate (Q80362950)
Transportation Research Thesaurus terms:
• Parking industry (Nbq)
Library of Congress Subject Headings:
• Brick walls (sh85016796)
• Office buildings—Ohio (sh99002598)
Jeez the U.S. looks so weird.
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In downtown Pittsburgh, Pennsylvania, on July 11th, 2020, a portion of PPG Place (built 1981-1984, designed by Philip Johnson and John Burgee) at the northeast corner of the Boulevard of the Allies and Market Street, as viewed from the north side of First Avenue.
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Getty Thesaurus of Geographic Names terms:
• Allegheny (county) (7013272)
• Pittsburgh (7013927)
Art & Architecture Thesaurus terms:
• central business districts (300000868)
• evening (300343633)
• Gothic Revival (300021452)
• office buildings (300007043)
• parking lots (300007826)
• Postmodern (300022208)
• reflective glass (300010881)
• spires (300002360)
Wikidata items:
• 11 July 2020 (Q57396812)
• 1980s in architecture (Q11185955)
• 1984 in architecture (Q2812893)
• Boulevard of the Allies (Q4949680)
• Downtown Pittsburgh (Q11331506)
• July 11 (Q2701)
• July 2020 (Q55281154)
• postmodern architecture (Q595448)
• PPG Industries (Q48754)
• PPG Place (Q1322398)
• temporary fencing (Q811969)
• traffic cone (Q694547)
• Treaty of Fort Stanwix (Q246501)
• Western Pennsylvania (Q7988152)
Library of Congress Subject Headings:
• Office buildings—Pennsylvania (sh91002286)
Union List of Artist Names IDs:
• Burgee, John Henry (American architect, born 1933) (500009663)
• Johnson Burgee Architects (American architectural firm, active from 1967) (500216048)
• Johnson, Philip (American architect, critic, and collector, 1906-2005) (500014481)
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A single light pole in a dark empty Pittsburgh, PA parking lot late at night with bridges and overpasses behind it. Pittsburgh is a sleepy town, it's pretty much dead after 9 PM. That really surprised me!
Keywords:
"parking spaces" bridges freeway overpass Pittsburgh Pennsylvania PA USA glow "street light" "light post" "square format" desaturated copyspace "Nikon 85mm" Nikon D700 "Nikon D700" "long exposure" "low light" "wide angle view" "wide angle" "Chris Nuzzaco" "North Shore" "east coast" modern industrial "no one" empty vacant contrast "high contrast" "night time" "stock photography" night urban parking lot concrete asphalt twilight dirty dramatic dingy grunge metropolitan pavement lonely architecture evening moody metro "parking lot" ground desolate city scene downtown place nobody gray black spaces outside cement dark
Getting back in the car after walking the dogs in Wolf Pen Creek Park. The dogs decided it would be a good idea to take a swim, so Sarah was obligated to go get them. Result: showers, baths, and car washes for everyone.
I love the tones in this. I finally feel like my photography composition and editing is heading in the direction I want it to go.
© alyssa jiosa